tag:blogger.com,1999:blog-28509779187873673342024-03-15T07:33:50.029-07:00Icono-Curmudgeon-Clast - Loring Wirbel's RantsI turned 50 in 2007, so I'm practicing curmudgeon-like behavior by stressing, "whatever it is, I'm agin' it!" Call me anarcho-syndicalist or progressive, except I think most anarchists and progressives are as annoying as neocons. I like to point folks to way-outside-the-mainstream literature and music, while grumbling about everything else.Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.comBlogger523125tag:blogger.com,1999:blog-2850977918787367334.post-49490282857669110642024-03-15T07:32:00.000-07:002024-03-15T07:32:58.280-07:00The Allure of Listening - Chapter 4 - Platter Potlatch<p> <i>The rise of Discus Obsessivarus, or "Collector Scum" - 1970-72</i></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">Our tumble-down Victorian house was badly in need of a facelift in the
summer of 1970, and the teenage dynamic duo of Dave and Nate proved up to the
task of hanging off eaves and leaning backward off balconies. They were
surprised that a precocious and annoying 13-year-old was well-versed in bands
that mattered, but they expressed shock that I hadn’t already joined a record
club to maximize my listening options. They helped me scan the Columbia House
12-for-a-penny list, and my introductory package of LPs included the debut
eponymous albums of Johnny Winter and Eric Clapton, Janis Joplin’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Kozmic Blues</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">, Traffic’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">John Barleycorn</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Must Die</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">, Joan Baez’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">One Day at a Time</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">, and
other titles lost in the haze of a half-century. Not only was this a rich
initial feast to be augmented every few weeks by supermarket purchases, but
albums made an ideal present to beg from relatives – Crosby, Stills, Nash &
Young’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Déjà vu</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> and Led Zeppelin’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">III</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> were Christmas presents for the new era. I quickly got my first exposure
to releases outside the Columbia House mainstream. My introduction to glam, for
example, was Alice Cooper’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Love It to Death</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">. It’s
fair to say that many youth not yet in high school became album-heads in late
1970, in part because of the media hype surrounding the back-to-back deaths of
Janis Joplin and Jimi Hendrix.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigZYQC-SpCk8pYN4aWVp_bjruIIkfPnaTWxLj0stVLqavXroqXdmDmFCkhsyW4tFf5cbK6fqY6KGFQrZWsJGAlDul3wH2nUSH1TGMABWIj-tRIe-LIVVj_wcn1sv_s8-SyaK38NAq9PJ_5o9rl0jrs6KzhTIPzewea6fxq39oW5OUdu3Ew9tZOU1Bvack/s480/records.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="270" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigZYQC-SpCk8pYN4aWVp_bjruIIkfPnaTWxLj0stVLqavXroqXdmDmFCkhsyW4tFf5cbK6fqY6KGFQrZWsJGAlDul3wH2nUSH1TGMABWIj-tRIe-LIVVj_wcn1sv_s8-SyaK38NAq9PJ_5o9rl0jrs6KzhTIPzewea6fxq39oW5OUdu3Ew9tZOU1Bvack/s320/records.gif" width="180" /></a></div><br /><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>Somewhere in the early 1970s,
I joined with millions of other “serious” music fans in losing interest in the
Top 40 and pop-music radio in general. Sure, I’d consult the lists in the late
1970s to see how punk was faring, against both disco and teen heartthrobs like
Andy Gibb. Even in the 1980s and 1990s, I was dimly aware that a Top 40
existed, but radio (at least the continuous-hit variety) seemed like an
irrelevant environment by that time. In the 21<sup>st</sup> century, songs were
introduced primarily through playlists, or as soundtracks to popular shows, but
still the Top 40 survived in odd little I Heart Radio niches. But the mere fact
that I could zone out one music media venue so quickly in 1970 gave me an
object lesson of how young adults leaving their high school or college years
could suddenly zone out on musical interests in general. The fleeting nature of
consciousness makes it all too easy to practice tunnel vision.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>I juggled multiple budgets in
order to stay current with new LPs, while trying to fill back catalogs of the
weirder artists that really appealed to me, like Frank Zappa and Captain
Beefheart. The Ann Arbor/Detroit collective of musicians loosely associated
with John Sinclair – including the MC5 and Iggy and the Stooges – made me feel
as though Michigan was an important defining base for radical culture. So what
if Sinclair and his White Panthers were slightly behind the West Coast? John
Lennon, at the peak of his radicalism with Yoko, always seemed a year or two
behind the times, but that did not cut into his effectiveness. Wayne Kramer and
Rob Tyner from the MC5 taught me what “rhetoric” meant, while Iggy, already a
terror to middle-class parents in 1970, prepped me for the glam-rock era when
his re-formation of The Stooges put the band in the center of the Bowie-Reed
crowd. I remember my parents telling me in 1970 that they didn’t mind most of
the bands scheduled to play at the Goose Lake festival, but “that Iggy, he’s
just a threat to society!” Yep.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVjf-lQwlABrXR68-qCBiE1oAbbHmVPDMJrvpYRE3efCdnQy8Uaqjbh_jPK0Uw6gGwb46kh1icVZ_H9Q005ves9eN0xpttMm9dMiumUBOME997QiS2h3xWts-LSMbjD0OmC5KledIrNEqqZsS-AQaLBY_xcPcYWDApN28DsSQ8Jbl7AlZqgdxj0_Xtel0/s320/Iggy.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="158" data-original-width="320" height="158" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiVjf-lQwlABrXR68-qCBiE1oAbbHmVPDMJrvpYRE3efCdnQy8Uaqjbh_jPK0Uw6gGwb46kh1icVZ_H9Q005ves9eN0xpttMm9dMiumUBOME997QiS2h3xWts-LSMbjD0OmC5KledIrNEqqZsS-AQaLBY_xcPcYWDApN28DsSQ8Jbl7AlZqgdxj0_Xtel0/s1600/Iggy.jpeg" width="320" /></a></div><br /><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>The deaths in rapid
succession of Jimi Hendrix, Janis Joplin, and Jim Morrison predated a distinct
fragmentation among not-so-underground AOR artists. Joni Mitchell and Neil
Young were among songwriters opting for heady introspection, and savvier
listeners were turning to borderline introverts like Nick Drake as well. British
hard rockers like Led Zeppelin were setting the stage for a brasher (and more
predictable) class of rockers ranging from Humble Pie in early days to AC/DC
later in the decade. In fact, Led Zepplin’s diverse and superb </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">III </span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">album did not get the audience it deserved because O.G. fans insisted
it didn’t “rock out” enough. In the latter years of driving to cassette and
8-track tapes, this particular listener of “heavy music only, please” became
increasingly annoying (see Chapter 5). This put innovative songwriters like
Pete Townshend in something of a quandary – how would one strive for something
akin to a concept album while rocking hard enough to please the masses? (In the
case of The Who, percussionist Keith Moon solved the problem by treating any
composition with a bit of manic intent.)<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>Because 1970-71 represented
the precipice before the arrival of Ziggy-era Bowie, Blue Oyster Cult, and many
other larger-than-life acts, it’s easy to forget how conservative AM pop radio
became by late 1971, as though everyone needed a rest. There was more
Carpenters, Bread, Cat Stevens, Cher, and Carole King than ever before. John
and Yoko, after a string of provocative singles, released the era-defining </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Imagine</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> in 1971. It felt as though the world needed a
break after living through 1960s chaos. Entering high school in 1971 might have
meant frosh dances in previous decades, but I was head-down obsessed in album
rock. Getting stoned was still a couple years away, but there already existed
an attitude of taking music too seriously that interfered with the physical joy
of an upbeat pop song. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>As late 1970 waded through
1971 and into 1972, singles experienced more longevity on the charts – both for
decent songs like Stevie Wonder’s “Superstition,” Roberta Flack’s “Killing Me
Softly,” or Carly Simon’s “You’re So Vain,” but also for the dreck that made up
most of the Top 10. Some chart analysts say it was the vacuity of the charts in
the latter half of the 1970s that pulled people to either punk or disco (with a
smattering of true rap options just beginning in that era), but a more careful
examination would prove that the singles charts had lost most of their sparkle
even as the 1970s began. Hence the domination of the 40-minute long-playing
album in that decade.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Just as some entering high school became
obsessive statistics gatherers of a favorite outdoor sport, or detailed
monitors of TV shows and movies, I was one of the music nerds who ordered
Schwann LP catalogs so I could develop a full picture of musicians in the pop
and jazz fields. It was Schwann that introduced me to several fringe artists of
the underground-beyond-underground, from Patrick Sky to Pearls Before Swine.</span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZVjGtlcwbAKhpu61QZMp8nDhBrwBjNGimNrA93NN5B3lCTjZ2h1CxlM9Ld8AwRJFeDLiOwNYtb0IMwtRa3RdIhmTYucx2oUCiL-LfU24q4_dsJx2719GSOKFQOKqCP3vDCmdt0GQx3j1-SQV6MVJ6NBeIc_5F9lOzsEN4zk-W7ykECLpnqhuLx0-Pac/s668/record%20collecting%20R%20Crumb.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="668" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPZVjGtlcwbAKhpu61QZMp8nDhBrwBjNGimNrA93NN5B3lCTjZ2h1CxlM9Ld8AwRJFeDLiOwNYtb0IMwtRa3RdIhmTYucx2oUCiL-LfU24q4_dsJx2719GSOKFQOKqCP3vDCmdt0GQx3j1-SQV6MVJ6NBeIc_5F9lOzsEN4zk-W7ykECLpnqhuLx0-Pac/s320/record%20collecting%20R%20Crumb.png" width="320" /></a></div><br /><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> My
pledge to follow liner notes as closely as some follow score cards only lasted
a decade or two, as I learned much later in life of all the details I failed to
pick up by neglecting the smaller-print liner notes for CDs. It wasn’t long
before I learned about music fidelity, though I lived with crap turntables and
preamps for years. It was only through the college-age older siblings of
friends that I learned names like Technics and Sony. Given the 21<sup>st</sup>-century
vinyl revival based on the supposed better fidelity of an analog source in
reproducing sounds, it seemed ironic that the two formats to challenge LPs in
the 1970s, 8-track tapes and audio cassettes, took market share from LPs based
on their portability and ease of use, since their fidelity was hardly
comparable to vinyl.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>It’s easy in retrospect to
forget how significant the growth of LP sales was in the first half of the
1970s. In the watershed year of 1970, more than 500 million units were sold
worldwide, amounting to 40% of all physical media. The numbers sold per year
remained above 300 million well into the 1970s, when cassettes in particular
began edging out vinyl sales. While much ink has been spilled over the 21<sup>st</sup>-century
vinyl resurgence, particularly after prices surged in the wake of pandemic
shortages, the number of LPs sold in 2022, for example, registered only 41.3 million
physical albums (8.2% of 1970 totals), accounting for 43 percent of physical albums sold in that
year. Statista Inc, is quick to point out, however, that if streaming and
downloading is factored in, LPs accounted for only 5 percent of equivalent
album listening in 2022. Thus, 1970 represented the top of the curve in several
senses.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>The evolutionary rise of the
creature known as “Collector Scum” happened slowly and subtly. Before the
advent of tapes or CDs, corporate labels released only mono and stereo versions
of an album (and mono ended up being the one with more collector value over a
50-year period). Occasionally, you might get production mistakes that would
result in higher prices for a supposedly flawed product – The Beatles’ banned
“butcher-block” cover for </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Yesterday and Today</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> was a
perfect example. But the more collectible LPs arrived courtesy of the plausibly-deniable
pirates who released bootleg LPs, specializing in live performances or
unreleased demos from top-selling artists. One of the finest legacies of the
1970s bootlegs came in the experimentation with different colors of vinyl for
the LP, not just a yellow or a transparent red, but even splatter-rainbow
colors for some choice bootlegs. The vinyl revival of the 21<sup>st</sup>
century brought with it the return of special colors of vinyl for
limited-edition LPs, but few remembered that the pirate manufacturers of the
1970s are the ones who really brought colored vinyl out of the preschool
children’s-specialty market, and into the rock mainstream.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjahkvMtzbmMR5Xcz4F2wkaxNQPTe3i7TMvDAhb5auXNDHNIbm3JaViJ6uT0OnuyS_7TGv3m_yMgGXF6TDRcnP1VevslASjyrDHRM9v48-lvo8YPbIVSf3-SEVSmraZyj8HFOc9l7cA9Yjq_wrukNIu9wcpcvmRHpMaU12mC6kAkFe_89_mAzh2t64xKLc/s600/JacksonBrownebootleg.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="368" data-original-width="600" height="196" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjahkvMtzbmMR5Xcz4F2wkaxNQPTe3i7TMvDAhb5auXNDHNIbm3JaViJ6uT0OnuyS_7TGv3m_yMgGXF6TDRcnP1VevslASjyrDHRM9v48-lvo8YPbIVSf3-SEVSmraZyj8HFOc9l7cA9Yjq_wrukNIu9wcpcvmRHpMaU12mC6kAkFe_89_mAzh2t64xKLc/s320/JacksonBrownebootleg.jpg" width="320" /></a></div><br /><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>In the final months of junior
high and the summer prior to entering high school, I experimented with
producing a mimeographed equivalent of an underground newspaper, though the
cultural issues to get excited about were only a whisper of the 1965-70 period.
City-specific tabloid alternative newspapers were expanding tremendously in the
1971-74 era, like the Lansing-area </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Joint Issue</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">, later to
become </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12.0pt; line-height: 107%;">Lansing Star</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">. But except for the occasional
large demonstration, these newspapers’ claim to a counterculture centered
primarily on recreational drug use. Even as Richard Nixon’s Vietnamization made
the prospect of a draft slowly wind down, there still were significant protests
against the war, and in favor of nascent women’s rights, gay rights,
recognition of indigenous people. Yet although memoirs from Abbie Hoffman and
Jerry Rubin became best-sellers, there was a definite feel by late 1971 that
youth revolt had entered a waning phase.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>If drugs were the only
countercultural option around, then that would be a necessary accompaniment to
music. I tried weed for the first time just shy of my 15<sup>th</sup> birthday,
in the spring of 1972, and added a few hallucinogens not long after. It
provided an interesting perspective, but I looked on in frustration as a
significant number of teens seemed to prefer the new downer, Quaaludes, which
failed to attract my interest at all. My definition of altered consciousness
centered on artists like Zappa and Beefheart and the related mind expansion,
not in hollering “Yeah!” to down and dirty blues. That cleaving was the first
parting of ways I experienced from mainstream arena hard-rock, as I spent more
time with glam rock, progressive rock, and experimental artists.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><i>In three weeks - Chapter5 - Tapes, Taping, and Subgenres - Struggle for Market Dominance</i></span></p><p class="MsoNormal"><b>Copyright 2024 Loring Wirbel</b></p>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-35007208993696925532024-02-23T08:03:00.000-08:002024-02-23T08:03:44.971-08:00The Allure of Listening - Chapter 3 - The Mass-Marketing of Underground Sounds<p> <i>Remember that 'free-form radio' has almost always been an oxymoron. - 1969-70</i></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">Thanks to some stock-theatre bit parts and backstage set design work, I
had a little bit of disposable income as early as the summer between sixth and
seventh grade, but in 1969, the notion of blowing it all on record albums was
still a year away. Nevertheless, innovative trends were afoot in what passed
for a Lansing hipster community that would lessen the magnetic appeal of Top 40
radio, give a wider audience to albums from first-time garage bands, yet at the
same time, set up the framework for a new conformity that would make album
tracks like “Stairway to Heaven” and “Free Bird” all too familiar within five
years.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqh5aiuq-lI-r4n6OKClv97NBpffPY6w44FdQyInfg42OYwlwfc5-JnfPOcIbjjU2UPEsVC4j8NESWepPKdFpcPhWXNrqY5SJ5-uN1BDF_vyquxeYS7_XdEHtXO4iGH_GrWcNfiYAhSbsnbZW510Ia95IGr0vJJBIu7UhiUHhSjey6gpCup770JPPKgEQ/s480/radiodj.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="358" data-original-width="480" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhqh5aiuq-lI-r4n6OKClv97NBpffPY6w44FdQyInfg42OYwlwfc5-JnfPOcIbjjU2UPEsVC4j8NESWepPKdFpcPhWXNrqY5SJ5-uN1BDF_vyquxeYS7_XdEHtXO4iGH_GrWcNfiYAhSbsnbZW510Ia95IGr0vJJBIu7UhiUHhSjey6gpCup770JPPKgEQ/s320/radiodj.gif" width="320" /></a></div><br /><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> The independent DJs
splitting off from Michigan’s WKAR and other campus-affiliated radio stations
gave rise to what was then called “free-form radio,” a term that would seem
infused with irony all too soon. Models for the “play what you want” format had
been developed in 1966-67 by pioneers like KSAN in San Francisco, and soon
spread to every U.S. city with a campus radio license. The fact that most such
licenses were in the FM band helped hasten the move of commercial pop stations
to the higher fidelity and looser formats of FM. I learned of such stations relatively early
thanks to friends’ older sisters and brothers who were abandoning Top 40 for
the new free-form formats, and as long as the stations remained fresh (up until
about 1973-74 or so), they became a vehicle for hearing bands like Ten Years
After and the early Fleetwood Mac.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> Even in those early days, it
was apparent that not all was as randomly unpredictable as the hype suggested.
Certain DJs loved to hear Led Zeppelin and Pink Floyd over and over again. The
short-term result was that musicians chasing other forms of innovation, from
Bowie to Slade, got short shrift on such stations. It wasn’t long before
coalitions of urban-contemporary production companies complained that the new
FM underground was racist. The more astute DJs favored radical Black bands such
as Last Poets, Sly & The Family Stone, and Gil Scott-Heron, but as far as such
stations avoiding latter-era Motown, the music producers certainly had a point.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> In my later high-school
years, I harbored a conspiracy theory that a music market analyst named Lee
Abrams was single-handedly responsible for the closing of the American music
underground. It certainly was an exaggeration of what happened in the 1970s,
but I was on to something. Abrams, a band manager who founded an analytics
company called Burkhart/Abrams, was part of a nationwide group called “Young
Doctors” who wanted to inject predictability and profitability into free-form
radio. By late 1969, the phrase “album-oriented rock” was being bandied about,
but Abrams felt that the stoner DJs shouldn’t just play any album track that
came to mind – rather, the alleged free-form should be given a format that
quickly made FM underground rock as tightly structured as AM Top 40. In the
days of 1969 prior to my own album buying, this formatting helped to guide my
listening, but it became clear all too soon that stoner-rockers were being sold
a bill of goods. (Abrams had a multi-decade career, remaining in programming
until 1988, then co-founding XM Satellite Radio and staying until 2008. He
jumped to Tribune Co. that year, but resigned in an email scandal in 2010.)<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2h8VrHJoaN9tViJ5lqR10eSGaOyhTyaYy_B7L8AJ8MI97hDZmqEe-lCxfQrgGIRswFo4Us4EUdB4OUjl8Dzal0JdoYvgspZsFC-hGTuxXUsrinvLXwNCsb-POsv8vBM86WLR2ZsfH7-OaNK2p42GHcEAonhlVzu0on95VToAeRQ6ausbHAuhfFtxx7m0/s320/Abrams.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="248" data-original-width="320" height="248" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2h8VrHJoaN9tViJ5lqR10eSGaOyhTyaYy_B7L8AJ8MI97hDZmqEe-lCxfQrgGIRswFo4Us4EUdB4OUjl8Dzal0JdoYvgspZsFC-hGTuxXUsrinvLXwNCsb-POsv8vBM86WLR2ZsfH7-OaNK2p42GHcEAonhlVzu0on95VToAeRQ6ausbHAuhfFtxx7m0/s1600/Abrams.png" width="320" /></a></div><br /><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> While the administrators of college
FM stations were clamoring for more conformity and predictability in their playlist,
by the early 1970s, commercial FM stations were the biggest customers for the
Burkhart/Abrams “SuperStars Album Rock” formats. Over the next three or four
decades, college-affiliated stations tried to preserve a greater or lesser
veneer of free-form. Those at state universities or affiliated with National
Public Radio were halfway to AOR, but open enough to help drive punk/new wave,
Paisley Underground, OG rap, and 1990s indie rock. Stations at smaller fine
arts colleges, like KFJC at Foothills College in Los Altos Hills, CA, were
proud of playlists that moved from free-form to dissonant and deranged – in the
1980s, KFJC heavily promoted a morning noise show called “Lose Your Breakfast
Club.” There are high-profile stations like KEXP in Seattle that still try to
preserve a free-form style in the 21<sup>st</sup> century, but an astute
listener will notice that even these stations favor certain tracks on new
albums.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlT52riWf2AlpWPeuLaEUeS3B0sFK0FoSq0LrmRD8hjjnuSfKnOViCi0czPQ6iATfX2IO9U1t0r04Wqn7fIjxZu70MQ0gL2sPQMRh4a7tycD_rM0USPCqKwkvqDk5b8g22r3am6OdIv00QnYPc1wQ21jbfm-FkGfDkHl5Emj9CU7Ta7ld2Afq8UCBfBbM/s479/Molly.gif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="479" data-original-width="451" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlT52riWf2AlpWPeuLaEUeS3B0sFK0FoSq0LrmRD8hjjnuSfKnOViCi0czPQ6iATfX2IO9U1t0r04Wqn7fIjxZu70MQ0gL2sPQMRh4a7tycD_rM0USPCqKwkvqDk5b8g22r3am6OdIv00QnYPc1wQ21jbfm-FkGfDkHl5Emj9CU7Ta7ld2Afq8UCBfBbM/s320/Molly.gif" width="301" /></a></div><br /><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"><br /></span><p></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> The struggles for FM
conformity were still in their infancy in late 1969. Woodstock took over the
media weeks before I entered 7<sup>th</sup> grade, though it deserves mention
that festivals earlier in 1969, like Denver Pop Fest, drew tens of thousands of
attendees, but were utterly forgotten in the wake of the coalescing of the half-million
denizens of Woodstock Nation. The festival drew my attention at the time, but
the greater musical implications only solidified in early 1970, with the release
of the documentary film and the publication of Michael Ross’s </span><i><span style="font-size: 12.0pt; line-height: 107%;">Rock Beyond Woodstock, </span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">which summarized where Woodstock
performers and other outsider musicians were heading in the new decade. The
book was one of the factors that kicked my LP purchasing into high gear.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> In the fall of 1969,
however, I was only a window-shopping underground rock tourist, save the rare
exception of purchased seminal albums like The Beatles’ </span><i><span style="font-size: 12.0pt; line-height: 107%;">Abbey Road. </span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">The long withdrawal from Top 40 radio came
concurrent with my transition to middle school, and there were structural
similarities. Elementary school was a unified framework under a single
educational director. Middle school was a suite of subgenres of education, all
taught under different maestros as pre-teen consumers traveled from class to
class. In the music realm, the fascinating subgenres of underground rock were
so fun to explore, I barely noticed what was happening to Top 40 as the
outsiders left the stage.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> Occasionally, one could hear
some AM-radio examples of heavy-riffed rock, not only from old familiar acts
like The Rolling Stones and The Who, but from newer pop acts like The Guess Who
and Three Dog Night. But the Top 40 was infiltrated by greater numbers of
syrupy ballads each week, providing a freak-era equivalent of the 1960
dominance of teen ballad acts like Frankie Avalon, through singers such as
Engelbert Humperdinck and Frankie Valli. There was also the ever-growing
influence of bubble gum, which many seemingly mature pseudo-hippies in
moustaches and Edwardian dress appeared to love and promote with inane
chewy-chewy-yummy-yummy lyrics. It was evident the manic 1966 days of one new
song by an artist every six weeks were long gone. A song like Dylan’s “Lay Lady
Lay” might stay on the charts for months.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> Soul and R&B acts were
more prevalent than ever in the charts, but this time it was more than Berry
Gordy’s Motown – Motown was entering an expansive and interesting latter
period, but there were also labels from outside Detroit, even outside the U.S.,
introducing the world to Edwin Starr, Peaches and Herb, The Foundations, The
Delfonics, Freda Payne, and Peggy Scott & Jo Jo Benson.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> The latter half of 1969 was
notable for the cleaving of sides in the much-touted Generation Gap. The young
adopted a sense of hubris following the media hype over “Woodstock Nation,”
recognizing they could no longer be dismissed as ragtag bums without a purpose.
But the later splintering of Students for a Democratic Society into mainstream
and Weather Underground components, following October’s farcical Days of Rage
in Chicago, showed that there was a dedicated minority of street fighters who
were sure America was ripe for revolution.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> We only sensed vague
resonances of this in small-town Midwest, but I was well aware at the time that
Vice President Spiro Agnew was touting the value of the “silent majority.” It
was clear from the number of adults around me who rooted for the cops in
Chicago in both 1968 and 1969, and for the National Guard in Ohio in 1970, that
there would be no significant revolution of radical youth on the horizon.
Thankfully, truly violent talk of an overthrow petered out as rebels moved to
the country, focused on academia, or got zoned out on drugs, but the
splintering of the music community into “Which side are you on?” was obvious as
AOR moved to college radio. Ultimately, it was to the detriment of the
underground-rock listener, as there was less appreciation for soul/R&B or
many other styles that were outside the rock underground. <o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> Paradoxically, though, some
of the 1969-70 releases with the most explicitly rebellious messages, such as
Jefferson Airplane’s </span><i><span style="font-size: 12.0pt; line-height: 107%;">Volunteers</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> and The
Rolling Stones’ </span><i><span style="font-size: 12.0pt; line-height: 107%;">Let It Bleed</span></i><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;">, seemed
to have more staying power than standard-issue hard-rock and blues releases
from the era. And even if fewer musicians seemed to want to stand on the
vanguard of movements as compared to civil-rights pioneers in 1963-64, there
were several times when artists went out of their way to flip an oversized
middle finger to the music industry and the society at large. Neil Young, for
example, worked hard with Reprise to make “Cinnamon Girl” a Top 40 hit in the
late spring of 1970, but after the Kent State killings of May 4, Young and his
cohorts in CSNY pulled out all stops to make the memorial song “Ohio” a hit to
eclipse “Cinnamon Girl.” When some CSNY fans were dumbfounded in the 21<sup>st</sup>
century at the conservative fans who were angry with the quartet for their
antiwar message, they had obviously forgotten that the song “Ohio” generated a
fair amount of outrage among middle-of-the-road Americans at the time of its
release, and even annoyance among some young fans wishing the band could just
stick to “Suite: Judy Blue Eyes” material.<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Q7Ohc7kQh5U" width="320" youtube-src-id="Q7Ohc7kQh5U"></iframe></div><br /><p class="MsoNormal"><br /></p><p class="MsoNormal"><span style="line-height: 107%;"><br /></span></p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> Meanwhile, Top 40 label
marketers and program planners seemed to go out of their way to alienate music
rebels. True, there was some invasion of charts by people like Dave Mason,
Derek & The Dominos, Santana, Delaney & Bonnie, and Janis Joplin in
early 1970, but the bulk of the upper reaches of the Top 40 was comprised of
syrupy hits from Bobby Goldsboro, Dawn, The Partridge Family, and Barbra
Streisand. The invasion of Top 40 by MOR easy listening was eerily similar to
the bland takeover precisely ten years earlier, when first-wave rock and roll
was displaced by Annette Funicello and Fabian. In fact, older purveyors of
dreck taught their children well, as 1950s heartthrob Sal Mineo helped Bobby
Sherman become the top bubblegum artist of 1970.<o:p></o:p></span></p><p>
</p><p class="MsoNormal"><span style="font-size: 12.0pt; line-height: 107%; mso-bidi-font-style: italic;"> In the summer of 1970, I was
experiencing my first growth spurt and trying to contemplate how to listen to
music “like a grownup,” which in my case meant snubbing easy listening and
adopting hippie-snob mannerisms. Sure, a 13-year-old could (with parental
assistance) hit the downtown Lansing “freak mall” of Free Spirit, with its
Sounds and Diversions record store, but the wealth of quasi-underground albums
was confusing. I had increased disposable income thanks to some summer work,
but I needed a spirit guide to steer me into this new mode of listening.<o:p></o:p></span></p><p><i>In three weeks - Chapter 4 - Platter Potlatch</i></p><p><b>Copyright 2024 Loring Wirbel</b></p>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-75785867773591822362024-02-02T07:13:00.000-08:002024-02-02T07:16:12.898-08:00The Allure of Listening - Chapter 2 - Octagonal Purple Prism Lenses<p> </p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"><i>Destroyed by hippie powers - 1967-68</i><b> </b></span></span></p><p class="MsoNormal"><b><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"></span></span></b><span style="font-size: 12pt; line-height: 107%;">If there was a particular personal relevance to The Beatles’
release of <i>Sgt. Pepper’s Lonely Hearts Club Band </i>a few days after my
tenth birthday, it did not reside in the music itself, nor in the odd fashion
and art advances taken by the band. It didn’t reside in the wider cultural
tsunami hitting on the eve of the Summer of Love. Instead, it jolted me into
realizing that the long-playing album was becoming a statement in its own right,
favored by bands that were getting far too ambitious to be contained by two
sides of a single.<span style="mso-spacerun: yes;"> </span>There was no hint of
any imminent death knells for the 45 – the spring had been the era of Aretha’s
“Respect,” “The Rascals’ “Groovin’,” Tommy James’ “I Think We’re Alone Now,” Martha
and the Vandellas’ “Jimmy Mack,” The Buckinghams’ “Don’t You Care,” The
Supremes’ “The Happening,” and songs from dozens of other bands seeking to
continue the spirit of ’66.<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmAtC_ol52A6ptsIg8W1_wJASXlp1lrNCVEPMWiJkezM5OsrwGaRoN6uefbvat3T80ZDSVcKOSrGEQ6PT4dOrYAyjOiCCu1J_EDkhbgxy8uR_79mfHnja9UfVbdIKgsxh7g8GKJD68lOY611_SZhnYmgYrL7Fuf2JEAYNkQrT_bSMhnNlrojBAm2Y8_SA/s440/dance.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="314" data-original-width="440" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmAtC_ol52A6ptsIg8W1_wJASXlp1lrNCVEPMWiJkezM5OsrwGaRoN6uefbvat3T80ZDSVcKOSrGEQ6PT4dOrYAyjOiCCu1J_EDkhbgxy8uR_79mfHnja9UfVbdIKgsxh7g8GKJD68lOY611_SZhnYmgYrL7Fuf2JEAYNkQrT_bSMhnNlrojBAm2Y8_SA/s320/dance.gif" width="320" /></a></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>But in a sudden flash, the strategy of
creating a musical statement midway in length between a 30-minute TV sitcom,
and an hour-long TV drama, made perfect sense. The Beatles already had been
breaking boundaries aplenty, in the multimedia marketing for the
‘Rain”/”Paperback Writer” single, and particularly in the strange
instrumentation and arrangements for both the <i>Rubber Soul </i>and <i>Revolver
</i>albums. But fans had not experienced the level of storytelling evident in <i>Sgt.
Pepper. </i>The LP suddenly was meant to be taken seriously.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbPMR8SCEPhwUBD76cGOwIcLilnVsaIyu0IuLO-dkkwsgkzNXFEkvX4Uol2t3XKQyOpnzwQ4QoyJZGqk33C-BklcQxPfvfCPrvZ-qe4kjCi2owM9D-tibCIZ1euSawqFNNsBRY5c9-SZJlwH9uiR2RTxoOU1Psk9kTuRBfFI0ZUHqNIrgP0BjKCSlnOPc/s809/Peppersheet.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="809" data-original-width="800" height="269" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjbPMR8SCEPhwUBD76cGOwIcLilnVsaIyu0IuLO-dkkwsgkzNXFEkvX4Uol2t3XKQyOpnzwQ4QoyJZGqk33C-BklcQxPfvfCPrvZ-qe4kjCi2owM9D-tibCIZ1euSawqFNNsBRY5c9-SZJlwH9uiR2RTxoOU1Psk9kTuRBfFI0ZUHqNIrgP0BjKCSlnOPc/w265-h269/Peppersheet.jpg" width="265" /></a></div><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>The purpose of the long-player no longer
was to stuff hits and covers into 4</span><span style="font-size: 12pt;">0 minutes, but to let an artist “say
something,” as superfluous as that might often be. While my friends had rushed
to buy the first two albums by The Monkees in order to gain maximum hits per
dollar, I’d opted for The Monkees’ </span><i style="font-size: 12pt;">Headquarters, </i><span style="font-size: 12pt;">the first album with no
true Top 40 hit. I started ransacking the $1 LP bargain bin at the D&C
Store, snaring such puzzling but critical artifacts as Tim Buckley’s </span><i style="font-size: 12pt;">Goodbye
and Hello, </i><span style="font-size: 12pt;">and Donovan’s </span><i style="font-size: 12pt;">Sunshine Superman. </i><span style="font-size: 12pt;">I wasn’t searching for
something to explain the hippies or psychedelia, I was merely graduating from
the equivalent of short stories to full-length novels.</span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>The first good listen and look at <i style="mso-bidi-font-style: normal;">Sgt. Pepper </i><span style="mso-bidi-font-style: italic;">came courtesy of my neighbors the Fitzgeralds, who returned from a trip
to San Francisco with The Beatles album in tow, along with purple octagonal
prism sunglasses for the kids. Early June preceded most of the national news
stories on Haight-Ashbury. It represented an era before Scott MacKenzie’s
anthem “If You’re Going to San Francisco” had cracked the charts. Yet the Bay
Area’s role as hippie central had been marketed in shop windows and TV ads as far
back as mid-1966, so it was no surprise to see small-town middle class parents
pick up hippie relics to bring the kids back home. <o:p></o:p></span></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>The era for a true innocence
of hippie culture resonated somewhat with the 1966 vs. 1967 debate for pop
music’s height. If hallucinogen use was considered a central tenet of the
Summer of Love, the good times only extended from Timothy Leary’s early 1960s experiential
parties to the first be-ins of 1966 featuring the Grateful Dead and the early
Slick-less Jefferson Airplane. Even in that year, many Merry Pranksters were
pushing the limits of informed consent in their distribution of LSD. But by
mid-1967, the Summer of Love already was exposing its unpleasant side - speed
and smack were replacing LSD and pot, at least in the Bay Area.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>Pundits are right in
suggesting the West Coast Summer of Love only made a difference to the
100,000-odd teens traipsing to Golden Gate Park that summer, as well as to
smaller groups of youth in other large metropolitan areas. Maybe a few
middle-American savvy adolescents caught an interview with members of the
Jefferson Airplane or the sponsors of various be-ins, but most had more mediocre
connections, often sparked by parents bringing home psychedelic relics. Mama showed
me Marshall McLuhan’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">The Medium is the Massage </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">[stet]</span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;"> </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">that summer, and although it was fascinating, the only connection that
stuck for a pre-teen boy was the photograph of the nude female cello players
wrapped in Saran Wrap. I told mom it must be “chello-phane,” and she thought
that I was some kind of genius. The pun just seemed obvious. <o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>My own mecca for that summer
was the beach scene west of Mackinac City, where dad’s friend Ozzie had a beach
bachelor pad. I got to listen to some longer jazz works just as I was
discovering the virtues of LPs. I also satisfied prurient interests with a
stack of Ozzie’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">Playboy </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">magazines
featuring a pictorial for the opening of the latest 007 epic, </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">You Only Live Twice. </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">Since the theme song was sung by Nancy
Sinatra, she will always be associated unfairly with soft-core porn in my strange
mind.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>I started picking up on
snippets of music theory through Alfred d’Auberge piano lessons that began in
1966, augmented with guitar lessons two years later. Such a music education transition
was near-cliché for pre-teens at the time, often involving negotiations
initiated by parents who demanded piano lessons as a prelude to guitar. I had a
particular love for woodwind sounds as well, so I began fooling around with
tenor sax long before we had school band classes.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>From midsummer 1967 to the
summer a year later, there was a running battle in AM radio over where maturity
and bubble-gum would stake respective claims. There was no end to the stream of
psychedelic bands with three-minute gems, from Strawberry Alarm Clock to Electric
Prunes to Blues Magoos to The Status Quo to The Balloon Farm. Time signatures,
keys, and instruments for hits such as “Incense and Peppermints” and “Crimson
and Clover” were taking AM singles to places well outside known safety zones.
Was it legitimate acid-trip experience that drove expansion of acceptable
sounds, or was it marketing? The bands responsible played a schizophrenic dance
of making songs palatable enough for the Top 40, while mixing the songs with
longer jams that would form the backbone of a (self-declared) serious album.
The dual life of Sky Saxon and The Seeds exemplified the path many bands were
taking. Ironically, for a band that later defined disco, The Bee Gees during
those years struggled to outline what sort of hippies they were. <o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/-xRRT92Fpgs" width="320" youtube-src-id="-xRRT92Fpgs"></iframe></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>Outside AM radio, experiments
all but inexplicable to pre-teen minds were under way. Even though both artists
eventually produced radio-friendly singles, Jimi Hendrix and Cream both
introduced albums that took music well beyond its previous confines. Without</span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;"> Are You Experienced?</span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"> and </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">Disraeli Gears</span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">, it’s
safe to say that wilder forays in outsider music like Capt. Beefheart’s </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">Trout Mask Replica</span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"> would never have seen the light of day.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>But what is often forgotten
in the reverie for the psychedelic golden era is that many of the bands later
defined as bubble-gum – Ohio Express, 1910 Fruitgum Company – also hit the
charts for the first time in late 1967/early 1968. A certain percentage of the
bands no doubt planned their own careers based on pre-defined agendas pushing
what was later known as Sunshine Pop, with Spanky & Our Gang and Friend &
Lover being examples of consciously-promoted diatribes for positive thinking.
But did the record companies and advertisers play an equal role in pushing
bubble-gum music as an antidote to the rebellion breaking out among members of
middle-class youth? “Yummy Yummy Yummy I’ve Got Love In My Tummy” never felt
like a conscious counter-revolution, it only made identifying cultural
referents all the more difficult and surreal for a pre-teen.<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/Yijqy48mmG4" width="320" youtube-src-id="Yijqy48mmG4"></iframe></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>It’s equally fair to point
out that, because the LP as a unified art statement was still in its infancy in
the latter half of the 1960s, the result was often less than stellar. It’s easy
to remember </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">Surrealistic Pillow, Mamas &
Papas Deliver, </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">and </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">Buffalo Springfield Again </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">among the
era’s highlights, but many LPs of 1967-68 didn’t have the staying power of
those recorded and released from 1969 on. Even the best garage bands continued
the 1964-65 trend of filling an album with at least 40% covers of songs from other
bands. While culturally exciting, the psychedelic 1967 and global-revolution
1968 actually represented two years of a musical trough between the explosive
free for all of 1966 and the era of album-oriented rock that really took off
around 1969.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>In our precariously
overstuffed elementary school, fifth and sixth grades were relegated to
temporary trailers in the parking lot. This provided a certain gravity and
cachet in moving out of fourth grade and into trailer-trash land. It’s a
universal truth (at least in this country) that middle school is a dress
rehearsal for high school, but it seemed equally true that fifth and sixth
grades prepared the near-tween for practicing cliques and crushes and team
sports. Kids were already swapping rings and going steady at 10 years old in my
rural environs, so it seemed natural that some were pretending to be adults
well before teenage years.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>Radio pop became a slippery
mix in the 18 months after </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">Sgt. Pepper. </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">One could choose
to survive on a strict diet of Doors, Jefferson Airplane, and Canned Heat hits,
crafted for a Top 40 market. But the diet was richer thanks to late-period
Motown acts like Temptations and Impressions, as well as R&B coming from
way outside Detroit, like The Foundations from the UK. The most puzzling ingredient
to fit into the pre-teen diet was bubble gum and other syrupy and frothy goodies,
from Bobby Goldsboro to Dion. Sometimes the lite-pop artists surprised us with
their gravity, like Dion’s “Abraham and Martin and John,” arriving soon after
the dual 1968 assassinations of Martin Luther King and Bobby Kennedy. Often
though, a new single by The Grass Roots or Gary Puckett and the Union Gap was
pure pop and nothing more.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>There was scarcely a long-player I was
interested in purchasing between </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">Sgt. Pepper </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">and the The
Beatles’ 2-record </span><i style="mso-bidi-font-style: normal;"><span style="font-size: 12pt; line-height: 107%;">White Album </span></i><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;">of
December 1968. But there were many album covers that dimly captured my
attention in the intervening months, suggesting the existence of a world
outside my hometown that was rapidly growing scarier and harder to ignore. News
footage from Vietnam was omnipresent in the months leading up to the February
1968 Tet Offensive. New uprisings were bursting out in Prague, Paris, Mexico
City, Warsaw, seemingly everywhere at once. Our own country shifted from figurative
battlegrounds in late 1967 and early 1968, to the literal horrific scenes at
the Democratic Convention in Chicago in August 1968. Yet when New Left boomers
look back to this era and claim that a soundtrack of revolution was directly
laid out at that time, the reality was more nuanced. A typical musical diet
might be centered as much around “Ode to Billie Joe” as any Rolling Stones hit
of the time.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZTQGSXJntZtMJhkVkWAqW0wAzw7u2seGooLqJ5hXeCWk21LdHk7nsQpQHq8bmeJ_N-OG0Qa0ZASsz_7GS8qXAcFXuHJ8VII53UAYXJYAhEMEPGTzJulxY-KxQS3gDT84A03fHOyzQWzRFicvIAu9nCkR8C8TunXvNjseMnadJRn01SnGkOlR7SwTVrdI/s1750/Bobbie.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1750" data-original-width="1400" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgZTQGSXJntZtMJhkVkWAqW0wAzw7u2seGooLqJ5hXeCWk21LdHk7nsQpQHq8bmeJ_N-OG0Qa0ZASsz_7GS8qXAcFXuHJ8VII53UAYXJYAhEMEPGTzJulxY-KxQS3gDT84A03fHOyzQWzRFicvIAu9nCkR8C8TunXvNjseMnadJRn01SnGkOlR7SwTVrdI/s320/Bobbie.jpg" width="256" /></a></div><br /><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>There was one such Stones
hit that was a game-changer for me, however. In June 1968, we were getting
ready to leave Grand Haven after breakfast at a nearby diner, and came back to
find my beloved basset hound Lancelot floating in Shepler’s Marina, where he
had drowned after coming loose from his leash on the boat. This trauma spelled
a quick end to the family’s boating years, and it put family members in a funk
that lasted the summer. A few days after absorbing the loss of Lancelot, I
heard “Jumping Jack Flash” for the first time. It was not as explicitly
political as “Street Fighting Man,” but it seemed a way to crystallize
pre-adolescent sadness and rage. Even at an immature 11 years old, it allowed
me to feel I was in the streets of Paris or Chicago, greeting the second half
of 1968 with a primal scream.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>The summer of 1968 was ugly
following the dual assassinations in the spring, but something was evident pre-Chicago
that would come back to bite young revolutionaries a year later, as Students
for a Democratic Society was morphing into the ugly aberration of the Weather
Underground. If you were 18 and watched the uprisings in Mexico and
Czechoslovakia, and read Zap comix and stayed stoned, it seemed evident that
the entire world was ready to follow youthful revolution. Yet Richard Nixon and
Spiro Agnew conducted their summer campaign speaking to the “silent majority,”
which Agnew was convinced could obliterate any media-enhanced youth revolution.
There was plenty of cultural evidence in the latter half of 1968 that suggested
not only that Nixon would win, but that his silent majority concept was right.
Plenty of Americans loved to see cops beat the crap out of hippies in Chicago.
Plenty of Americans stuck by their country-western and nightclub crooner music,
and would have nothing to do with album-oriented rock. It was more than a
generation gap. It was millions of people rejecting youth culture. It just
wasn’t so evident during the remaining months of the 1960s.<o:p></o:p></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/4mouHs3aH6k" width="320" youtube-src-id="4mouHs3aH6k"></iframe></div><br /><p class="MsoNormal"><br /></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><span style="mso-spacerun: yes;"> </span>The early winter months of
1969 carried the distinct memory of a 6<sup>th</sup>-grade dance, flashing
lights and a DJ spinning “Touch Me”, “Crimson and Clover,” and “Ramblin’
Gamblin’ Man.” No doubt a few parent-chaperones were apoplectic about the
age-appropriateness or lack thereof, but I don’t remember extreme touching,
even among the cool kids. We were all shy of 12, looking ridiculous in attempts
to look hip.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><i>Coming in three weeks - Chapter 3 - The Marketing of Underground Sounds - "Who is Lee Abrams, and why does he want me to eat this Free Bird"?</i></span></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%; mso-bidi-font-style: italic;"><b>Copyright Loring Wirbel 2024</b><br /><br /></span></p>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-61436902208582530082024-01-11T09:11:00.000-08:002024-01-26T13:05:20.744-08:00The Allure of Listening - Chapter 1 - Cobbler, Cobbler<p> <i>What the transistor radio sees and says - 1964-67</i></p><p></p><p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;">Because the
station frequency numbers were embossed in gold along the gear wheel on the
right side, the sturdy plastic radio was likely to be a Sony, possibly Philco,
or maybe one of the recent knockoffs that seemed to flood the market around
1961. The birthday gift from Grandma and Grandpa Wirbel held no immediate
relevance to my ears for the on-air musical content, but solely for the
fast-talking disembodied voices. The sturdy construction was tough enough to
survive at least three birthdays and then some, in the badass toddler years
between four and seven, revived from overnight neglect on dewy lawns, and at
least one trip to the Lake Michigan beach. In fact, I often wondered if the
capacitors emanated an invincibility aura – our young basset hound puppy
gobbled my sister’s entire bright blue plastic dollhouse furniture set (and
shat blue settees for weeks), but never touched the white radio nearby.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>The transistor radio was aptly named, since
it used a solitary transistor to amplify radio signals, and did it far cheaper,
using less power, than tube equivalents. This allowed radios to be portable and
affordable to a younger audience for the first time. Even though multi-function
boom boxes could take advantage of medium-scale and large-scale integrated
chips, which were introduced into consumer markets in the 1970s, the
single-transistor radio offered enough advantages for cheap portability that
they are still offered in niche markets in the 21<sup>st</sup> century.<o:p></o:p></span></p><p class="MsoNormal"><span style="font-size: 12pt;"></span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://media.giphy.com/media/eN5KGTfhrd3r2/giphy.gif" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="360" data-original-width="480" height="360" src="https://media.giphy.com/media/eN5KGTfhrd3r2/giphy.gif" width="480" /></a></div><br /> <span style="font-size: 12pt;">My own cream-colored transistor radio was
there to document vague early rhythmic melodies of The Ventures and The Beach
Boys. Every so often, some mysterious juke joint Chuck Berry or Buddy Holly tune
might get played on oldies hour. </span><i style="font-size: 12pt;">MAD </i><span style="font-size: 12pt;">magazine gave us secondary exposure
to the sappier side of teen heartthrobs like Fabian, Annette Funicello, Frankie
Avalon, and Bobby Rydell, but their songs rarely lasted a measure or two before
a quick turn of the dial. In the early JFK years, my music appreciation was
limited to Mitch Miller’s cover of “Nick Nack Paddy Whack” and not much else.</span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The
radio was there while mama at the home entertainment center made the transition
from Mario Lanza to Peter, Paul & Mary. (The large and daunting home
entertainment center, complete with turntable but no space for a TV, was
largely a mystery to my preschool consciousness.) The transistor radio was
there when The Beatles made their February 1964 debut on The Ed Sullivan Show,
though I have no distinct memory of Beatles music on the radio itself in that
early period, nor of my pocket radio making the move in October 1963 to our new
Victorian home across town. It was the source of chirping voices selling movie
debuts, sonorous baritone voices promising a “music for the middlebrow,” but
the music riffs seemed to slide past very young ears not yet tuned to such
frequencies.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>As Dar Williams has noted more than once,
it’s the babysitters that make all the difference. Cathy and Bettie both
introduced me to the concept of the 7” 45 rpm single, the small record with the
big center hole, and within a few sessions, my 7-year-old mind was blown. Since
I had not the vaguest notion of what constituted a “hit,” I had a democratic
proclivity to elevate the B-side of any single to the worth of its better-known
partner. And the mixtape in my young brain was a confusing place – Bob Dylan’s
“Gates of Eden” alongside Hayley Mills’ “Cobbler, Cobbler.” It was all good,
all a feast.<o:p></o:p></span></p><p class="MsoNormal"><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/flvXMuVThKs" width="320" youtube-src-id="flvXMuVThKs"></iframe></div><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Maybe it was a desire to hear Christmas
carols on the go in the holiday season of 1964 that led me to that a-ha moment,
as intense as Helen Keller screaming “wa-wa” in <i>The Miracle Worker</i>. This
radio I held in my hand was playing a rock and soul and country mix as diverse
as any random 45 rpm thrown on the turntable! And the Top 40 stations kept the
party going 24 hours a day! Music did not displace the central role in
consciousness occupied by the best of the 1960s TV series – <i>Lost In Space,
The Munsters, The Man from U.N.C.L.E., My Favorite Martian – </i>but it was far
more portable and at least as loyal as your most constant friend or pet.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>It dawned on me that the best of
kid-oriented TV series would usually be sponsored by the likes of Mattel or
Hasbro toys, or the new fast-food chains emerging coast to coast. At least a
decade would pass before I fully understood that this was the early part of an
era of corporations explicitly tailoring ads and content to the “youth market.”
Contrary to the popular belief that this trend began mid-decade with
flower-power automotive ads and the use of “groovy” in ad scripting, the appeals
to a youth market began not long after the first wave of 1950s rock and roll.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The
establishment of Camelot as Kennedy entered the White House convinced Madison
Avenue that youth culture was a semi-permanent fixture, and a potentially
permanent market. In the case of the Hayley Mills B-side which paired so nicely
with Dylan, the primary Mills side was taken from the soundtrack of the
original <i>Parent Trap, </i>and featured Hayley singing “Let’s get together,
yeah yeah yeah” in 1961, two years before The Beatles paired the three words
with “She Loves You.” For cultural critics who assumed Beatlemania was a
response to the void left by Kennedy’s assassination, we could accept that as
true in part, while realizing that millions of American youth were prepped for
“yeah yeah yeah” long before the Cuban missile crisis.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>I wouldn’t learn until far later in life
that it was a vast oversimplification to think of one unbroken rock and roll
chain that linked the Chuck Berry/Elvis generation with the Beatlemania world.
The teens who had grown up with big bands and jitterbug dancing, those who may
have served in WWII or the Korean War, did not understand either wave of rock
and roll, for the most part, and ended up as the parents of the boomers
cheering on the British invasion. Teens who were centric to the mid-1950s’
first wave of rock and roll usually did not find the end-of-decade crooners
very interesting. If they were college-bound, they might gravitate to modern
jazz or to the many folk revivals that kept hitting campuses between 1940 and
1965. Working-class teens who got jobs in factories often shifted tastes to
country music. Only a handful of music-savvy 20-somethings grasped the changes
The Beatles were bringing in 1964. Most thought the music simplistic and
dreadful, just as many parents of boomers did. A certain percentage of those in
their 20s came around by 1966 or so, but the older generation never did. What
this indicates is that music generations and the reference points fans use,
change every five years or so. This was even true later in the 21<sup>st</sup>
century, when overt styles changed less frequently than in the late 1960s. The
drive to push youth marketing in the 1960s was always tricky, because there
wasn’t a single Generation Gap, there were several.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Certain elements of youth marketing were
perplexing to the primary-school radio addict, particularly that marketing
sector geared specifically to the adolescent teenage girl. What were we to make
of <i>The Patty Duke Show, </i>milking town mouse and country mouse for all it
was worth, as Brooklyn rocker met globe-trotting identical cousin? For a
7-year-old, it meant a deep dive into the motives of weepy teen women with
ironed hair, and a belated appreciation of The Shangri Las, just as Mary Weiss
and pals were finishing their run of talk-drama.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>The
next step in deciphering music meaning was subjecting children’s LP records to
what Pauline Oliveros would later call “deep listening,” with one case in point
being Ray Heatherton’s <i>The Merry Mailman’s Songs and Stories for Children. </i>It
wasn’t until much later I discovered Ray was Joey Heatherton’s dad, and had
been a victim of anti-communist witch hunts just a few years earlier. But the
choice cuts of “Weevily Wheat” and “I Don’t Want to Play in Your Yard” made
their way into critical films of adult life, <i>Agnes of God </i>and <i>Reds, </i>respectively.
It all happened for a reason.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/NYg7bc_WvEU" width="320" youtube-src-id="NYg7bc_WvEU"></iframe></div><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>The Beatles’ management captured the
timing for taking advantage of youth marketing when developing concepts for
what became the film <i>A Hard Day’s Night – </i>slapstick rapid-fire jokes,
quick celebrity cameos, many techniques used in later variety shows like <i>Laugh-In.
</i>In secondary movie markets like my Midwestern town of 5000, there had to be
some backup alternatives to screen at the Sun Theater other than Elvis (which
continued to play well for those in their 20s and 30s, but was seen as largely
irrelevant by many tweens). We got our first exposure to British Invasion bands
with titillating also-rans like the Dave Clark Five’s <i>Having a Wild Weekend,
</i>Herman’s Hermits’ <i>Hold On!, </i>and Freddy and the Dreamers’ <i>Seaside
Swingers. </i>Admittedly, for the average primary-school kid, the films had
less pull than most Disney fare. But if anyone stumbled into such a film
precisely at the time they discovered Top 40 radio, the impact was
electrifying.<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/WWDtB2qodws" width="320" youtube-src-id="WWDtB2qodws"></iframe></div><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>If the epiphany moment for many was The
Beatles on Ed Sullivan in 1964, for me it was The Supremes singing “Stop in the
Name of Love” on <i>The Hollywood Palace</i> a year later. I grew up in a
squeaky-white small town bubble, and it suddenly hit me that 40% or more of Top
40 radio was comprised of hits from Motown and its rivals, spotlighting people
of color. Admittedly, the generation of white rockers around Buddy Holly and
Carl Perkins experienced the same revelation at least a decade earlier, since
the first rock and roll tunes were created with help from Wolfman Jack and
long-distance AM radio, expanding Black rock-and-jive music to a nerdy white
audience in after-midnight broadcasts. But for me, Diana Ross was the entry to
realizing that a unifying pop radio now covered a wider cultural sector of the
U.S. than had ever been reached. And the violence of Selma and Birmingham could
not erase that kind of wave. My grandfather owned a cabin in northern Michigan adjacent
to the famous Black summer resort of Idlewild, and trips to the nearby Nah-Tah-Ka
roller rink gave me an early insight not only into civil rights and
integration, but into R&B and soul hits.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>The summer of 1965 was the first season my
parents owned a cabin cruiser on the shore of Lake Michigan, which meant
regular trips to Grand Haven in a Buick convertible, though the weekends were
often spent pumping bilge rather than making extended trips into Lake Michigan.
Skipping along the boardwalk in Spring Lake came with a soundtrack of The Four
Tops singing “Sugar pie, honeybunch,” as well as the first in an endless series
of Sonny & Cher hits (and how many remember that the couple released as
many solo singles in 1965 as singles under their duo name?). There are certain
songs from that year, like The Walker Brothers’ “Make it Easy on Yourself,”
that will always carry a Great Lakes sunset as a screensaver. By the second
year of my parents owning the <i>Two-Lous</i> boat, Every Mother’s Son had
crafted the perfect theme song for a young sailor, “Come On Down to My Boat,
Baby.”<o:p></o:p></span></p><p class="MsoNormal"></p><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen="" class="BLOG_video_class" height="266" src="https://www.youtube.com/embed/_VvWwqwY96s" width="320" youtube-src-id="_VvWwqwY96s"></iframe></div><br /><span style="font-size: 12pt; line-height: 107%;"><br /></span><p></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Autumn into Christmas in 1965 was a far
more sober season, filled with Barry Maguire’s “Eve of Destruction,” Dylan’s
“Like a Rolling Stone,” new Dylan covers by The Byrds, The Rolling Stones’
“Satisfaction,” and that first Simon and Garfunkel appearance on the charts, “Sounds
of Silence.” Corporate marketeers tried to assuage the escalating social and
political grumbling in the background, long before the launch of “Coming-Home
Soldier,” “Billy and Sue,” or “Ballad of the Green Beret,” by promoting a
rock-ribbed answer to “Eve of Destruction” in the form of The Spokesmen’s “Dawn
of Correction.” Somehow, although The Spokesmen had far fewer sales and far
less street cred than Barry Maguire, the former ended up on <i>Shindig </i>and <i>Hullabaloo
</i>– perhaps as a way of undercutting Barry Maguire’s message? High school
students were getting slightly unnerved with the vast expansion of the draft
during that year, but those of us in third grade at Holbrook Elementary School
would take another two years to even recognize the name of Vietnam.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>By late the next spring, it was evident
that 1966 was the high-water mark for Top 40 chutzpah and diversity, though one
could scarcely notice the gestation of the revolution in the first winter
months of the year. In fact, the first obvious trend of 1966 was the pandering
to under-12 fairy tales (not that different from Broadway in the early 21<sup>st</sup>
century). Suddenly, Sam the Sham & the Pharaohs’ “Little Red Riding Hood,” Dee
Jay and the Runaways’ “Peter Rabbit,” and Crispian St. Peters’ “Pied Piper” all
were fighting for space at the top of the charts, accompanied by some insipid
televised renditions not that different from The Banana Splits or The Wiggles
in decades to come.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Later years in that decade were given
defining titles – “Psychedelia and the Summer of Love,” “1968: Year of
Revolution” – but in these cases, the events were chewed up and regurgitated by
media barons and scene makers. Through a 9-year-old’s eyes, 1966 was the most explicitly
radical of the decade because the pace and direction of cultural change could
not be predicted. The television shows <i>Batman, Star Trek, Time Tunnel </i>and
<i>The Monkees </i>all launched in 1966, and Frito-Lay introduced Doritos the
same year. The totality of 1966 pop culture held more relevance than any
Haight-Ashbury shenanigans then or since. Journalist Jon Savage, in his survey <i>1966:
The Year the Decade Exploded, </i>pointed to another critical factor that made
1966 unique: the accelerating speed with which change in pop culture occurred.
Other years could bear the mantle of international tensions or violent
revolutionary rhetoric, but 1966 was the year that culture leaders put the
pedal to the metal. Even in elementary school, we could feel the thrill of that
speed.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>Just as Savage pointed out that
trend-makers in New York, London, and L.A. could feel a certain hesitation and tension
at the end of the summer of 1966, something palpable and visceral was happening
culturally at the start of fourth grade. Putting the boat up for the winter was
accompanied by The Lovin’s Spoonful’s “Summer in the City,” followed by The
Happenings’ “See You in September.” It wasn’t as though Mrs. Woodworth’s elementary
school class held any special dread. The new episodes of Monkees misadventures
and Captain Kirk’s intergalactic stopovers provided plenty of fodder for Larry,
Dan, and I to talk about while we traversed the boundaries of the playground
after a round of kickball. But in the classroom, there were the first rumblings
of pre-adolescent crush and singles going steady, of boys with a mod proclivity
turning into dedicated followers of fashion, of the rudimentary awareness that the
temporary presence of many Rodriguez and Sanchez families in the class roster
had something to do with migrant workers.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>The cut-out collage class project doubling
art and civics credits introduced me to the first arresting pictures of that
mythical place called Vietnam. In one block of my street alone, there were
three older brothers being inducted into the service, and one older brother of
my best friend Jamie seeking conscientious objector status. It was a lot to
take in, and the details did not coalesce into any kind of coherent whole. It
just seemed there was an undercurrent of sadness lingering just behind the
cartoon icons and wonderful sounds. In my time at the library, the latter
months of 1966 represented a turn in literary tastes to the grownup form of
science fiction offered by Ray Bradbury, Isaac Asimov, and Theodore Sturgeon,
whispering the message that even the earliest stages of adolescence would come
with a need to recognize disaster – though the related caution to “sober up”
would be deliberately ignored in years to come by everyone from age 10 to 30.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 12pt; line-height: 107%;"><span style="mso-spacerun: yes;"> </span>I asked myself in later teen years if
there was any inkling in 1966 of what West Coast acid tests or New York Andy
Warhol “happening sessions” were all about. It seemed as though we were fed
some anti-pot, anti-hallucinogen propaganda long before the Summer of Love. It
seemed as though the fringed jackets and ultra-long hair garnered some
wide-eyed attention around that time, and I distinctly remember telling mama I
“wanted to be a hippie when I grow up” after watching a CBS newsreel. But it
all seemed as fantasy-driven as Monkees misadventures on TV. Tension hit closer
to home in the November 1966 Sunset Strip riots, since the average age of
participants was between 11 and 14, but little of that connected in more than
superficial ways. After all, the nearby Michigan cities of Lansing and East
Lansing had witnessed separate instances of youth riots in the summer of 1966, and
none of it stuck to a pre-pubescent consciousness. Popular music was doing
little but fraying the edges of innocence before the hippie upheavals.<o:p></o:p></span></p><p class="MsoNormal"><i>In three weeks - Chapter 2 - Octagonal Purple Prism Lenses - 1967-68</i></p><p class="MsoNormal"><b>Copyright 2024 Loring Wirbel</b></p><i></i><p></p>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-36993557016726220132023-12-30T20:10:00.000-08:002024-01-26T12:22:10.225-08:00The List 2023<p> </p><h1 style="text-indent: 0.5in;"><span style="mso-tab-count: 1;"> </span>The
List – 2023<o:p></o:p></h1><div> <span style="font-size: x-large;"><b>Loring Wirbel</b></span></div>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoNormal"><span style="font-size: 12pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>This was one
of those years, rare since 1990 or so, where a bit of ennui and exhaustion
moved in, and perhaps even more so than 2007-8 or 2013-14. This can be seen
statistically, as 2023 was a year with less than 150 or so significant albums
(in my eyes, at least), and also emotionally, as some artists’ works just
seemed tired and phoned-in. That’s not to say there weren’t great releases
during the year, and stellar live tours as well – Taylor Swift, Death
Cab/Postal Service, Caroline Polachek, etc. <span style="mso-spacerun: yes;"> </span>But after seeing musicians carry the flag
through the pandemic, it seems that many found 2023 a year where recharging was
necessary.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Part of the ~20% drop in streaming or
physical releases in 2023 can be attributed to the number of new artists
turning to TikTok as their sole platform for introducing new music. Because
TikTok’s algorithms are tuned to optimize only certain types of melodies
destined to go viral, the method seems too artificial to treat seriously, and
will be excluded from this list. But that raises the obvious question, what do
we do with music created by generative A.I.? We’ll defer on that question to
see if the human world survives long enough in the next couple years to make the
question worth answering. As for where streaming-only releases belong, note we
included SZA, Sylvan Esso, and Little Simz in this list, even though all three
were streaming in 2022, because the physical product came out in 2023. We’ll
opt for a similar delay for Andre 3000, but add as a teaser that few have tried
to use the flute in such an all-encompassing and exhausting way.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Deaths came fast and furious in 2023, at
least in the first half, and the mortality parade actually began on the last
day of 2022, when Jeremiah Green of Modest Mouse died, after the 2022 list was
released. Belated condolences to all, as well as those close to both Fred White
and Sheldon Reynolds of Earth, Wind & Fire; Overkill guitarist Sebastian Marino,
multi-instrumentalist Les Brown; Wrecking Crew guitarist Dennis Budimir; guitar
legend Jeff Beck; Elvis’s daughter Lisa Marie Presley; Robbie and Tim Bachman
of Bachman-Turner Overdrive; Van Conner, bassist for Screaming Trees; David
Crosby of Byrds and CSNY; Top Topham of the Yardbirds; Television founder and
guitarist Tom Verlaine; doo-wop singer Lillian Walker; GTR bassist Phil
Spalding; legendary pop composer Burt Bacharach; Trugoy the Dove of De La Soul;
soul singer Chuck Jackson; saxophonist Wayne Shorter; Pulp bassist Steve
Mackey; multi-instrumentalist and Jackson Browne compadre David Lindley; Lynyrd
Skynyrd guitarist Gary Rossington; novelty singer Jerry Samuels/Napoleon XIV; Derek
& The Dominos drummer Jim Gordon; singer-songwriter Bobby Caldwell; Mick
Slattery of Hawkwind; Fuzzy Haskins of Parliament/Funkadelic; Ryuichi Sakamoto,
founder of Yellow Magic Orchestra; Gentle Giant bassist Ray Shulman; Sire
Records founder Seymour Stein; Vivian Trimble of Luscious Jackson; S Club 7
singer Paul Cattermole; Kate Bush/Alan Parsons guitarist Ian Bairnson; jazz
pianist Ahmad Jamal; April Stevens, pop partner to Nino Temple; Otis Redding
III; Mark Stewart, founder of The Pop Group (followed by Pop Group guitarist
John Waddington); island crooner and actor Harry Belafonte; Mothers of
Invention drummer Ralph Humphrey; Canadian folkie Gordon Lightfoot; Bowie
backup singer Linda Lewis; Chieftains fiddler Sean Keane; Os Mutantes singing
legend Rita Lee; Jon Povey of Pretty Things; Andy Rourke, bassist for The
Smiths; country singer Ed Ames; early-days Beatles bassist Chas Newby; multi-decade
soul queen Tina Turner; jazz bassist Bill Lee; New Age pianist George Winston; “Girl
from Ipanema” crooner Astrud Gilberto; Groundhogs guitarist Tony McPhee; Urge
Overkill drummer Blackie Onassis; Butthole Surfers drummer Teresa Taylor; madcap
saxophonist and Heather Leigh collaborator Peter Brotzmann; Megadeth drummer
Lee Rauch; Journey guitarist George Tickner; French-English singer and actress
Jane Birkin; master crooner Tony Bennett; Irish lifelong rebel Sinead O’Connor;
Eagles founder Randy Meisner; Kinks pianist John Gosling; It’s a Beautiful Day founder
David LaFlamme; “Cha-cha slide” originator DJ Casper; comeback-kid singer Sixto
Rodriguez; Robbie Robertson of The Band; Pavement drummer Gary Young; Whitesnake
guitarist Bernie Marsden; Stars of the Lid founder Brian McBride; Chief
Parrothead Jimmy Buffett; Smash Mouth vocalist Steve Harwell; dreamweaver and
Spooky Tooth vocalist Gary Wright; jazz pianist and saxophonist Charles Gayle; crooner
Roger Whittaker; Marvelettes singer Katherine Anderson; The Association singer
Terry Kirkman; Meters drummer Russell Batiste Jr.; Isley brother Rudolph Isley;
jazz composer and big-band leader Carla Bley; Oklahoma power-popper Dwight
Twilley; Angelo Bruschini of Massive Attack; Stone Roses bassist Pete Garner; Dream
Theater vocalist Charlie Dominici; Mars Williams of The Psychedelic Furs; Killing
Joke guitarist Geordie Walker, soul singer Jean Knight, Pogues singer and bard Shane
MacGowan, former Cat Power guitarist Dan Currie, Del-Lords and Dictators
founder Scott Kempner, avant-garde minimalist Catherine Christer Hennix,
Colorado session guitarist Jim Salestrom, Myles Goodwyn of April Wine, South
African singer Zahara, songwriter and occasional Mother of Invention Essra
Mohawk, <span style="mso-spacerun: yes;"> </span>founding Dixie Chicks member Laura
Lynch, older and sillier Smothers Brother Tommy Smothers, <span style="mso-spacerun: yes;"> </span>…..<span style="mso-spacerun: yes;">
</span>Yes, these lists will keep getting longer.</span><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;"><o:p></o:p></span></b></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;"><o:p> </o:p></span></b></p>
<h1><span style="font-size: 16pt;">Regular Studio Albums, 2023<o:p></o:p></span></h1>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Squid,
<i>O, Monolith – </i>Even in a year when big-selling pop artists got deserved
attention, look who came out on top! The quietest member of the U.K. manic
bands slipped out a sophomore album that redefined hyper jazz-rock. A wonder,
start to finish.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->boygenius,
<i>The Record – </i>North America (and much of the world, apparently) now loves
the super-trio of Baker, Bridges, and Dacus, and even if there’s maximum hype,
even if the late-fall EP wasn’t all that great, the full-length album deserved
all the attention it received.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Arooj
Aftab, Vijay Ayer, Shahzad Ismaily, <i>Love In Exile – </i>Even if you never
saw the live tour, these three provided an object lesson in chill floaty-jazz.
If you did see a live date, you know the album was no fluke.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Caroline
Polachek, <i>Desire, I Want to Turn Into You -- </i><span style="mso-spacerun: yes;"> </span>The co-founder of Chairlift spent the entire
pandemic period assembling this magic piece, and released it streaming on
Valentine’s Day, only to see physical copies get delayed until November. Was it
worth the wait? Oh yes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Olivia
Rodrigo, <i>Guts – </i>She may be a victim of overexposure, but anyone at her
age and experience who can put out a sophomore album stronger than the debut,
deserves every bit of hype she receives.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Jeremy
Facknitz<i>, Smilin’ at the Future</i> – It’s impressive enough that he sends
us up with more of the quality power-pop we’ve come to know and love, but
Facknitz also has the audacity in 2023 to write songs of hope – e.g., “Ste.
Genevieve.” The nerve of that guy, just when we’re all sulking.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Butterfly
Assembly, s/t – Lisa and Shannon McElvaney have been nurturing some of these
songs for years, and it shows, as each is a gem. Guest appearances from Joe
Johnson, Dylan Teifer, and the Bourgal Brothers guarantees a good time for all.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Mitski,
<i>The Land is Inhospitable, and So Are We – </i>Mitski can get lost in angst,
and is coming from a good 2022 album, but this one is sad and powerful beyond
measure.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Alternative
Communication, <i>Afterword</i> – Scottish duo Jeanette and Brian Kidd with old
friend David Reid comprise this trio, who make progressive-ambient music one
could genuinely call spooky.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->K. Flay, <i>MONO</i> – Flay has bounced between hard
pop and hip-hop for more than a decade, and has finally gotten the mix exactly
right. Jaw-dropping at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wednesday, <i>Rat Saw God – </i>The first new band in
the U.S. to match the mania and fervor of the British 2020-22 crop of
newcomers. Whenever Wednesday appears as an opening act, they blow the crowd
away.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lankum, <i>False Lankum – </i>I was quite embarrassed
to have just discovered this Irish traditionalist band recently, when they’ve
been the rage of Mercury Prize and Irish music awards for five years. This new
hour-long set dives deep into little-known ballads, but Lankum mixes them all
with a Pelt-style drone to give every note a greater significance.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sprain, <i>The Lamb as Effigy -- </i><span style="mso-spacerun: yes;"> </span>How to even begin to describe Sprain?
Avant-classical? Spoken-word mania? Post-rock? Hot mess? In any event, in an
era where much of the improvisational noise of the early 2000s has faded, it’s
nice to know Sprain is around. (Apparently the band broke up in mid-October, so
it was fun while it lasted.)<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Empty Pockets, <i>Gotta Find the Moon – </i>One of
Chicago’s more persistent bar bands went to Abbey Road to record some
originals, and damn if the effort didn’t pay off.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Kills, <i>God Games – </i>Never thought I’d call a
Kills album majestic, but there you go. Those of you who favor Alison’s side
projects like Dead Weather, really should go back to her O.G. efforts.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Paramore, <i>This is Why – </i>O.G. Paramore fans might
consider this Hayley Williams’ sellout work, but really, it’s the strongest
Paramore album to date. So change my mind.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->SZA, <i>SOS </i>– Yes, it streamed last December, but
this was a 2023 album. Vast in its diversity of styles, it’s still more
mainstream than experimentalists like Solange or Janelle Monae.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jason Isbell, <i>Weathervanes – </i>Jason and Amanda
have been hit-or-miss in recent years, but this album starts with “Death Wish”
and then keeps on climbing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Peter Gabriel<i>, i/o</i> – Gabriel would be the first
to tell you that he’s aging, and is not going to pull off another <i>So, </i>at
least not lyrically, but he was clever enough to make the album release a slow
online process, and to offer “bright-side” and “dark-side” mixes of the same 12
songs. A cool experiment.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The National, <i>Laugh Track</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The National, <i>The First Two Pages of Frankenstein – </i>Yes,
chronologically the albums are supposed to be in the reverse order, but the <i>Laugh
Track </i>album released in November is the superior of the two, and actually
clarifies and improves the appreciation of the earlier <i>Frankenstein.</i>
Call it glum rock or dad rock, there’s still a lot going on in these tracks.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]--><span style="mso-spacerun: yes;"> </span>Circus Devils, <i>Squeeze
the Needle – </i>Quite simply the best Robert Pollard release of the year, even
with three decent Guided by Voices albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bill Orcutt/Chris Corsano/Zoh Amba, <i>The Flower
School –</i>This might have been Top Ten simply for Orcutt and Corsano seeking
out the Tennessee saxophone goddess, but the length was more like an EP. Even
in a brief package, though, it’s amazing. The hyper-prolific Orcutt was going
to release an album on Christmas Day as a trio with two saxophonists, but we’ll
save that one for 2024.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pere Ubu, <i>Trouble on Big Beat Street – </i>Given how
sick David Thomas was during the recording of the so-called “Goodbye” album,
there was no reason to expect this album to exist, and even less reason to
expect how silly, joyful, and brilliant it is.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->100 Gecs, <i>10,000 Gecs – </i>An experiment in Dadaist
consumerism, like Shopping or Pink Section, but with more electronic craziness.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lana Del Rey, <i>There’s a Tunnel Under Ocean Boulevard
– </i>More of the fine songs that have characterized all her releases of the
last five years. This is Lana’s era.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Little Simz, <i>No Thank You – </i>This fell through
the cracks between 2022 and 2023, another victim of the “streaming first”
philosophy, and that should never happen to Little Simz.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Aces, <i>I’ve Loved You So Long – </i>These four
L.A.-via-Utah women keep polishing their pop to reach this pinnacle where every
song on an album is memorable.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Rolling Stones, <i>Hackney Diamonds – </i>Believe
it! The octogenarians have squeezed out an album of original material that is
very good. Still won’t make me pay $1000 for tickets to the 2024 tour, but….<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Smoke Fairies, <i>Carried in Sound</i> – I’ve loved
this U.K. duo since seeing them open for a very young Laura Marling, and I’m
thrilled they’re still putting out music this good.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Heavy Diamond Ring, <i>All Out of Angels – </i>Some
might say the Denver successor to Paper Bird gave us songs slightly more
ethereal than the debut album, but I’d say Ben Wysocki’s production more than
makes up for it.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Anohni and the Johnsons, <i>My Back Was a Bridge – </i>Some
may find Anohni/Antony’s composition just too complex to flow smoothly.
Anohni’s complexity is a plus.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Being Dead, <i>When Horses Would Run – </i>This band
brings back the spirit of ’66, not so much for the psychedelia or the informal
folk-like harmonies, but because it’s such fun pop.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">34.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Clientele, <i>I Am Not There Any More – </i>The
Clientele returns with an album perfecting their Kinks-like sound, and the
album nearly disappears from public view. That’s a damned shame.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">35.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mandy, Indiana, <i>I’ve Seen a Way – </i>This debut
album lets listeners experience the noisy, rhythmic presence of Valentine
Caulfield, who immediately makes you hope this band will be around for a while.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">36.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Esme Patterson, <i>Notes from Nowhere – </i>Patterson
has married and moved to the Tennessee back woods, so you know this album was
bound to have a quiet and mystical quality. But the choir effects add a
suggestion of Laura Veirs, as well.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">37.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->P.J. Harvey, <i>I Inside the Old World Dying – </i>I
love spoken-word recordings, and I’ve always been partial to Harvey’s acoustic
work, but these poems puzzled me too much to place this album in the Top 10.
But hey, that’s largely my fault.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">38.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cherry Glazrr, <i>I Don’t Want You Anymore – </i>The
most moody and haunting of any Cherry Glazrr album, and Clementine Creevy
manages to wear that very well. Like The Kills, Creevy is taking her band to
another majestic level.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">39.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fever Ray, <i>Radical Romantics – </i>By far the most
fully-realized and interesting of the Fever Ray albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">40.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sylvan Esso, <i>No Rules Sandy – </i>Like SZA and
Little Simz, Sylvan Esso got hurt by the “streaming first” marketing mentality.
This sort of completes an album trilogy, and should rank higher.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">41.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mega Bog, <i>The End of Everything – </i>Even if her
stylings employ an excess of Broadway from time to time, Erin Birgy is a
genius.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">42.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Free Range, <i>Practice – </i>Usually once a year, a
singer-songwriter newcomer comes out with an informal, minimalist album that is
a hidden gem. Sofia Jensen has given us 2023’s album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">43.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Mountain Goats, <i>Jenny from Thebes – </i>Undoubtedly
interesting as a sequel of sorts, but still not one of the epics in the
Darnielle portfolio.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">44.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Speedy Ortiz, <i>Rabbit Rabbit – </i>Sadie DuPuis
finally gets national recognition with a full-page <i>New York Times</i>
feature, and her band is back together too. Win-win.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">45.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Nellie McKay, <i>Hey Guys, Watch This!</i> – When you
consider that this is McKay’s first album of new work in 13 years, and you
think of how monumental she was early in the millenium, it’s sad to see how
much she’s snubbed these days – particularly since her live shows are such a
pleasure.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">46.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Meg Baird, <i>Furling – </i>More keyboard-centric than
in the past, which adds to the ethereal flavor.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">47.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Algiers, <i>Shook – </i>One of their boldest statements
yet, particularly in the extended version. And who else is doing
gospel-punk-funk these days?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">48.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i>Welshpool Frillies</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">49.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i>Nowhere to Go But Up</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">50.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i>La La Land – </i>Seems like every
year, Pollard gives us three studio albums, which I lump together because I can
never decide which is on top. This year, Pollard’s Circus Devils album beat any
of the GbV ones. At least for now.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">51.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Iris DeMent, <i>Workin’ On a World – </i>Probably her
boldest work since her marriage to Greg Brown, and now that Brown’s no longer
touring, she’s got some heavy lifting ahead.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">52.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Margo Price, <i>Strays – </i>This early 2023 work got
mixed up with <i>Strays II </i>and <i>Strays at Grimey’s, </i>but in any event,
it’s one of Margo’s strongest set of songs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">53.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dream Wife, <i>Social Lubrication – </i>The band has
optimized and refined its approach to being sardonic and absolutely serious on
subjects of feminism and modern empty-culture.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">54.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kimbra, <i>A Reckoning – </i>As she moves deeper into
Oceania rhythms, Kimbra has to be careful to keep her cultural appropriation in
check, but there’s no denying this album works well.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">55.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bully, <i>Lucky for You – </i>Alicia Bognanno makes a
great leap forward with this Bully album, maybe a bit poppy, but that’s fine by
me. Bonus points for the Soccer Mommy collaboration.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">56.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Gaslight Anthem, <i>History Books </i>– I might
consider this just another Springsteen-esque GA release, but for the presence
of “Michigan 1975,” which is so autobiographical for me, it scares me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">57.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kesha, <i>Gag Order – </i>I gain more respect for Kesha
with each passing release, and this one is no exception.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">58.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Laura Veirs, <i>Phone Orphans – </i>An all-acoustic,
voice-and-guitar album for Veirs, that stands out for its minimalism.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">59.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lucinda Williams, <i>Stories from a Rock and Roll Heart
– </i>Lucinda came back out on tour with a revved-up set of new songs, her most
inspired in a decade.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">60.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Young Fathers, <i>Heavy Heavy – </i>Vibrant
genre-breaking songs borrowing from a hundred styles.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">61.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Carly Rae Jepsen, <i>The Loveliest Time – </i>Jepsen
tends to break recording sessions into two studio albums, separated by about a
year. Often she saves the best for the second release. This is definitely the
case here, as the new one is more powerful than 2022’s <i>The Loneliest Time.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">62.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tirzah, <i>trip9love…??? – </i>Tirzah Mastin has that
kind of floaty, haunting chanteuse voice suggestive of Julee Cruise at a supper
club, but Mica Levi adds a faraway-sounding haunted piano and unexpected
percussion, to make this a perfect horror soundtrack.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">63.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Invisible Hands, <i>The Big Minute – </i>This may
not have the power of The Invisible Hands’ work in the aftermath of the
Egyptian coup, but the mere fact that Alan Bishop still is bringing the band
together says a lot.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">64.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Hold Steady, <i>The Price of Progress – </i>At
first it seemed this might be more powerful than 2021’s <i>Open Door Policy, </i>but
not really. Wishful thinking.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">65.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jorja Smith, <i>Falling or Flying – </i>Among R&B
divas, Smith is at least as confident and bold as Beyonce, if not more so.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">66.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bethany Cosentino, <i>Natural Disaster – </i>A strident
solo effort from the Best Coast vocalist, maybe stronger than any Best Coast
album. I wish she hadn’t gone off on such a tirade in mid-December about
releases disappearing into the ether. It happens to everyone, Bethany.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">67.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Be Your Own Pet, <i>Mommy – </i>Great to have our
Tennessee punk heroes back, though as they approach middle age, when does it
become mom-and-dad rock?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">68.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rhiannon Giddens, <i>You’re the One – </i>More
straightforward simple ballads than her last few, though I find I miss her
experimentalist partner Francesco Turrisi.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">69.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Swans, <i>The Beggar – </i>A very strong two-disc set
this time around, although Gira has made a 20-year industry of putting out
two-disc epics.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">70.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Protomartyr, <i>Formal Growth in the Desert – </i>The
album art and music arrangements are as adventurous as ever, though the lyrical
content seems to flag at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">71.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Depeche Mode, <i>Memento Mori</i> – Gahan and Gore certainly
are brave to continue as a duo, and there are impressive tracks here, but a
studio release after the death of Andy Fletcher feels like REM did right after
Bill Berry left. REM had a significant recovery before splitting up, so Depeche
Mode might too.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">72.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rain Parade, <i>Last Rays of a Dying Sun – </i>Another
1980s revival, this one from the Paisley Underground. These folks age well, to
the point where it isn’t just a rehash of what’s come before.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">73.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Yo La Tengo, <i>This Stupid World – </i>Early in 2023,
this YLT release seemed like the band’s most strident in decades, though it
still is shrouded in mist, gauze, and fog like so much of YLT.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">74.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The New Pornographers, <i>Continue as a Guest – </i>A
few really nice songs on this one, though the fact that Neko Case was not
touring with them this fall suggests that New Porns may be past their sell-by
date.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">75.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Beirut, <i>Hadsel – </i>Zac Condon has been lost in
Scandinavia for a while, and the resulting album is heavy on the pipe organ,
but still giving us that Beirut sound we all love.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">76.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Feist, <i>Multitudes – </i>This is Leslie Feist’s most
straightforward pop effort in a while, though it can drag at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">77.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lydia Loveless, <i>Nothing’s Gonna Stand in My Way
Again – </i>Loveless seems to want this album to be a declaration of power, but
we already know she is the most badass bitch in country-rock. Somehow this
seems superfluous.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">78.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sparks, <i>The Girl is Crying in Her Latte – </i>I
think it’s fantastic the Mael brothers are still producing funny and
imaginative albums, though new works tend to get lauded, perhaps too much,
because it’s Sparks with new songs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">79.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Julie Byrne, <i>The Greater Wings – </i>A powerful treatise
from a songwriter who’s been missing for five years or so!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">80.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Kennedys, <i>Headwinds – </i>Maura’s voice is in
better shape than ever, and these songs are both interesting and emotional, but
the album is missing a bit of The Kennedys’ trademark bounce.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">81.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Califone, <i>Villagers – </i>This is a strong set of
songs from Tim Rutili, where the experimental arrangements take a back seat to great
storytelling.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">82.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jenny Lewis, <i>Joy’all – </i>It’s somewhat ironic that
Jenny’s ode to middle age is greeted with a collective shrug. It’s a good
album, Jenny is still amazing in many ways, but the staying power is lacking.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">83.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Maia Sharp, <i>Reckless Thoughts – </i>Sharp is one of
my favorite Nashville songwriters, and this collection is one of her best.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">84.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Beth Bombara, <i>It All Goes Up – </i>I was ready to
call this Bombara’s breakthrough release, though the arrangements are a little
too overbearing for that. Still, a worthy effort.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">85.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Slowdive, <i>Everything is Alive – </i>Confession: I
found the old Slowdive a bit snoozy, so it’s no surprise the return of Slowdive
is a little, well, slow for me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">86.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kelela, <i>Raven – </i>An intriguing mix of club
electronica and R&B. Mesmerizing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">87.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kylie Minogue, <i>Tension – </i>Maybe not as dazzling
as her recent disco revival, this one still has fun arrangements.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">88.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->VirgoTwins, <i>ArtSpace – </i>A very cool
hip-hop/experimental pop album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">89.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sunny War, <i>Anarchist Anthems – </i>The title says it
all. This decade’s sincere Black woman folkie is far more droll and daring
than, say, Tracy Chapman.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">90.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fucked Up, <i>One Day – </i>A decent album from our
favorite Toronto growlers, but no new directions.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">91.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sufjan Stevens, <i>Javelin – </i>This was meant to
bring back the feel of <i>Seven Swans </i>or the 50 States Project, and it sort
of does, though not enough to put Stevens in the top ten.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">92.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Water From Your Eyes, <i>Everything’s Crushed – </i>This
duo likes to make Situationist critiques with electronica effect, very fun at
times, though not at the level of say, 100 gecs or Shopping or Bodega.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">93.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Soda Blonde, <i>Dream Big – </i>This is the second
album since the former Little Green Cars reconfigured as Soda Blonde. Great to
hear Faye O’Rourke’s vocals, though the arrangements are more Broadway-esque.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">94.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Janelle Monae, <i>The Age of Pleasure – </i>Many Monae
fans are furious with her about dedicating an album to hot booty, after so many
sci-fi classics. Hell, Monae always demonstrated a bit of the sensuous, and I’m
not going to criticize her, but the new album simply isn’t as interesting as
much of her work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">95.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Paul Simon, <i>Seven Psalms – </i>Chances are, this
simple minimalist work will be his true last studio effort. It has great
moments, and is more impressive than recent full-band outings.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">96.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->John McCutcheon and Tom Paxton, <i>Together – </i>An
inspired pairing, although John’s been the one experiencing a later-life burst
of creative energy, Tom is sort of along for the ride.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">97.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sigur Ros, <i>Atta – </i>Back from a long absence with
a work that is mildly interesting, though hardly earth-shattering.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">98.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lucero, <i>Should’ve Learned By Now – </i>This is
actually a pretty strident set of songs from Ben, but the album was sort of
sneaked out at the start of a tour.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">99.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Everything But the Girl, <i>Fuse – </i>The duo took a
mere 24 years to finally come up with its 11<sup>th</sup> studio album. A
welcome return for fans, though nothing that new.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">100.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sid Simons, <i>Beneath the Brightest Smiles – </i>An
intriguing multi-instrumentalist with his second album, after recording earlier
work as Girl Skin.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">101.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pile, <i>All Fiction -- </i><span style="mso-spacerun: yes;"> </span>The mighty Pile are back, with a pretty decent
new bunch of songs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">102.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ben Folds, <i>What Matters Most – </i>I feel sorry for
Ben entering middle age, trying for sincerity but not garnering much attention,
even though some tracks within are good.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">103.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Xiu Xiu, <i>Ignore Grief – </i>Jamie really wanted to make
this release seem more mainstream, but hey, it’s Xiu Xiu.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">104.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Post Malone, <i>Austin – </i>Maybe not as good as last
year’s outing, at least we can say Post Malone tries to minimize repeating
himself.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">105.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Teenage Fanclub, <i>Nothing Lasts Forever – </i>The
band has shifted from its old vibrant harmonies to a style that sounds like
Zombies in good moments, and Moody Blues in others. Pleasant harmonies, but
like last year’s album, not that much to stick in the craw.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">106.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jessie Ware, <i>That! Feels! Good! – </i>People swear
by Jessie as a disco revivalist, but she always seems to be taking the role of
Studio 54 denizen in an unironic sense, and that brings back scarier memories
of disco.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">107.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->U.S. Girls, <i>Bless This Mess – </i>It’s cool to see
Meghan Remy take on motherhood, but among experimentalists, Amanda Palmer did
the same thing a few years ago in a far more interesting way.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">108.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->John Cale, <i>Mercy – </i>Probably should have had this
higher, but its release at the start of the year made it easy to overlook. As
in the case of Mick Jagger, it’s simply good to see Cale in his 80s making
music this good.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">109.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bill Orcutt, <i>Jump On It! – </i>The master of
weirdness tries to pretend he’s almost normal. I wish I had heard the
voice-manipulation album he released this year, but between this, the Amba
trio, the new saxophone trio, and the live set from King’s Place, Bill already
owns the world.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">110.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bruce Cockburn, <i>O Sun, O Moon – </i>Some fine songs
from the timeless Canadian folkie.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">111.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Eno, <i>Forever Voiceless – </i>Maybe this should have
been in the Specials section, since it’s sort of a remix sans vocals of last
year’s <i>Foreverandevernomore.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">112.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Public Image Ltd., <i>The End of the World – </i>As
annoying as he may be, John Lydon still is cranking out more interesting music
than two-thirds of what’s out there.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">113.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wilco, <i>Cousin – </i>The only reason this isn’t
further near the bottom is that Cate Le Bon helped in production. But even she
couldn’t help Jeff Tweedy’s missing time in ennui. Seems that in the past
decade or so, Wilco can’t lift itself out of listlessness.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">114.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Blur, <i>Ballad of Darren – </i>Somewhat interesting,
but proof once again that Damon Albarn’s best work is with The Good, The Bad,
and The Queen – not Blur or Gorillaz.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">115.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Skating Polly, <i>Chaos County Line – </i>Punk and
poppy in equal measure, it may be SP’s most accessible work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">116.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Charming Disaster, <i>Super Natural History – </i>This
duo, with their Vaudeville meets goth zombies shtick, really is charming. And
they teach science!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">117.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Quasi, <i>Breaking the Balls of History – </i>As glad
as I am to see Sam and Janet get back together, the studio album wasn’t all
that interesting.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">118.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Foo Fighters, <i>But Here We Are – </i>Poor Dave Grohl,
even when making a memorial to Taylor Hawkins, he has trouble crafting a Foo
Fighters album people will remember.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">119.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lilli Lewis, <i>All is Forgiven – </i>Lilli’s Americana
sound is now on Righteous Babe, which seems to fit the singer perfectly.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">120.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Queens of the Stone Age, <i>In Times New Roman – </i>Josh
Homme has a problem like Quasi or Foo Fighters. His isn’t a PR problem after
his personal scandals, but a creativity problem. This is probably the flattest
QOTSA album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">121.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Gina Burch, <i>I Play My Bass Loud – </i>As a fan of
the 1980s women’s punk band Raincoats, I was primed to like this, but Gina
waited too long to finally record a solo album! There’s too much of a feel of
forced energy, even with the presence of Thurston Moore.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">122.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Silos, <i>Family – </i>Credit Walter Salas-Humara for
trying to keep some interesting Silos songwriting alive. He usually tours solo,
but it sounds as though the band still exists.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">123.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Animal Collective, <i>Isn’t It Now? – </i>I guess Panda
Bear and Avey Tare are just trying to keep too steady a stream going, because
this one mostly goes nowhere.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">124.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Andrew Hung, <i>Deliverance – </i>Great fun, even if a
bit narcissist.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">125.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Molly Tuttle, <i>City of Gold – </i>I normally
appreciate anything Tuttle attempts, but here is an album of traditionalist
songs hampered by over-production.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">126.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->AJJ (formerly Andrew Jackson Jihad), <i>Disposable
Everything – </i>As usual with AJJ, there is a righteous intent here, but sort
of slow compared to the band’s early work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">127.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lapsley, <i>Cautionary Tales of Youth – </i>Good
subject matter in dealing with troubled youth, although it is wrapped in
electronica and gauze.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">128.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->John Buffalo, s/t – An intriguing new artist/work I’m
still trying to decipher.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">129.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ian Jones, <i>Results Not Typical – </i>After a
promising EP, Jones comes back with a decent debut full-length.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">130.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Darlingside, <i>Everything is Alive – </i>With each
album, I hope the Boston-area near-acapella band shifts into high gear. This
one seemed sleepy, unfortunately.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">131.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Peter Case, <i>Doctor Moan – </i>Sorry this is ranked
so low, it really was a good return to form by the always-delightful Case.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">132.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tennis, <i>Pollen – </i>From the beginning, I couldn’t
quite figure out what made people adore this Denver duo, but hey, they’re
pleasant enough.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">133.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Blonde Redhead, <i>Sit Down for Dinner – </i>For those
who didn’t notice in the last couple albums, there is little left of the
near-Sonic-Youth noisy trio of the late 1990s. Blonde Redhead is now a
near-romantic melodic band, which at least pumps up their popularity a notch.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">134.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ric Wilson and Chromeo, <i>Clusterfunk – </i>A cool
enough groove session, but not startling.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">135.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Struts, <i>Pretty Vicious – </i>No they’re not.
Pretty formulaic, more like it..<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">136.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Far From Saints, s/t – An interesting new-country
debut, lots of predictable moments, but fun enough.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">137.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Great Lake Swimmers, <i>Uncertain Country – </i>I’m
glad the band is once again more than a Tony Dekker solo outing, and the first
couple tracks have an REM sound, but that fades…<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">138.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hackedepicciotto, <i>Keepsakes – </i>The oddball duo is
back with another round of unusual ramblings. Cool in parts.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">139.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mac DeMarco, <i>Five Easy Hot Dogs – </i>Why make a
slow, emotionless album about being slow and emotionless? I don’t get it.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">140.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Iggy Pop, <i>Every Loser – </i>You know with certain
elder statesmen, you like the idea of xxx (Iggy Pop), without exactly loving
their latest work? Yeah, me too.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">141.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Hives, <i>The Death of Randy Fitzsimmons – </i>This
sounded like a good conceptual effort, but it was The Hives back at their
rock-n-roll stereotype game.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">142.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jack River, <i>Endless Summer – </i>No intent to rank
this so low, a nice exuberant offering from a new artist.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">143.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Catbells, <i>Partly Cloudy – </i>Ethereal, sweet, and
worth a listen.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">144.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Noah Kahan, <i>Stick Season – </i>I’m not putting this
at the end to give a finger to all the people that love Kahan. Sometimes I find
his songwriting clever. But he’s one of those artists people adore for being
more mediocre than his peers. In live performance, he displays the worst
tendencies of Mumford & Sons and Avett Brothers in over-playing the house.
And the fans eat it up.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in;"><o:p> </o:p></p>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) </span></b><span style="font-size: 14pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Car
Seat Headrest, <i>Faces from the Masquerade – </i>A spirited 2022 live set,
focused on songs from the deep-pandemic album <i>Making a Door Less Open. </i>Will
Toledo triumphant.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Black
Country New Road, <i>Live at Bush Hall – </i>People who defined BCNR by Isaac
Wood are bound to be ambivalent or even disappointed with this album. The band
decided it would not perform Wood-era songs, and BCNR is distinctly a
women-dominated band these days. As for me, I like the new tunes, and I saw
them in September and was quite impressed. I mean, a live set realized as a
high-school prom? Great stuff. So doubters can go snuff off.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Cat
Power, <i>Sings Dylan’s 1966 Royal Albert Hall Concert – </i>Many of those who
didn’t think it was a sacrilege merely to replicate Albert Hall, still
complained that Cat Power didn’t bring enough of the rebellious-electric-Dylan
feel to her interpretation. How ridiculous. This is Chan Marshall singing a
certain selection of stunning Dylan songs. Bravo.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Matmos,
<i>Return to Archive – </i>Matmos is at its most fun when its creative noise
has a central theme, and this album, remixing the “non-human sounds” (animal
field recordings) from Folkways Records, is one of the best concepts yet.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->SPELLLING,
<i>SPELLLING and the Mystery School – </i>This one is in Specials because
Chrystia Cabral reimagines certain songs from earlier albums. None dare call
them remixes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Various
Artists, <i>More Than a Whisper: The Music of Nanci Griffith – </i>A very nice
memorial to Griffith’s work, featuring the likes of War and Treaty, Sarah
Jarosz, Iris DeMent, and Todd Snider.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Thinking
Fellers Union Local 282, <i>These Things Remain Unassigned – </i>Oh ho, the
skeptic may say, I already have the deeply-underground three-CD set <i>Duck
Duck Chimp </i>of TFUL282 rarities. I certainly don’t need the 2-LP collection.
Um, yes you do. There’s almost no overlap. Thinking Fellers left detritus
everywhere.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->The
Selecter, <i>Live at NEC 1980 – </i>Probably my favorite release of Record
Store Day, Selecter was always my favorite of the early-1980s ska bands.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Joni
Mitchell, <i>Live at Newport – </i>The existence of this album is a blessing,
and Joni’s voice is in decent shape, but this is mostly a jam session album of Joni
sharing songs with Brandi and other friends.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Taylor Swift, <i>1989 (Taylor’s Version) – </i>I’ve
been uncertain about including the re-recorded TS albums she made to retain
artistic ownership of her older works. But this one in particular has plenty of
unreleased material. I might have to reconsider the older ones, too.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Taylor Swift, <i>Folklore: The Long Pond Studio
Sessions – </i>A lesson in Record Store Day madness. Is the video documentary
worth it for understanding <i>Folklore</i>? Of course. Is the vinyl version
worth owning if you could get it at a reasonable price? Again, yes. But should
you pay more than $200 for it? Of course not.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Midlake, <i>Live at Roundhouse – </i>Another unsung
great from Record Store Day, this one is a 2-LP set, recorded in 2022,
featuring more recent works.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Feelies, <i>Feelies Play Velvets – </i>Since The
Feelies sound so much like a mumbling Velvet Underground, this live set of 18
songs performed in 2018 may seem superfluous, but it’s really great.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Romeo Void, <i>Live at Mabuhay Gardens – </i>Since
Mabuhay was already on a downward stroke by the time Romeo Void got there, this
might seem an oddity, but since Romeo Void didn’t make it big until mid-1980s,
it’s like hearing the later school of Bay Area punk.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->King Gizzard and the Lizard Wizard, <i>Live at Red
Rocks 2022, Vols. 1 and 2 – </i>King Gizzard kicks out so much material, it may
be hard to pick and choose which live sets to purchase (or you may go bankrupt
being a completeist). I focused on the Colorado releases because hey, Red
Rocks. The correct answer to “Where do I start with King Gizzard?” is “You
start anywhere you like and go over under sideways down, backwards forwards
square and round.” All answers are correct.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Nico, <i>Live at the Library Theatre 1980 – </i>Yet
another treat from Record Store Day. There simply isn’t enough Nico live
material released.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wye Oak, <i>Every Day Like the Last – </i>Although this
is billed as a collection of singles and unreleased material, it displays a
certain consistent flow in showing Jenn Wasner in both electronic and
guitar-centric sides. A real treat.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bill Orcutt Quartet, <i>Live at King’s Place – </i>The
recorder of this marvelous set was apologetic that there are no recordings of
the Café Oto show where Bill had each member offer an improv solo. But really,
who can complain? Orcutt’s between-tracks patter make for a very human set.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rosali, <i>Live at Café 9 – </i>Not to be confused with
megastar Rosalia, this Philadelphia singer-songwriter is quietly amazing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->No-Neck Blues Band, <i>Niente Piu Canzoni – </i>It’s
been a minute since No-Neck stopped performing together, but new recordings
keep getting dredged up from somewhere. Hey, for people like John Coltrane, the
trend went on for decades.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wild Carnation, <i>Tricycle – </i>Continuing the
Feelies festival, this album by the band’s Brenda Sauter apparently was
released in the 1980s, but no one heard it, so I’m including the 2023
re-release here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jackie-O Motherfucker, <i>Bayonet – </i>My comments
about No-Neck apply to JOMF, as someone will find an unreleased gem from the
early 2000s every once in a while, but in many, Tom has assembled a JOMF
version that sounds like weird psychedelic country. Not that there’s anything
wrong with that.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Laraaji, <i>Segue to Infinity – </i>A massive
compilation from a far-gone hippie. Pretty interesting if you like that sort of
thing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Elvis Costello, <i>Bacharach/Costello Complete – </i>With
the passing of Burt Bacharach, Elvis wanted to put out a memorial including
virtually everything the two worked on together, but most songs have been heard
in the original collaboration.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Neil Young, <i>Chrome Dreams</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Neil Young, <i>Before and After – </i>These two
reinterpretations are different enough from original releases, they deserve to
be listed here, but honestly (as I said last year), Young has been releasing so
many damned albums from the Neil Young Archives, it’s hard to keep everything
straight.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in;"><i><br style="mso-special-character: line-break;" />
<!--[if !supportLineBreakNewLine]--><br style="mso-special-character: line-break;" />
<!--[endif]--></i><o:p></o:p></p>
<h2>Singles and EPs <o:p></o:p></h2>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span><span style="font-size: 14pt;">I thought 2022 was slow for singles and EPs. This year,
the trend continued.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Luke Combs, “Fast Car”<i> <span style="mso-spacerun: yes;"> </span>– </i>I don’t want to hear about cultural
appropriation. He’s made Tracy Chapman much richer, with a fine and emotional
cover of her song. If you can sit through the final part about the collapse of
what should have been an ideal relationship without crying like a baby, you’re
a stronger person than me.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brigitte Calls Me Baby, <i>This House is Made of
Corners EP – </i>Imagine wandering into an anonymous road house and hearing a
honky-tonk band with a lead singer reminiscent of Chris Isaak, who just knocks
you off your feet. And he’s backed by Johnny Marr. Yeah, it’s like that.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jason Isbell, “Death Wish”<i> --<span style="mso-spacerun: yes;"> </span></i>A grim and somewhat appropriate single
for 2023. I think we’ve all loved someone like that at some point.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Olivia Rodrigo, <i>Guts Secret Tracks – </i>You have to
admire the woman for marketing genius – collect the extra songs from the
different vinyl versions of <i>Guts, </i>put ‘em all on a single piece of vinyl
released on Record Store Day Black Friday, and watch that vinyl instantly shoot
to $200 or so. Maybe not worth it, but the album art is great.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Daneshevskaya, <i>Long is the Tunnel – </i>Even if Anna
Daneshevskaya can be a trifle melodramatic at times, there’s plenty of room in
the indie world for an angsty Russian Jew. Cool stuff!<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Black Mariah Theater, <i>Mean to Be Mean – </i>These
two Utah sisters are a rockabilly throwback hybrid and modern punk blunderbuss
that are a pleasure to experience.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Little Moon, “Wonder Eye” – The judges from the NPR
Tiny Desk Contest, coming from a variety of musical genres, were in unusual
consensus about the greatness of Little Moon. I certainly like Emma Hardyman’s
vocals and lyrics, but there’s too much hippie sincerity going on for me!<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lankum, <i>Live in Dublin 2023 – </i>A Record Store Day
Black Friday special we didn’t get in the U.S. Bonus points for being recorded
on my birthday, in Dublin.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Smile, <i>Europe: Live Recordings 2022 – </i>More
often than not, Thom Yorke’s Smile project shows more signs of life than
Radiohead. That shouldn’t be a surprise.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Spiritbox, <i>The Fear of Fear – </i>Another six songs
to prove that Courtney LaPlante is the goddess of screamcore, shifting from a
raspy howl to soaring melodic presentations suggestive of Caroline Polachek, in
tracks like “Too Close/Too Late” and “The Void.”<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lisa Said, <i>Missed Connections – </i>The sampler of
Said’s work represented here will have you calling for more.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Amanda Shire, <i>Sound Emporium – </i>You have to give Jason
Isbell’s wife credit for always being supportive of RSD and independent
artists, and she manages to drag Jason in for a few zingers.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Beatles, <i>Now and Then – </i>A valiant attempt to
give some depth to a mediocre demo from John Lennon, I finally got it when I
could buy a CD version for $10. But you want me to spend $20 for 7” vinyl or
$22 for 12” vinyl? Highway robbery.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Boygenius, <i>The Rest – </i>Given what a great debut
album our power trio released this year, I was hoping their second EP wouldn’t
amount to leftovers from the cutting-room floor. But that’s pretty much what it
is. Definitely fans-only.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Manchester Orchestra, <i>Valley of Vision – </i>Glad we
got a touch of Andy this year, although this wasn’t one of the band’s knockout
EPs.<o:p></o:p></p>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-37823436162835135752022-12-27T09:37:00.008-08:002023-01-09T14:45:23.132-08:00The List 2022<p> </p><p class="MsoNormal"><span style="font-size: 12pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Two things
were abundantly clear in the shortage- and inflation-plagued year of 2022: First,
the ubiquity of streaming platforms did indeed lead to more new music than a
human could possibly listen to, but even with the dreck filtered out, the
amount of worthy new music made it necessary to bend down and drink from that
firehose. There’s simply nothing to be gained from limiting yourself to the
familiar, whether your familiar was 1970 or 2015. But the vinyl shortage made
it necessary to wait, sometimes months, for physical products from your
favorite artists. We use the general rule of thumb here that those on the list
must have some kind of physical instantiation of their work (hence no Sylvan
Esso, SZA, or Little Simz until 2023, while Megan Thee Stallion is in a strange
“manufactured on demand” bardo), but we try to bend the rules a little. The
second result of the shortage is the virtual demise of the 7” single, already
on the endangered list for the past couple years. This was due as much to
changing tastes as to actual shortages, but only the occasional Billie Eilish,
Hamilton Leithauser, or GbV 45 rpm seems available in volume. Maybe the death
of the physical single is real this time, maybe not.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>The most crushing death of 2022 might have
been Mimi Parker of Low, who succumbed to cancer in November at 55, though many
media outlets gave more space to departures of musicians in their 80s and 90s,
which have to rank as more or less expected. Note also it has been a bad year
for drummers in particular, with bass players also endangered. Goodbye to R.
Dean Taylor (“Indiana Wants Me”), Bruce Anderson of MX-80 Sound, the
incomparable Ronnie Spector, Sonny Turner of The Platters, rapper CPO Boss
Hogg, country crooner Dallas Frazier, Detroit Cobras vocalist Rachel Nagy, Tom
Smith of experimental band To Live And Shave in L.A., king-size rocker Meat
Loaf, Ventures co-founder Don Wilson, Willie Leacox of America, nasty soul
queen Betty Davis, King Crimson founder Ian McDonald, King Louie Bankston of
Exploding Hearts, Procol Harum pianist Gary Brooker, solo artist and Screaming
Trees founder Mark Lanegan, bluegrasser Mac Martin, Foghat drummer Jeff Howell,
Denver trumpeter Ron Miles, Timmy Thomas (“Why Can’t We Live Together?”), Foo
Fighters drummer Taylor Hawkins, reggae stars Natty Wailer, Bunny Diamond and
Tabby Diamond, “Convoy” crooner C.W. McCall, <span style="mso-spacerun: yes;"> </span>early-‘60s teen crooner Bobby Rydell, Chris
Bailey of The Saints, Dance Gavin Dance bassist Tim Feerick, blues guitarist
Guitar Shorty, Andrew Woolfolk of Earth Wind and Fire, folkie Judy Henske, Judd
matriarch Naomi Judd, Ric Parnell of Spinal Tap, Howie Pyro of D Generation, country
legend Mickey Gilley, Trevor Strnad of Black Dahlia Murder, Rosmarie Trapp of
the Von Trapp Singers, rapper Lil Keed, Move bassist Rick Price, folkie Bob
Neuwirth, Yes drummer Alan White, Depeche Mode keyboardist Andy Fletcher, rockabilly
legend Ronnie Hawkins, bluesician Kelly Joe Phelps, Bon Jovi bassist Alec John
Such, rapper Trouble, Jim Seals of Seals & Crofts, David Lynch paramour
Julee Cruise, Nazareth guitarist Manny Charlton and Nazareth vocalist Dan
McCafferty, Happy Mondays bassist Paul Ryder, Suicidal Tendencies bassist Bob
Heathcote, rapper JayDaYoungan, Jim Sohns of Shadows of Knight, Impressions
singer Sam Gooden, Pogues bassist Darryl Hunt, Lamont Dozier of Holland Dozier
Holland, Grease star Olivia Newton-John, Bill Pitman and Gene Cipriano of The
Wrecking Crew session musicians, Cradle of Filth guitarist Stuart Anstis, jazz
trumpeters Jaimie Branch and Creed Taylor, king of Hammond organ Joey
DeFrancesco, rockabilly songwriter Sonny West, rapper PnB Rock, jazz pianist
Ramsey Lewis, folkie Jim Post, Anton Fier of Feelies and Golden Palominos and
Pere Ubu, Doobie Brothers drummer John Hartman, jazz saxophonist Pharoah
Sanders, rapper and actor Coolio, country legend Loretta Lynn, country singer
Anita Kerr, punk-rockabilly trendsetter Robert Gordon, REO Speedwagon bassist
Gregg Philbin, Diecast vocalist Paul Stoddard, the rock-n-rollin king Jerry Lee
Lewis, Dead Kennedys drummer D.H. Peligro, gay country singer Patrick Haggerty,
Migos rap star Takeoff, teen pop legend Aaron Carter, <span style="mso-spacerun: yes;"> </span>Jeff Cook of Alabama, Boomtown Rats guitarist
Garry Roberts, Rab Noakes of Stealers Wheel, Public Image Ltd. guitarist Keith
Levene, blues guitarist Danny Kalb, Dr. Feelgood guitarist Wilko Johnson, Flashdancer
Irene Cara, Fleetwood Mac songbird Christine McVie, Rascals drummer Dino
Danelli, Savoy Brown guitarist Kim Simmonds, Terry Hall of The Specials, Felt
keyboardist Martin Duffy, singer Maxi Jazz of Faithless, NOLA blues guitarist Walter Wolfman Wasington, punk fashion queen Vivienne Westwood, Ian Tyson of Canadian folk duo Ian and Sylvia, and…..<span style="mso-spacerun: yes;"> </span>Isn’t it depressing how long these lists are
getting?<o:p></o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;"><o:p> </o:p></span></b></p>
<h1><span style="font-size: 16pt;">Regular Studio Albums, 2022<o:p></o:p></span></h1>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Wet
Leg, <i>s/t</i><i style="mso-bidi-font-style: normal;">– </i>Fie on those who say
they’re sick of the hype. Sometimes a music act and a debut recording live up
to billing, and all you can do is nod. Sort of reminds me of The Sex Pistols’ <i>Never
Mind the Bollocks – </i>yes, it was hype, and yes, it was perfect.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Black
Country, New Road, <i>Ants from Up There – </i>What a shame that Isaac Wood
departed the band just as its close-to-perfect sophomore album was released. Sure,
it’s a little self-absorbed, but so is most prog-rock.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Edie
Carey, <i>The Veil – </i>There were a lot of ponderous folk singer-songwriter
albums released in 2022. This was best-of-breed.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Sudan
Archives, <i>Natural Brown Prom Queen – </i>Los Angeles violinist Brittney
Parks needs a special accolade for supporting and expanding the genre of wildly
experimental pop/R&B. Her debut album <i>Athena </i>made jaws drop in late
2019, now she’s broadened further with 18 tracks to expand and blow minds.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Dry
Cleaning, <i>Stumpwork – </i>Florence Shaw proves she’s no fluke. This second
album of spoken word and chaos is amazing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Bjork,
<i>Fossora – </i>Bjork has spent more time on orchestration and video
accompaniments on this album than on any to date, and it shows.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Taylor
Swift, <i>Midnights – </i>An odd hybrid of <i>Reputation –</i> era and folk-era
Swift, with some exceptional standouts. Yes, it’s worth downloading the
extended <i>3 a.m. </i>edition, even if you risk Swift overdose.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Kristine
Leschper, <i>The Opening or Closing of a Door – </i>The founder of Mothers
offers up a solo album mixing small chamber orchestra arrangements with her own
surrealism. Maybe the loveliest work she’s done.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Yard
Act, <i>The Overload – </i>It isn’t just that these Leeds snots fit well with
the British crazy-band phenomenon, it’s not just the political insider talk,
it’s that they obviously are having a lot of fun.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Death Cab for Cutie, <i>Asphalt Meadows – </i>Surprise!
The band’s most powerful work since <i>Transatlanticism.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Regina Spektor, <i>Home, Before and After – </i>Too bad
her tour got cut short, Regina needs to remind people at every opportunity how
damned great she is.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Gilla Band, <i>Most Normal – </i>21<sup>st</sup>-century
bands like Gilla, Yard Act, and Dumb, convince us that brash rock is not an
endangered species. Yet.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Whitmore Sisters, <i>Ghost Stories – </i>Bonnie
Whitmore and Eleanor Masterson prove the sister act exceeds all their side
projects.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jesca Hoop, <i>Order of Romance – </i>Definitely Hoop’s
best solo work, and an impressive look at the many ages of love.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kendrick Lamar, <i>Mr. Morale and the Big Steppers – </i>Lamar
thankfully gave us a jaw dropper in 2022 to rival <i>Damn</i> and <i>To Pimp a
Butterfly</i>, as very few hip-hop artists came anywhere close to releasing a
stunner in 2022. Sweatshirt, perhaps, though no physical version of <i>Sick </i><span style="mso-spacerun: yes;"> </span>yet. Maybe Tyler, but he’s more Gil
Scott-Heron than rapper these days.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bodega, <i>Broken Equipment – </i>Brooklyn’s chaotic
Parquet Courts spinoff proves it can keep exceeding expectations time after
time.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Spoon, <i>Lucifer on the Sofa – </i>Britt Daniels
returns with a strident and perfectly-executed release. If Mexico City is any
indication, Spoon is back on top.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Beach Bunny, <i>Emotional Creature – </i>There are many
great new women singer-songwriters out there these days, and some have tight
backing bands. But Lili Trifilio beats them all with a stunning sophomore
release (not counting the many EPs).<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bartees Strange, <i>Farm to Table – </i>Say what you
will about Strange redefining indie-rock and R&B realms with a distinct
voice and arrangement style, this is the type of work that gets under your
skin.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->bis, <i>Systems Music for Home Defence – </i>The
Glasgow 1990s teeny-boppers are 21<sup>st</sup>-century high-speed disco wizards,
like worthy successors to The B-52s, or maybe a <i>Remain In Light – </i>era
Talking Heads played at a higher turntable speed.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lizzo, <i>Special – </i>A boisterous and ambitious
album, with far more unique and memorable content than Beyonce’s new one.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Aldous Harding, <i>Warm Chris – </i>Harding’s most
impressive work yet, with adventurous arrangements.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rosalia, <i>Motomami – </i>A lot of listeners tend to
put this in the bilingual dance category, without realizing what an
experimentalist Rosalia can be.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Porcupine Tree, <i>Closure/Continuation – </i>Great to
have Porcupine Tree back, and even if Steven’s progressive-rock styling seems a
bit 1970s, the album as a whole is 21<sup>st</sup> century all the way.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Young Fables, <i>Pages – </i>By handling the grief
of her father’s and sister’s deaths, Laurel Wright proves she and Wes Lunsford
are far more than an awesome country duo.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cate Le Bon, <i>Pompeii – </i>Many were calling this
Cate’s best work, and a potential best-of. It was beautiful, but came across a
bit gauzy and indistinct for me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Big Thief, <i>Dragon New Warm Mountain I Believe In You
– </i>It’s like Big Thief took an element from every menu item that made for a
great folk/bluegrass/Americana album and put them all together. Exhausting, but
impressive.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Beths, <i>Expert in a Dying Field – </i>The New
Zealand charmers just keep expanding their envelope further.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Florence + The Machine, <i>Dance Fever – </i>Don’t be
fooled by the title, this is Florence at her most sullen and introspective, and
it’s a winner.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Maggie Rogers, <i>Surrender – </i>A better sophomore
effort than the likes of King Princess, because Rogers mixes greater lyrical
maturity with some very unique and beat-heavy arrangements.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Weather Station, <i>How Is It That I Should Look at
the Stars – </i>This is not a mere companion album to <i>Ignorance. </i>It’s a
powerful work in its own right.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hurray for the Riff Raff, <i>Life On Earth – </i>The
first environmental work from Alynda Segarra, and one that works much better
than might have been expected.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jack White, <i>Fear of the Dawn – </i>The more
ambitious and interesting of the two albums he released in 2022, this one takes
us from Cab Calloway to the 21<sup>st</sup> century.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">34.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Superorganism, <i>World Wide Pop – </i>How does one
even begin to describe this band? Like Negativland meets Melt-Banana? Definitely
some Situationist social critique going on, but a lot of dancing, too.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">35.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Claudettes, <i>Go Out – </i>Johnny Iguana crafted
this as a slower and somewhat torch-style delivery for the vocal talents of
Berit Ulseth. Best opening song on an album this year.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">36.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Cowsills, <i>Rhythm of the World – </i>Yes, they’re
back with new material, and some finely crafted songs, at that.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">37.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Comet is Coming, <i>Hyperdimensional Expansion Beam
–</i>This is Shabaka’s best band, despite the great moments of Sons of Kemet.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">38.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Leslie Keffer, <i>Temple – </i>The unexpected return of
a latter-day noise queen, returning to a new kind of spiritualism.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">39.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Weeknd, <i>Dawn FM – </i>The first great release of
early 2022, and a nice concept-like piece with Jim Carrey as DJ.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">40.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Linda Lindas, <i>Growing Up – </i>A solid
hook-filled piece of teenage new-riot-grrl pop. No clever hooks were spared in
the making of the album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">41.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Perfume Genius, <i>The Ugly Season – </i>Usually I find
PG’s albums a trifle melodramatic, but this double album is an experimental ode
to dance, and it shimmers.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">42.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sharon Van Etten, <i>We’ve Been Going About This All
Wrong – </i>Many fans considered this one difficult, but it spoke to me very
well, albeit not in a top ten sense.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">43.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->…and you will know us by the trail of dead, <i>XI:
Bleed Here Now – </i>The 11<sup>th</sup> studio album by the Austin collective
adds something from every prog-rock category in one massive work, yet it still
doesn’t take itself too seriously.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">44.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Elvis Costello, <i>Boy Named If – </i>A return to 1980s
form, which is a nice rocking thing in and of itself, but EC throws a little
concept approach into the mix.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">45.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lera Lynn, <i>Something More Than Love – </i>Another
Lera Lynn studio outing, another winner. Lather, rinse, repeat.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">46.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Yeah Yeah Yeahs, <i>Cool It Down – </i>A thankful
return to recording, though Karen O. seems a little exhausted at being
everyone’s fashion queen. So sad to hear of Nick Zimmer’s hospitalization.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">47.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Black Midi, <i>Hellfire – </i>It seems the new British
Dadaist bands are established enough that Black Midi has gotten into the
meta-analysis phase. This album has many great moments, though not as
immediately-improv as the first two albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">48.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fontaines DC, <i>Skinty Fia – </i>Always glad to hear
post-punkers say they are directly influenced by the great Irish poets. It may
not always be obvious, but these Dubliners try to keep it real.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">49.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i>Crystal Nuns Cathedral – </i>Another
great album from the Bare/Gillard phase of GbV. Of course it’s essential,
aren’t they all?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">50.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Plosivs, <i>s/t – </i>A fine successor for the members
of Drive Like Jehu, Hot Snakes, and all that goes along with the tribe.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">51.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Belle & Sebastian, <i>A Bit of Previous – </i>Yes,
you can make great music being twee and collegiate in your 40s and 50s. Here’s
proof.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">52.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Charli XCX, <i>CRASH – </i>Charli comes across as a
British Rosalia in this outing, very exhibitionist and very brash.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">53.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lambchop, <i>The Bible – </i>Kurt Wagner wants you to
know, through the band members, lyrics, and scope, that this album is epic. I agree,
though its message escapes me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">54.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brian Eno, <i>Foreverandevernomore – </i>One of the
first times Eno has brought together his lyrical and ambient sides, in service
of telling the story of the end of humans on the planet.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">55.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Aoife O’Donovan, <i>Age of Apathy – </i>When you say,
“Often resembles a very early Joni Mitchell in delivery,” it can be the kiss of
death for folks worrying about derivative performances. But O’Donovan is simply
amazing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">56.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Alvvays, <i>Blue Rev – </i>The band makes a leap beyond
dreampop into more declarative music and vocals. Utterly enjoy it, though I
can’t see it in the Top Ten where many place it.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">57.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Stella Donnelly, <i>Flood – </i>The woman that defines
the Perth Sound, Stella’s second full-length is as fine a piece of pop as
you’ll find anywhere.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">58.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Afghan Whigs, <i>How Do You Burn? – </i>Greg Dulli’s back
with his most exciting work in years.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><a name="_Hlk122953268"><!--[if !supportLists]--><span style="mso-list: Ignore;">59.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Smile, <i>A Light for Attracting Attention – </i>More
often than not, when Thom Yorke embarks on a side project, it rocks more
consistently than any Radiohead album. The rule of thumb holds here, a fun
break from Radiohead gravity.<o:p></o:p></a></p>
<span style="mso-bookmark: _Hlk122953268;"></span>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">60.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jenny Hval, <i>Classic Objects – </i>Maybe the best
art-rocker from Scandinavia, Hval just keeps coming back again and again with
impressive works.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">61.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Methyl Ethyl, <i>Are You Haunted? – </i>This is the
weirder, artier end of The Perth Sound, and the most intriguing thing to come
out of western Australia since The Go-Betweens.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">62.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dumb, <i>Pray for Tomorrow – </i>Thanks to Dan T. for
turning me on to someone who brings the notion of fresh back to indie music.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">63.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bill Orcutt, <i>Music for Four Guitars – </i>What a
treat to see an avant-garde guitarist who dwells way outside the Oort Cloud,
develop a rabid mainstream fan base. The fact that this was a collaborative
quartet probably played a role in bringing Orcutt to a wider audience.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">64.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Anais Mitchell, <i>s/t – </i>After all the years of
Anais putting all her time into <i>Hadestown, </i>we get a solo album and a new
Bonny Light Horseman, all at once! This album is a reflection of her new life
in New York City, with plenty of wonderful tunes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">65.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->First Aid Kit, <i>Palomino – </i>The Swedish sisters
took the “go big or go home” slogan to heart after a short absence from the
scene, coming back with a larger than life work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">66.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Archers of Loaf, <i>Reason in Decline – </i>To all the
skeptics saying “This doesn’t sound like Archers of Loaf!”, Eric Bachmann spent
more than 20 years with Crooked Fingers and his solo work, and this reunion
album should be seen as more of an extension of that. Which makes it more
relevant for the 21<sup>st</sup> century.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">67.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->King Princess, <i>Hold On, Baby -- <span style="mso-spacerun: yes;"> </span></i>Mikaela Mullaney Straus, aka King
Princess, had a very Broadway-style debut album. Here, Straus offers a sadder
and more sober set of songs, reminiscent of Courtney Barnett’s most recent
album. It’s better than repeating another album of Broadway production, but
also makes for a quiet sophomore release.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">68.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mitski, <i>Laurel Hell – </i>Her voice is more
passionate than ever, though the arrangements on this one didn’t hit me as much
as <i>Be the Cowboy.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">69.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Beyonce, <i>Renaissance – </i>OK, this is indeed an
interesting homage to the dancefloor, and since it is supposed to be the first
in a trilogy, I will reserve judgment in part. But it seems the Queen B’s are
doing their best to convince everyone this is Top Ten material, when it simply
isn’t. Lavish production does not a classic album make.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">70.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Weyes Blood, <i>And in the Darkness, Hearts Aglow – </i>In
her past albums, I thought Natalie Mering had gotten bit angsty and
melodramatic, but this release gets the mix right, adding orchestration without
getting heavy. A beautiful work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">71.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Mountain Goats, <i>Bleed Out – </i>This concept
album on hero-antihero movies had some very decent songs on it, and they follow
the new lusher MGs format, but I didn’t make as much of a gut connection here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">72.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Beth Orton, <i>Weather Alive – </i>So relieved to see
Orton back in the studio after all the health problems she’s experienced. The
arrangements are to die for, she makes the huskier voice work for her, but I
don’t find the Top Ten quality other reviewers do,<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">73.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Harry Styles, <i>Harry’s House – </i>If you listened to
the whole album not knowing it was One Direction’s Styles, you’d wonder who
could come up with such consistently interesting pop. But Harry’s an expert at
that.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">74.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Joan Shelley, <i>The Spur – </i>Back in the summer, I
compared this favorably with Edie Carey’s <i>The Veil, </i>but it still doesn’t
rank in my top three Shelley albums, though it’s still stunning.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">75.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Arcade Fire, <i>We – </i>I had such a problem with
this. It seemed the band really wanted to make a new creative start, but then
the new allegations about Win Butler came out, and the entire band experienced
a mini-meltdown. So sad.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">76.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Florist, s/t – The fourth and eponymous album from
Emily Sprague and partners, this with a broader reach than <i>Emily Alone.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">77.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Neil Young and Crazy Horse, <i>World Record – </i>Three
of the last four Decembers have seen new Crazy Horse albums released. This one
is a two-disc set (not really necessary based on time), with Neil offering
diatribes on the end of the planet. With all the Neil material pouring out of
Neil Young Archives, it’s easy to get a little bit overwhelmed with Neil.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">78.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Angel Olsen, <i>Big Time – </i>A classic of slow
country delivery, though that does not move me as much as some of Olsen’s
less-country albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">79.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i>Trembling and Goggles by Rank – </i>Maybe
not as polished as <i>Crystal Nuns, </i>but a keeper just the same<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">80.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Palm, <i>Nicks and Grazes -- </i><span style="mso-spacerun: yes;"> </span>More experimental electronic chaos by folks who
remain far ahead of that particular curve.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">81.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jack White, <i>Entering Heaven Alive – </i>A
quasi-acoustic album which has good moments, but not nearly as good as his
first 2022 album, <i>Fear of the Dawn</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">82.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Carly Rae Jepsen, <i>The Loneliest Time – </i>Although
unlucky enough to launch a new album on Taylor Swift week, Carly Rae did so
with grace and lots of pop sensibility.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">83.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Andrew Bird, <i>Inside Problems – </i>The first release
in a while where Bird has taken entirely new directions, with an emphasis on
self-disclosure. And now he’s expanding his Gezelligheid winter performances
with My Brightest Diamond.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">84.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Camp Cope, <i>Running with the Hurricane – </i>I think
of this Australian quartet in much the same way I think of Warpaint, powerful
women with a message of liberation. Worth your time.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">85.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->FKA Twigs, <i>Caprisongs – </i>A “mixtape” powerful
enough to be a straight-up Twigs release, though much more lighthearted than
much of her work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">86.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Danger Mouse and Black Thought, <i>Cheat Codes – </i>A
long-anticipated and unusual hybrid of hip-hop and social-change EDM.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">87.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Father John Misty, <i>Chloe and the New 20<sup>th</sup>
Century – </i>An interesting and subdued piece for FJM, playing like a 1930s
Busby Berkeley film.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">88.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sports Team, <i>GULP! – </i>A British band jocky enough
to win a mass audience while weird enough to deserve entry into the British
Dadaist band category. Well played.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">89.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Okay Kaya, <i>SAP – </i>More playful experimentalism
from an artist who remembers how to keep wonder paramount.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">90.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Destroyer, <i>Labyrinthitis – </i>Usually, Dan Bejar’s
cryptic nature and unique arrangements are what make Destroyer great, but this
album left me scratching my head.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">91.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wilco, <i>Cruel Country – </i>A two-record set of
country lamentations should have been just the thing Wilco needed, and
individual songs grabbed me, but the end result was just OK.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">92.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rain Perry, <i>A White Album – </i>As the title would
suggest, this is a folk-rock album about privilege, and it works rather well.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">93.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Soccer Mommy, <i>Sometimes, Forever – </i>Many critics
were calling this Sophie Allison’s most mature work. Didn’t grab me a whole
lot, though it’s Soccer Mommy, so still a worthy release.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">94.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Silversun Pickups, <i>Physical Thrills – </i>One of the
best of SP’s albums, thanks largely to Nikki Monninger’s contributions.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">95.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bonny Light Horseman, <i>Rolling Golden Holy </i>– Anais
Mitchell puts her effort into this as well as a solo album, and the trio opts
for original tunes rather than the traditional works in their first album. Good
stuff.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">96.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->SOAK, <i>If I Never Know You Like This Again – </i>Now
that Van Morrison has been reduced to parody, we can say that SOAK is the frankest,
most straightforward songwriter out of Northern Ireland right now.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">97.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lykke Li, <i>eyeye – </i>In theory, this represented a
move forward for Li, though the compositions were a bit ethereal.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">98.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cass McCombs, <i>heartmind – </i>As usual with Cass,
there are brilliant dispatches of lyrics along with odd directions in
arrangement with leave the listener wondering what is going on.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">99.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pixies, <i>Doggerel – </i>I don’t know why people rag
on Frank Black for wanting to turn Pixies into a countryish-rock group. The
Neil Young sound works well for the band.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">100.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Interpol, <i>The Other Side of Make Believe – </i>No
true shifts in direction for Interpol, but some solid new songs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">101.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Post Malone, <i>12-Carat Toothache – </i>Some folks are
bitching that this is the most commercial PM to date, but the songs work for
me, and the album art is cool as well.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">102.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lucius, <i>Second Nature – </i>I’m a fan of anything
this duo puts out. The kind of music great live concerts are made from.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">103.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Plains, <i>s/t – </i>Katie Crutchfield and Jess
Williamson pair up for a very unpretentious set of country tunes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">104.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jockstrap, <i>I Love You Jennifer B – </i>Critics are
absolutely gaga over this duo. I enjoyed this album, but wasn’t bowled over.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">105.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Preoccupations, <i>Arrangements – </i>The Calgary band
formerly know as Viet Cong is back with mournful tunes suggestive of Interpol.
Good return to the fold, though a short album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">106.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bonnie Raitt, <i>Just Like That – </i>So she’s not on
top of the publicity heap any more, she still makes great blues-rock, which is
an accomplishment on its own.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">107.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Midlake, <i>For the Sake of Bethel Woods – </i>Midlake
is back! Sort of a Woodstock conceptual piece, interesting in many ways.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">108.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Smut, <i>How the Light Felt – </i>This Chicago band has
the definite feel of Mazzy Star. Tay Roebuck’s vocals are too exciting to be
called shoegaze, still….<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">109.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Shearwater, <i>The Great Awakening – </i>This feels
more like an enhanced Jonathan Meiburg solo album than a Shearwater group
effort, but it’s been a while since we’ve heard anything from the band.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">110.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Earl Sweatshirt, <i>SICK! – </i>This only got demoted a
bit for being way behind in physical copies being out. It was a surprise
diatribe on Covid casualties among his friends, inserted before his next proper
release, but it deserves its own CD or LP release, which is being promised for
some future time.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">111.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jethro Tull, <i>The Zealot Game – </i>Ian Anderson
revived the JT name for an album that is a <i>j’accuse </i>for the 21<sup>st</sup>
century – which certainly deserves it.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">112.<span style="font: 7pt "Times New Roman";"> </span></span><span style="text-indent: -0.25in;">White
Lung, </span><i style="text-indent: -0.25in;">Premonition – </i><span style="text-indent: -0.25in;">It’s great to have White Lung back, but it’s only
the harmonic songs like “Under Glass” that are truly memorable.</span></p><p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><o:p></o:p></p><p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><span style="mso-list: Ignore;"><span style="font: 7pt "Times New Roman";"></span></span><!--[endif]-->113. Disq, <i>Desperately Imagining Someplace Quiet – </i>I
love the way this indie quartet starts with melodic songs and smears noise and
special effects all over them. A fun listen.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">114.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tyler the Creator, <i>Call Me If You Get Lost – </i>This
was a two-record set without heavy intent, continuing with more of the melodic
R&B base he’s favored of late.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">115.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sasami, <i>Squeeze – </i>An interesting leap, to have
her second album turn into a praise of metal, at least of a sort. Fascinating.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">116.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Nicki Bluhm, <i>Avondale Drive – </i>No Gramblers
necessary for backup here, this is just pure unadulterated Nicki.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">117.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Laura Veirs, <i>Found Light – </i>After her 2020
divorce album from Tucker Martine, this constituted her recovery album, full of
surprises.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">118.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wu Lu, <i>Loggerhead – </i>You thought this was going
to be a Brixton political hip-hop album? So did most people. There’s a lot
going on here, in several dimensions.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">119.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Carmen Villain, <i>Only Love from Now On – </i>Carmen
offers some of the warmest experimentalism out there.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">120.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Charalambides, <i>What is to Come – </i>Good to know
Tom and Christina are still continuing their work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">121.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->May Erlewine, <i>Tiny Beautiful Things – </i>The
Michigan songbird definitely needs a wider audience, and this album is an ideal
vehicle.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">122.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Khruangbin with Vieux Farka Toure, <i>Ali – </i>A
soaring and beautiful album to honor Farka Toure’s father Ali.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">123.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Joe Rainey, <i><span style="mso-spacerun: yes;"> </span>Niineta – </i>Have to admit, this may be the
first experimental powwow album I’ve ever heard. Interesting.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">124.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Drive By Truckers, <i>Welcome 2 Club XIII – </i>After
two blazing political albums, I suppose it was time for DBT to stretch out and
have fun. Ain’t nothing wrong with that.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">125.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Urge Overkill, <i>Oui – </i>Here’s a reunion that the
world should have paid more attention to, but then again, I sort of underplayed
it myself.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">126.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The 1975, <i>Being Funny in a Foreign Language – </i>I’ll
give Matty Healy credit for bringing in Jack Antonoff and BJ Burton to try and
make the band’s music more serious, but when Healy continues his histrionics
and eats raw meat on stage, it’s sort of a lost cause. Still, an interesting
album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">127.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Alt-J, <i>The Dream – </i>The band tries to be less
pretentious and more adventurous here, but still occasionally get stuck in an
Alt-J groove.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">128.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dawn Richard and Spencer Zahn, <i>Pigments – </i>Since
Dawn often lives in the sort of sci-fi R&B neighborhood favored by Janelle
Monae, it’s quite a surprise to hear this floaty, almost new age ethereal
piece.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">129.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bill Callahan, <i>ytilaeR – </i>A more interesting
collection of songs than his last outing, and Callahan feels less like he’s
morphing into a grumpy old man.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">130.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Josh Hoyer & Soul Colossal, <i>Green Light --<span style="mso-spacerun: yes;"> </span></i>New songs that pay tribute to big-band
soul, the funkiest thing in Nebraska.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">131.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Animal Collective, <i>Time Skiffs – </i>It would be
great to say Animal Collective is pursuing new directions, but since they’ve
been just about everywhere, we can just say it’s another new AC album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">132.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Warpaint, <i>Radiate Like This – </i>Good to have the
band back, though this has a fuzzier, more indistinct sound than earlier
albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">133.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fanclubwallet, <i>You Have Got to Be Kidding Me – </i>It’s
still early in the career of Hannah Judge, but you can already tell the project
has a future.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">134.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Lumineers, <i>Brightside – </i>Lumineers is never
as bad as some Denver residents insist; in fact, their last three albums have featured
some very memorable tracks.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">135.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Beach House, <i>once twice melody – </i>Maybe I
wouldn’t have ranked this so low if BH hadn’t been trying so hard to insist it
was epic. It’s a long, involved album, but a little bit of underselling might
have helped.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">136.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Mars Volta, <i>s/t – </i>The founders keep
switching identities between Mars Volta and At the Drive In, but this does not
seem to be a typical MV album at all. It has exciting elements to it, but
doesn’t seem to quite hang together.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">137.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Raw Poetic, <i>Space Beyond the Solar System – </i>Jason
Moore is more of a performance poet than a rapper, and this album spotlights
his work with other poets. The melodic interludes go all over the place in this
long and expansive work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">138.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sarah Borger, <i>Together Alone – </i>I was heartbroken
to miss her set at Lulu’s, as she is defining a rowdy sort of juke-joint singer
for the 2020s.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">139.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Let’s Eat Grandma, <i>Two Ribbons – </i>Norwich
post-teens Rosa Walton and Jenny Hollingworth continue to perfect their
experimental psychedelic pop, and are broadening their US audience.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">140.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Phoenix, <i>Alpha Zulu – </i>Glad to hear Thomas Mars
and band have more energy again, but the music still seems a bit stuck in
arena-rock.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">141.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->!!!, <i>Let It Be Blue – </i>There comes a time when a
downtown NYC dance band begins to tire a little, and this may be that time for
chk-chk-chk.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">142.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Drugdealer, <i>Hiding in Plain Sight – </i>Michael
Collins was actually starting to build a rabid fan base with his Drugdealer
project, but was ready to call it quits, when he met Annette Peacock in Marfa,
TX, who gave him advice about how to revamp the band. I’m liking the result.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">143.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Amanda Shires, <i>Take It Like a Man – </i>I wanted to
like this album from Jason Isbell’s wife a lot better than I did, but she let
too much orchestration get in the way of her songs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">144.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hatchie, <i>Giving the World Away – </i>Slightly
poppier and less breathier than earlier work, Hatchie appears to be solidifying
her voice and approach.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">145.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Curse of Lono, <i>People in Cars – </i>Still a bit tied
to the baritone sadness that characterizes Nick Cave or Tindersticks, this band
nevertheless is trying to widen its arrangements.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">146.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hot Chip, <i>Freakout/Release – </i>The band still
tries to take a young approach to dance music, though they’re moving on into mid-40s.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">147.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->3 Pairs of Boots, <i>Mighty Love – </i>The second album
from this country duo, and a decent collection of original material.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">148.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Titus Andronicus, <i>Will to Live -- <span style="mso-spacerun: yes;"> </span></i>Patrick Stickles wants his New Jersey punk
band to be big and relevant, but he was stuck in a rut lately. This represents
a return to form, although it tries too hard to be epic at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">149.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Yungblud, <i>s/t – </i>For a British vocalist who
actually has some nice pop styles, why does Yungblud feel the need to look like
Billy Idol as a zombie? The persona is sort of dumb.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">150.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Broken Bells, <i>Into the Blue – </i>A decent enough
return effort by James Mercer and Brian Burton, but Mercer has started to bug
me with the arrogant way he carries his Shins and Broken Bells work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">151.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ty Segall, <i>Hello Hi – </i>This is why I’m ambivalent
about Ty. I’m anxious to hear the 2023 CIA collaboration, but this collection
of acoustic numbers is just OK.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">152.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Band of Horses, <i>Things Are Great – </i>The band
likes to leave the impression of never standing still, but often their work
sounds the same, album to album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">153.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Carobae, <i>Scared to Go to Sleep – </i>Caroline Baker
is still a bit rough cut, but as Carobae, she is the perfect DIY artist. You’ll
be hearing more.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">154.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tenci, <i>A Swollen River, A Well Overflowing – </i>This
is folk music of a sort, but Jess Shoman makes music quite unlike anything else
out there, even if it’s a little new-age-hippie at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">155.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Rave-Ups, <i>Tomorrow – </i>A nice reunion from a
band that’s way more than cowpunk.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">156.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Son Little, <i>Like Neptune – </i>A very interesting
R&B effort covering tough personal subjects.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">157.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kevin Morby, <i>This is a Photograph – </i>I’m enjoying
Morby’s duo work with Katie Crutchfield, but his solo albums always sound a
little too 1970s-vocalist for my taste.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">158.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Waymores, <i>Stone Sessions – </i>A fun and lively
set from an Atlanta juke-joint duo.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">159.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->John McCutcheon, <i>Leap! – </i>This is McCutcheon’s third
album in three years, and the breadth of original material he’s releasing is
astonishing, really.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">160.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Omni of Halos, <i>s/t – </i>A Swedish noisy-rock indie
band that tries to bring back the more chaotic part of the 1990s.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">161.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bird Streets, <i>Lagoon – </i>I’ve always appreciated
John Brodeur’s ability to sound like Badfinger, but his tendency to sadness and
regret can ground him.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">162.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Orville Peck, <i>Bronco – </i>The problem with the
novelty of gay masked cowboy is that with your second album, you have to come
up with something new. That only sort of happens here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">163.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Two-Door Cinema Club, <i>Keep On Smiling – </i>Even at
their best, this band tried to be too sparkling. After a lull, Two-Door is back
with new energy, but that energy seems forced.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">164.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Handcuffs, <i>Burn the Rails – </i>Some bands can
reintroduce swagger without stepping all over themselves. This album is their
most fun yet.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">165.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cloud Cult, <i>Metamophorsis</i> –I appreciate the
experimental side of Craig Minowa, but his melodrama keeps the band from being
the mega-stars they might be. This is a nice return after an extended absence,
but falls victim to that over-sincerity.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">166.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Frankie Cosmos, <i>Inner World Peace – </i>Greta Klein
actually accomplishes a nice job of self-analysis, but it’s hard to balance
goofy and sincere sides.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">167.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pedro the Lion, <i>Havasu – </i>I like David Bazan’s
Arizona series as a concept, but I find myself drifting.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">168.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Soraia, <i>Bloom – </i>I want to take ZouZou Mansour’s 1970s
hard-rock-women band at face value, but sometimes it’s hard to decide how much
tongue is in cheek. A cover of KISS’s “Strutter”? Really?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">169.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Evan Cartwright, <i>Bit by Bit – </i>The Toronto
drummer for The Weather Station gives us spoken poetry and percussion, a little
eclectic, but interesting<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">170.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Chelsea Jade, <i>Soft Spot – </i>Is it dreampop? Is it
R&B? Whatever it is, the South Africa-born Jade has a big audience in the
ANZUS nations. Still trying to decide how serious she is.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">171.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Matt Kivel, <i>bend reality like a wave – </i>An
intriguing bit of pop wonder from an ally of Bonnie Prince Billy.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">172.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Judah and the Lion, <i>Revival – </i>This Nashville duo
has roots in Christian rock, which is why everything sounds a little too happy
and full of optimism, with mediocre lyrics attached.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">173.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bren Holmes, <i>Everything You Never Wanted – </i>The
Young Dubliners bassist actually makes a decent singer-songwriter album!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">174.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->A Place to Bury Strangers, <i>See Through You – </i>I
get some value in their arrangements, but there’s still too much of an
unpleasant aura of Goth for my tastes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">175.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->GIFT, <i>Momentary Presence – </i>Interesting in its
own way, TJ Freda explores Baba Ram Dass and gives us a historic exploration of
psychedelia.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">176.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Eels, <i>Extreme Witchcraft – </i>OK, Mark E. is slowly
pulling out of his self-absorbed depression, but he still has a long way to go
to make it back to days of early Eels albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">177.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Arctic Monkeys, <i>The Car – </i>Notice how far down
this is? I’ve followed Alex through a lot of twists and turns, and there are a
few good lyrics and arrangements here, but where the hell did he get the notion
that emulating Nat King Cole and the Nelson Riddle Orchestra would be a good
idea?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">178.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Black Keys, <i>Dropout Blues – </i>So am I picking on
Black Keys solely due to Patrick Carney’s dust-up with wife Michelle Branch?
Well, yes and no. Black Keys have been annoying me for the last few years,
though Dan Auerbach provides something of value every once in a while. Carney,
however, is a total dick, and I wish Michelle would have gone through with the
divorce. <o:p></o:p></p>
<p class="MsoBodyText"><o:p> </o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in;"><o:p> </o:p></p>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) </span></b><span style="font-size: 14pt; mso-bidi-font-weight: bold;"><o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Tedeschi-Trucks
Band, <i style="mso-bidi-font-style: normal;">I Am the Moon, Vols. 1-4 – </i>This
combines four albums and accompanying films to tell a Persian fable about a
pandemic. Truly something out of character for this band, and worthy of
attention.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Lora
Logic/Essential Logic, <i style="mso-bidi-font-style: normal;">Logically Yours<span style="mso-spacerun: yes;"> </span>-- </i>She’s back! The wild saxophonist who disappeared
inside a Krishna house in 1982 has returned with a four-LP retrospective and a
brand-new studio LP, <i>Land of Kali. </i>Her first live show in decades, on
Dec. 1, 2022, proved this is no fluke. Statistically, this is more than OK.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->SAULT,
<i>Six and More – </i>The five CDs of free downloads SAULT put online in late
October are mostly gospel free-jazz, though ending with a session of a
children’s chorale backed by a metal band. This is all serves as proof that you
never know what you might get with SAULT.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Black
Midi, <i>Live Fire – </i>Surprisingly even more coherent than their 2022 studio
album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Zoh
Amba, <i>O Sun/Bhakti – </i>If Lora Logic was the 15-year-old saxophone hero of
1976, Amba is the 23-year-old saxophone hero of 2022. Two 2022 releases from
Tzadik and Mahakala spotlight her ensemble work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Eszter
Balint, <i>I HATE MEMORY! – </i>The Hungarian refugee and queen of the 80s
downtown scene comes back with an “anti-musical” that marketers will tell you
is full of punk rhythms and cool spoken-word poetry, but it’s also graced with
passionate singing dwelling somewhere between Laurie Anderson and Joy Eden
Harrison.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Bruce
Springsteen, <i>Only the Strong Survive -- </i><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>I’m pissed enough at Bruce
for his dynamic pricing fiasco with Ticketbastard (and his “apology” was far
less believable than Taylor Swift’s), that I should boycott him, but damn these
Motown covers are good!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Climax
Golden Twins, <i>Double – </i>It’s been years since we’ve heard from these
cryptic experimentalists, but this self-titled double album is a jam session of
Seattle strange artists, including Jeph Jerman, A-Frames, and The Bishop
Brothers.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Heather
Maloney, <i>No Shortcuts Live – </i>When is the world going to appreciate this
remarkable singer-songwriter?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bill Orcutt, <i>The Entertainer/New Words – </i>A new limited
release from the Fake Estates label.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mark Stewart, <i>VS – </i>The Pop Group’s founder
offers a strange mix of political collaborations and remixes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Various Artists, <i>Dig Me In – </i>A reinterpretation
of Sleater-Kinney’s <i>Dig Me Out, </i>just as fun as it sounds.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";"> </span></span><span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="text-indent: -0.25in;">Various
Artists, </span><i style="text-indent: -0.25in;">Americana Railroad – </i><span style="text-indent: -0.25in;">My only gripe is where was Stephan Merritt
for this collection of songs about trains? Never mind, folks like Peter Case,
Carla Olson, and Don Flemons are along for the ride.</span></p><p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><span style="text-indent: -0.25in;">14. </span><span style="text-indent: -0.25in;">Tall Dwarfs, </span><i style="text-indent: -0.25in;">Unravelled – </i><span style="text-indent: -0.25in;">A double-length
collection of their best lo-fi work from early 1980s to 1990.</span></p><p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Boy Harsher, <i>The Runner OST – </i>It’s taken me a
while to realize just how interesting Boy Harsher is, and this soundtrack
spotlights the duo’s best efforts.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fleet Foxes, <i>A Very Lonely Solstice – </i>A live
version of FF’s latest, which some might deem unnecessary since the band is now
Robin Pecknold, but what the heck. Interesting.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rochelle Jordan, <i>Play with the Changes Remixes – </i>It’s
been a while since a good R&B remix album, and this is it.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Blanck Mass, <i>Ted OST – </i>I’ll admit it, I’m
beginning to look forward to new Blanck Mass work more than Fuck Buttons work.<o:p></o:p></p><p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;">19. The Smile, <i>Live at Montreux Jazz Festival July 2022 -- </i>Thom Yorke's new work in the studio is more rocking than Radiohead, but a big unformed. When performed live, however, Smile songs are big and bold.</p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->My Morning Jacket, <i>Live from Studio A – </i>Nice to
hear Jim James sound so live and unrehearsed for a change.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Neil Young, <i>Toast – </i>This was billed as a “great
lost Young album,” but a lot of albums have been getting that billing since
Young began dumping everything out of his archives. This one was more a
reworking of <i>Are You Passionate? </i><span style="mso-spacerun: yes;"> </span>tunes than a true lost album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cat Power, <i>Covers – </i>On her third release of
cover songs, Cat Power displays once again that she always dishes out nice
works written by others.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fucked Up, <i>Do All Words Can Do – </i>A release of
extras from the last studio session, to prepare us for a new full-length in early
2023.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i>Scalping the Guru – </i>Technically,
this shouldn’t qualify, since all tracks were released in earlier 1990s EPs,
but the presence of “Big School” makes us bend the rules.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Left Banke, <i>Strangers on a Train – </i>Collecting
all the later and unreleased work of Left Banke, of “Walk Away Renee’ fame.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brandi Carlile, <i>In the Canyon Haze – </i>This was
really just an expanded edition of last year’s studio release, but Carlile has
done so many great things for so many people in 2022, we’ll squeeze this in.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Senders, <i>All Killer No Filler – </i>The presence
of guests like Wayne Kramer and Johnny Thunders on this overview of an ‘80s
band should make it essential, though The Senders were pretty rough-cut.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in;"><o:p> </o:p></p>
<h2>Singles and EPs <o:p></o:p></h2>
<p class="MsoNormal"><span style="mso-spacerun: yes;"> </span><span style="font-size: 14pt;">An unusually truncated list this year. Note that both 2-3
and 4-5 were dual EP releases in one year from Alicia Blue and The Accidentals.
An interesting trend, but only slightly different than staggered releases of
singles. Physical singles in CD or 45/12” formats were becoming very hard to
find. I might have missed several, but they are rare.<o:p></o:p></span></p>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Maria T, <i>Afternoon Destroyer – </i>It’s
wonderful to have Maria’s fine guitar and equally fine voice back in the game,
since she’s been keeping a low music profile since the days of the No Other
duo. Bonus points for the physical cassette release. Be sure to download the aperitif
track, “Most Perfect Thing,” as the perfect pairing.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Alicia Blue, <i>Inner Child Work 1</i><o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Alicia Blue, <i>Inner Child Work 2 – </i>What an
unexpected dual gift from an L.A.-to-Nashville songwriter with a singing style
and a lyrical turn of phrase that is very special. If I chose individual songs
of the year, “Don’t Tell Me to Smile” would be way up there.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Accidentals, <i>Time Out Session 1</i><o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Accidentals, <i>Time Out Session 2 – </i>In which the
Traverse City wunderkids share songwriting and studio sessions with worthy
compatriots. Hard to keep The Accidentals still for two seconds.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Marissa Nadler, <i>Wrath of the Clouds – </i>Not a <i>Path
of the Clouds </i>outtakes release in any sense, this one has some very cool
additions to the 2021 main event.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lake Street Dive, <i>Fun Machine Sequel – </i>More
cover tunes one would not expect from this band, though you rarely know what to
expect with LSD. The vinyl version sticks three Beatles singles on the end,
almost enough to declare it an album.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, “Alex Bell” – Leave it to Uncle Bob
to grace us with a 45 when no one else will.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in;"><o:p> </o:p></p>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-18218929612681075502021-12-31T08:05:00.001-08:002021-12-31T08:07:23.964-08:00The List 2021<p> </p><h1 style="text-indent: 0.5in;"><span style="mso-tab-count: 1;"> </span>The
List 2021</h1><h1 style="text-indent: 0.5in;"> Loring Wirbel<o:p></o:p></h1>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoNormal"><span style="font-size: 12pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Even before
the huge supply chain problems in the second half of 2021, the pop music world
had been overdue for a slightly subdued year, which not even a pandemic could
quench in 2020. The slight downturn in new releases in the first quarter seemed
to indicate a breather year for 2021, though the sudden spring flurry of
maniacal new British bands gave the whole year a much-needed kick in the pants.
Still, the number of legitimate studio releases worth hearing dipped under 200
for the year as a whole, reinforcing the idea that things are cooling slightly.
Indie rock and mainstream pop seemed healthy enough, but hip-hop was subdued – a
great release from Little Simz, decent new works from Meek Mill and Doja Cat,
middling works from J. Cole and Tyler the Creator, and a second posthumous
release for Juice WRLD were the high points. And of course, supply chain
problems made it next to impossible to find many physical products. The backlog
at vinyl factories wreaked havoc on the singles/EP market, and made special
albums (live works, compilations) a rare treat.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Farewell to Mike Nesmith of The Monkees,
Robbie Shakespeare of Sly and Robbie, Steve Bronski of Bronski Beat, rapper
Slim 400, writer and musician Greg Tate, composer Stephen Sondheim, Big Big Train
vocalist David Longdon, Graeme Edge of The Moody Blues, Astro of UB40, Ronnie
Wilson of The Gap Band, reggae producer Lee “Scratch” Perry, blues singer
Willie Cobbs, Jay & The Americans founder Jay Black,<span style="mso-spacerun: yes;"> </span>Bush Tetras drummer Dee Pop, Kool & The
Gang founder and bassist Dennis Thomas, Andrea Haugen of Cradle of Filth,
singer Julia Nixon, saxophonist Pee Wee Eliis, Labelle singer Sarah Dash,
drummers Kenny Malone and Dave Harper as well as Stones drummer Charlie Watts,
Fritz McIntyre of Simply Red, Everly Brother Don Everly. folk queen Nanci
Griffith, songwriter Tom T. Hall, Paul Cotton and Rusty Young of Poco, Dusty
Hill of ZZ Top, singer Chuck E. Weiss, rapper Biz Markie, fiddler Byron
Berline, John Lawton of Uriah Heep, Ben Harper’s bassist Juan Nelson, pop
singer B.J. Thomas, rapper Lil Loaded, radical folkie Patrick Sky, rock critic
Ed Ward, Shock G of Digital Underground, Les McKeown of Bay City Rollers, rapper
DMX, Bunny Wailer of The Wailers, Montrose singer Bob James, pianist Chick
Corea, Matt Harris of The Posies, songwriter/producer Phil Spector, Gerry
Marsden of Gerry and the Pacemakers, Sylvain Sylvain of the New York Dolls, and
composer/producer Sophie. I can’t help but feel at times that they might be the
lucky ones….<o:p></o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;"><o:p> </o:p></span></b></p>
<h1><span style="font-size: 16pt;">Regular Studio Albums, 2021<o:p></o:p></span></h1>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Circuit
des Yeux, <i style="mso-bidi-font-style: normal;">-io– </i>Another bid at
perfection after <i style="mso-bidi-font-style: normal;">Reaching for Indigo</i>
. It astonishes me that more people don’t have Haley Fohr on the top of their
lists.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Low,
<i style="mso-bidi-font-style: normal;">HEY WHAT – </i>Over 25 years, Alan and
Mimi have always managed to grow and expand and surprise the listener. The
biggest surprise here is that they have added many experimental elements, yet
are more popular than ever.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->The
Accidentals – <i style="mso-bidi-font-style: normal;">Vessel </i>– Traverse
City’s finest young folk-rock band shifts back to independent production, and
comes up with a real winner.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Squid,
<i style="mso-bidi-font-style: normal;">Bright Green Field – </i>There are at
least five new British bands in the “new maniacal wigged-out British invasion,”
but my top money rides on Squid. Dry Cleaning and BCNR are right behind them,
though.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Dar
Williams, <i style="mso-bidi-font-style: normal;">I’ll Meet You Here – </i>Like
Michelle Zauner of Japanese Breakfast, Williams is becoming as well-known as an
author as she is a folk musician. It’s a good thing she hasn’t given up on the
latter occupation, as this is her best collection of new songs in at least a
decade.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Torres,
<i style="mso-bidi-font-style: normal;">Thirstier – </i>An exciting emergence
from lockdown from one of our finest guitarists and lyricists.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Black
Country New Road, <i style="mso-bidi-font-style: normal;">For the First Time – </i>Out
of the new pack of British manic bands, BCNR has the most math-rock elements in
its delivery. The sophomore album is already due out in February 2022.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Big
Red Machine, <i style="mso-bidi-font-style: normal;">How Long Do You Think It’s
Gonna Last? – </i>The cast of Dessner Brothers, Bon Iver, Taylor Swift, Anais
Mitchell, and Jack Antonoff almost makes this album seem too top-heavy, but BRM
delivers.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->The
Weather Station, <i style="mso-bidi-font-style: normal;">Ignorance – </i>This
might be considered Tamara Lindeman’s breakthrough album, at least for the U.S.
market. And what a wonderful one.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Hold Steady, <i style="mso-bidi-font-style: normal;">Open
Door Policy – </i>Craig Finn finally achieves unity between his solo work and
The Hold Steady band. This one’s dark and surly even as it stresses its party
ethic – perfect for a post-pandemic Hold Steady.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dry Cleaning, <i style="mso-bidi-font-style: normal;">New
Long Leg – </i>Some find vocalist Florence Shaw to be too deadpan to fit in
with the exuberance of the other members of the new British invasion, but after
repeated listens, you’ll probably appreciate her approach.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Japanese Breakfast, <i style="mso-bidi-font-style: normal;">Jubilee</i>
<i style="mso-bidi-font-style: normal;">– </i>Now that she’s a best-selling
author, Michelle Zauner had to step up her JB project in arrangement and
execution. She did, and then some.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lucy Dacus, <i style="mso-bidi-font-style: normal;">Home
Video </i>– The EP released just before lockdown gave us a hint at what Dacus
was up to, and she delivers the goods here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->LUMP, <i style="mso-bidi-font-style: normal;">Animal – </i>Laura
Marling’s second outing with Mike Lindsay is such a step ahead of the first
LUMP album, it approaches the quality of Marling’s solo albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->SPELLLING, <i style="mso-bidi-font-style: normal;">Turning
Wheel – </i>It’s hard to describe what Chrystia Cabral is up to with her
SPELLLING project – think of a highly orchestrated Kate Bush adventure in Betty
Boop-land.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Dodos, <i style="mso-bidi-font-style: normal;">Grizzly
Peak – </i>Some indescribable “wow” factor places this album ahead of The
Dodos’ previous seven. Every track is great.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Black Midi, <i style="mso-bidi-font-style: normal;">Cavalcade
– </i>This may be lowest of the British-mania bands, but on some days, Black
Midi is my favorite example, just because the band ventures all over the place
stylistically.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->St. Vincent, <i style="mso-bidi-font-style: normal;">Daddy’s
Home – </i>Not sure why Annie got middling reviews with this one. Side 2 in
particular is exquisite.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i style="mso-bidi-font-style: normal;">Earth
Man Blues</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i style="mso-bidi-font-style: normal;">It’s
Not Them, It Couldn’t Be Them, It Is Them – </i>Another year with two
near-perfect GbV releases. Pollard makes it look so easy. And now he’s back to
leg kicks, too.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mdou Moctar, <i style="mso-bidi-font-style: normal;">Afrique
Victime – </i>Finally, a shift to Matador Records has given Tuareg guitar a
wider audience.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]--><span style="mso-spacerun: yes;"> </span>Julien
Baker, <i style="mso-bidi-font-style: normal;">Little Oblivions – </i>Baker rocks
out in lusher fashion in her third studio outing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Faye Webster, <i style="mso-bidi-font-style: normal;">I
Know I’m Funny Ha Ha Ha – </i>Billie Eilish and Adele have both adopted smoky
nightclub delivery in their latest outings, but Webster does the sad chanteuse
best of all.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bleachers, <i style="mso-bidi-font-style: normal;">Take
the Sadness Out of Saturday Night – </i>Jack Antonoff is gradually becoming as
good a rock band leader as he is a producer.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Little Simz, <i style="mso-bidi-font-style: normal;">Sometimes
I Might Be Introvert – </i>The fourth album by the British rapper confronts the
split between public and private selves, which is more honesty than you’ll get
from ¾ of the pop stars out there.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Geese, <i style="mso-bidi-font-style: normal;">Projector
– </i>A new Brooklyn quintet that turns out to be just as wonderful as the
hype.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Aimee Mann, <i style="mso-bidi-font-style: normal;">Queens
of the Summer Hotel – </i>What a concept, an orchestrated and soundtrack-like
interpretation of <i style="mso-bidi-font-style: normal;">Girl, Interrupted, </i>talking
frankly of women’s mental health. It’s Aimee, of course she can pull this off.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lana Del Rey <i style="mso-bidi-font-style: normal;">Chemtrails
Over the Country Club</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lana Del Rey, <i style="mso-bidi-font-style: normal;">Blue
Banisters – </i>Yes, it’s her second and third since <i style="mso-bidi-font-style: normal;">Norman Fucking Rockwell </i><span style="mso-spacerun: yes;"> </span>(fourth if you count the album of spoken-word
poetry), and no, she isn’t flagging yet. Great writing, great delivery.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Billie Eilish, <i style="mso-bidi-font-style: normal;">Happier
Than Ever – </i>Even if she startled with her blond tresses and sad bluesy
delivery, this album worked.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Mountain Goats, <i style="mso-bidi-font-style: normal;">Dark
In Here – </i>It’s useful to think of this as a trilogy for lockdown, along
with <i style="mso-bidi-font-style: normal;">Getting Into Knives </i>and the
acoustic <i style="mso-bidi-font-style: normal;">Songs for Pierre Chauvin. </i>John
Darnielle has remained at his peak since the mid-1990s, which is quite a feat.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lingua Ignota, <i style="mso-bidi-font-style: normal;">Sinner
Get Ready – </i>The world needs a more sacred version of Diamanda Galas, and
Kristin Hayter is the real deal.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sons of Kemet, <i style="mso-bidi-font-style: normal;">Black
to the Future – </i>Shabaka proves in all three of his bands that a 21<sup>st</sup>-century
equivalent of Art Ensemble of Chicago is alive and well, and Sons is more on
top than Comet Is Coming.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">34.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Halsey, <i style="mso-bidi-font-style: normal;">If I
Can’t Have Love, I Want Power – </i>So many pop singers went sullen and dark in
a pandemic year, and so did Halsey despite the new baby. But it works,
particularly with the NIN production.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">35.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Adele, <i style="mso-bidi-font-style: normal;">30 </i>–
Hey, she took just the right steps post-divorce to make relevant music, though
at times the expanded 70-minute version of this album goes a little over the
top.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">36.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Illuminati Hotties, <i style="mso-bidi-font-style: normal;">Let
Me Do One More – </i>Sarah Tudzin has a lot more to offer the world than a
great band name. An album that is equal parts hilarious and heartbreaking.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">37.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->James McMurtry, <i style="mso-bidi-font-style: normal;">The
Horses and The Hounds – </i>McMurtry comes back from several years in the
wilderness with perhaps his best work ever.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">38.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Del Amitri, <i style="mso-bidi-font-style: normal;">Fatal
Mistakes – </i>What a treat to have Justin Currie and the Glasgow gang back,
exuberant but grimmer than in the 90s power-pop days. If the blatant songs
about death don’t get you, try “Second Staircase.”<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">39.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rhiannon Giddens, <i style="mso-bidi-font-style: normal;">They’re
Calling Me Home – </i>Her second experimental work with Francesco Turrisi,
exquisitely imagined.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">40.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Chvrches, <i style="mso-bidi-font-style: normal;">Screen
Violence – </i>The only way Lauren Mayberry could speak frankly about abuse and
fame is to treat the album as a horror movie, which was a great idea.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">41.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Cocker Spaniels, <i style="mso-bidi-font-style: normal;">The Cocker Spaniels are Still Alive and So Are You! – </i>Sean Padilla
once again gives us ample reasons to keep going.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">42.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Arab Strap, <i style="mso-bidi-font-style: normal;">As
Days Get Dark – </i>Arab Strap is back as the world needs more expertise in
gloom, and that’s all you need to know.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">43.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Robert Plant & Alison Krauss, <i style="mso-bidi-font-style: normal;">Raise the Roof – </i>Yes, it’s better than <i style="mso-bidi-font-style: normal;">Raising Sand. </i>Thank heavens for return engagements.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">44.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->SAULT, <i style="mso-bidi-font-style: normal;">Nine – </i>The
mysterious British R&B collective offers up their most mainstream work to
hit a wider audience.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">45.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mogwai, <i style="mso-bidi-font-style: normal;">As the
Love Continues – </i>The Scottish music industry finally recognized Mogwai as
one of its most important resources. Another fine album from our favorite crew.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">46.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dawn Richard, <i style="mso-bidi-font-style: normal;">Second
Line: An Electro Revival – </i>Perhaps because she uses space themes a la
Janelle Monae, Richard seems more interesting to me than Black women singers
like Yola or Valerie June.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">47.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->J. Cole, <i style="mso-bidi-font-style: normal;">The
Off-Season – </i>J. Cole proclaims himself not a political spokesman, and gives
us an album largely centered on basketball. Cool enough!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">48.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Godspeed You! Black Emperor, <i style="mso-bidi-font-style: normal;">God’s Pee at World’s End – </i>If you thought that every other
instrumental majestic piece GYBE had ever released was apocalyptic in nature,
this time they mean it, man.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">49.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pom Pom Squad <i style="mso-bidi-font-style: normal;">Death
of a Cheerleader</i> – Everyone seems to love Olivia this year, but few give
credit to the woman who really defines high-school punk pop, Mia Berrin. In
addition to many funny moments, she covers “Crimson and Clover.”<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">50.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->IDLES, <i style="mso-bidi-font-style: normal;">Crawler – </i>I
was ready to scorn this album as being full of Joe’s usual bombast, but you
know what? It’s actually very good, maybe the best IDLES album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">51.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Killers, <i style="mso-bidi-font-style: normal;">Pressure
Machine – </i>Brandon Flowers has crafted a very listenable and heartbreaking
concept album about opioid abuse in small Midwestern towns. When The Killers
decide to get relevant, they are very capable.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">52.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Six Organs of Admittance, <i style="mso-bidi-font-style: normal;">The Veiled Sea – </i>I picked up four LPs in the Three-Lobed 20<sup>th</sup>
anniversary series this year. Pelt, as a live album, is listed separately in
Specials, Body/Dilloway/Head ranks a little lower, Sunburned is Sunburned, so
that leaves Ben Chasny with best of series.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">53.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Olivia Rodrigo, <i style="mso-bidi-font-style: normal;">Sour
– </i>There are no doubt many of you who are wondering why an obvious
teeny-bopper ranked so high with many critics. Admittedly, I don’t have her in
my Top Ten, and I get a little tired of hearing “Driver’s License,” but this
album is nevertheless a whole lot of fun.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">54.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wilderado, <i style="mso-bidi-font-style: normal;">s/t – </i>This
is a charming Tulsa alt-country band that have hints of Del Amitri and Coldplay
in their sound, along with an expected Son Volt or Wilco.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">55.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Clairo, <i style="mso-bidi-font-style: normal;">Sling – </i>Another
one of the single-name sincere pop singers who you simply can’t afford to
ignore.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">56.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Emma-Jean Thackray, <i style="mso-bidi-font-style: normal;">Yellow
– </i>One of the bright new stars in free jazz, and one who adds elements of
space fantasy and funk to her mix.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">57.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The War On Drugs, <i style="mso-bidi-font-style: normal;">I
Don’t Live Here Any More – </i>I usually think of Adam Granduciel as being a
bit grandiose in trying to recreate the 1970s, but in this one, he gets the mix
just right.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">58.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wolf Alice, <i style="mso-bidi-font-style: normal;">Blue
Weekend – </i>A downright rapturous indie-rock-with-female-singer album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">59.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sleigh Bells, <i style="mso-bidi-font-style: normal;">Texis
– </i>Why does everyone think Sleigh Bells is falling victim to formula? I
think this represents Alison’s broadest leap from mega-beats since the band’s
first album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">60.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The World Is A Beautiful Place and I Am No Longer
Afraid to Die, <i style="mso-bidi-font-style: normal;">Illusory Walls – </i>Seems
like the band set out to make its fourth album a summing up of all that had
gone before, and it turned out very nicely indeed.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">61.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tori Amos, <i style="mso-bidi-font-style: normal;">Ocean
to Ocean – </i>A beautiful ode to loneliness, resilience, and pandemic visions.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">62.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Son Volt, <i style="mso-bidi-font-style: normal;">Electro
Melodier – </i>Jay Farrar continues with the fierce political tirade of <i style="mso-bidi-font-style: normal;">Union, </i>albeit with a little more hope
for redemption.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">63.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sarah Jarosz, <i style="mso-bidi-font-style: normal;">Blue
Heron Suite – </i>This might belong in Specials, as it’s a limited-release
grant-driven piece for her mother. But since it’s a studio album, here it shall
remain. Breathtaking in its minimalism.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">64.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Joy Formidable, <i style="mso-bidi-font-style: normal;">Into
the Blue --<span style="mso-spacerun: yes;"> </span></i>Ritzy Bryan has a way of
constantly taking us to the well and bringing us back more treasures to prove
her guitar-angel status.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">65.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Valerie June, <i style="mso-bidi-font-style: normal;">The
Moon & Stars: Prescriptions for Dreamers – </i>This might have been higher,
except for two issues: the neo-Motown approach doesn’t sit as well with me as
her older traditionalist stuff, and the mindfulness and meditation theme is a
bit woo-woo.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">66.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Neil Young & Crazy Horse, <i style="mso-bidi-font-style: normal;">Barn – </i>An impressive, loose collection of ten songs recorded in a
Colorado barn, though given Neil’s output of archival works in 2021, it would
be easy to miss.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">67.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->tUnEyArDs, <i style="mso-bidi-font-style: normal;">Sketchy
– </i>This is sort of mainstream<span style="mso-spacerun: yes;"> </span>for
Merrill Garbus, but if that expands her audience…<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">68.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Body/Dilloway/Head, <i style="mso-bidi-font-style: normal;">s/t
– </i>Many Sonic Youth fans<i style="mso-bidi-font-style: normal;"> </i>were
ecstatic to see Kim Gordon and Bill Nace collaborate with Aaron Dilloway. Nice
idea in theory, but there was a lot of noise tomfoolery going nowhere.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">69.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Esperanza Spalding, <i style="mso-bidi-font-style: normal;">Apothecary
– </i>I applaud Spalding for always adding enough experimentalism to keep the
music from drifting into MOR lite jazz. <o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">70.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Courtney Barnett, <i style="mso-bidi-font-style: normal;">Things
Take Time, Take Time </i>– This is Barnett doing rough-cut, lo-fi songs
appropriate to breakups and pandemics.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">71.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Aeon Station, <i style="mso-bidi-font-style: normal;">Observatory
– </i>Kevin Whelan crafted a nice<i style="mso-bidi-font-style: normal;"> </i>piano-driven
album with hints of Rundgren. Thing is, this was supposed to be the next Wrens
album. Rest assured, there will be no more Wrens albums now.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">72.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Marissa Nadler, <i style="mso-bidi-font-style: normal;">Path
of the Clouds – </i>A delicious concept album about forgotten mysteries and
people who vanish, it integrates her earlier freak-folk and murder ballads styles
with her more advanced folkie styles from the past five years or so.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">73.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tyler the Creator, <i style="mso-bidi-font-style: normal;">Call
Me If You Get Lost –</i> A lot of people say this is an opportunity for Tyler
to reclaim mix tape culture, but given the stunning nature of his last few
works, it seems like a placeholder.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">74.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Snail Mail, <i style="mso-bidi-font-style: normal;">Valentine
– </i>A lot of people are excited about the sophomore Snail Mail album.
Certainly good, but not stunning.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">75.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lake Street Dive, <i style="mso-bidi-font-style: normal;">Obviously
– </i>Sort of a placeholder, as a founder quits, and the rest of the band seeks
new direction.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">76.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tindersticks, <i style="mso-bidi-font-style: normal;">Distortions
– </i>An intriguing and eclectic collection of Stuart’s spoken-word pieces,
lengthier jazz-influenced numbers, and just interesting Tindersticks offerings.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">77.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Nobody’s Girl, <i style="mso-bidi-font-style: normal;">s/t
– </i>The Austin trio lived up to the promise of a first EP with this debut
full-length. Great songwriting throughout.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">78.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Doja Cat, <i style="mso-bidi-font-style: normal;">Planet
Her – </i>Definitely a fine self-produced hip-hop effort for her third album,
but the Grammy nomination for album of the year is a little perplexing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">79.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hiatus Kaiyote, <i style="mso-bidi-font-style: normal;">Mood
Valiant – </i>I think of this band the way I think of Khruangbin – although there’s
an island vibe, it’s hard to peg the music, and a little too self-referential.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">80.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Yola, <i style="mso-bidi-font-style: normal;">Stand for
Myself – </i>The incredible stylistic diversity of this album is both its
strength and its weakness. Yola can work with a multitude of styles, but still
needs to find a center of gravity.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">81.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brandi Carlile, <i style="mso-bidi-font-style: normal;">In
These Silent Days – </i>I always like approaching a new Brandi album, but the
writing is often eclipsed by others in the Americana field.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">82.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kacey Musgraves, <i style="mso-bidi-font-style: normal;">Star-Crossed
– </i>Sort of a similar reaction to BC. Musgraves was brave enough to write
about the split of an apparent great relationship, but the album as a whole
didn’t match her last one.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">83.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Serpentwithfeet, <i style="mso-bidi-font-style: normal;">Deacon
</i>– Josiah Wise is on a quasi-religious mission to tell young Black men it’s
OK to express queer politics in art. There are hints of a Moses Sumney sound
here, albeit without the grandiose sense Sumney sometimes uses.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">84.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Modest Mouse, <i style="mso-bidi-font-style: normal;">The
Golden Casket – </i>We could joke about what a lazy devil-may-care Isaac Brock
is in middle age, but the point is, he realizes it, and Modest Mouse’s latest
material has quite a bit of wry humor.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">85.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Current Joys, <i style="mso-bidi-font-style: normal;">Voyager
– </i>I only recently discovered the cult fan base of Reno songwriter Nick
Rattigan. Reminds me a little of the early days of Will Toledo and Car Seat
Headrest. Nick’s work may not grab me as much as Will’s, but I’d like to see
Current Joys in the 2022 visit to Denver.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">86.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Parquet Courts, <i style="mso-bidi-font-style: normal;">Sympathy
for Life – </i>As a longtime PC fan, I’d have to agree with many fans who were
slightly confused with the band trying to make a “downtown dance” sort of
album. But in a post-Covid environment, PC needs to give NYC all the joy that
can be mustered.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">87.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Willie Nile, <i style="mso-bidi-font-style: normal;">The
Day The Earth Stood Still – </i>Leave it to Nile to give us a topical pandemic
album that really has some thought and compassion behind it.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">88.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Xiu Xiu, <i style="mso-bidi-font-style: normal;">Oh No – </i>I
thought I would cringe at Jamie’s efforts to make a sort of “Duets” album of
the experimental and strange, but guests like Haley Fohr and Sharon Van Etten
make this project work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">89.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ani DiFranco, <i style="mso-bidi-font-style: normal;">Revolutionary
Love – </i>There are many reasons for respecting where Ani wanted to go with
this bid for radical change through mindfulness and love. The songs didn’t
always carry the important message, though.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">90.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Manchester Orchestra, <i style="mso-bidi-font-style: normal;">The Million Masks of God – </i>Even when Andy gets all spiritual, the
results are usually fine.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">91.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Goon Sax, <i style="mso-bidi-font-style: normal;">Mirror
II – </i>This Melbourne, Australia band has a wonderful otherworldly quality
and a great beat.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">92.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Maia Sharp, <i style="mso-bidi-font-style: normal;">Mercy
Rising – </i>A fine set by a worthy Nashville songwriter.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">93.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cub Scout Bowling Pins, <i style="mso-bidi-font-style: normal;">Clang Clang Ho – </i>A Guided by Voices side project that was
interesting in its own light, but paled next to the two albums released by GbV
proper.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">94.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bomba Estereo, <i style="mso-bidi-font-style: normal;">Deja
– </i>Many critics loved this for the environmental consciousness in the tunes,
though the tracks didn’t grab me as much as earlier albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">95.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->My Morning Jacket, <i style="mso-bidi-font-style: normal;">s/t
– </i>Jim James has gotten the band back together with many hybrid styles on
display, but not a lot of memorable tunes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">96.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Morly, <i style="mso-bidi-font-style: normal;">‘Til I
Start Speaking</i> – An interesting singer-songwriter album from a woman
formerly known for trip-hop EPs. Still trying to figure out her center of
gravity.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">97.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->BadBadNotGood, <i style="mso-bidi-font-style: normal;">Talk
Memory – </i>Perhaps the most traditionalist jazz album the band has made, but
traditional in the 1970s ECM style, which is not a criticism by any means.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">98.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Death From Above 1979, <i style="mso-bidi-font-style: normal;">Is 4 Lovers – </i>The duo have always been a rowdier take on The Black
Keys, and this album is a good math-rock meets EDM experiment.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">99.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Meek Mill, <i style="mso-bidi-font-style: normal;">Expensive
Pain – </i>A decent enough fifth album, but no great strides forward.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">100.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Peter Holsapple & Chris Stamey, <i style="mso-bidi-font-style: normal;">Our Back Pages – </i>Every time The dB’s
founders get together, the world benefits.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">101.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Holly Macve, <i style="mso-bidi-font-style: normal;">Not
the Girl –- </i>Macve is in a transitional period from being a British Patsy
Cline imitator to becoming a Nashville original, and she carries the ball
forward on this sophomore album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">102.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sleater-Kinney, <i style="mso-bidi-font-style: normal;">Path
of Wellness – </i>I’ve reconciled myself to S-K as a duo. This may be ranked
low, but there’s a lot to like here, despite all the calls for an S-K boycott.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">103.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Grouper, <i style="mso-bidi-font-style: normal;">Shade – </i>Normally,
I’ll be a strong advocate for anything Liz Harris releases, but this seemed to
be a bit formless and meandering.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">104.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cloud Nothings, <i style="mso-bidi-font-style: normal;">The
Shadow I Remember – </i>So I’ve always liked this band, and I find Dylan
Baldi’s songwriting intriguing, so why did I find a new offering from, say,
Dodos worthy of Top 20, while this one was down low? Sometimes, the difference
is something difficult to put into words. But Cloud Nothings fans will find a
lot to like here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">105.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Heartless Bastards, <i style="mso-bidi-font-style: normal;">A
Beautiful Life – </i>Three cheers to Erika Wennerstrom for keeping up the
positivism in a Covid year.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">106.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->PACKS, <i style="mso-bidi-font-style: normal;">Take the
Cake – </i>Plenty of people think PACKS is Canada’s future of indie rock. I
like Madeline Link’s style, I like the looseness, but the gauzy nature reminds
me of Yo La Tengo or The Feelies, which means my mind can wander at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">107.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Deerhoof, <i style="mso-bidi-font-style: normal;">Actually
You Can – </i>Nice to see the goofy experimentalists in Deerhoof make a plea
for positivism and activism in the wake of the pandemic. Problem is, the band
has been so prolific of late, it’s hard to give all releases proper due.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">108.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Martha Wainwright, <i style="mso-bidi-font-style: normal;">Love
Will Be Reborn – </i>I’m always rooting for Martha as being more interesting
than her brother Rufus or father Loudon. Problem is, this album is sort of
romantic and OK, but not a lot to stick to the ribs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">109.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Azure Ray, <i style="mso-bidi-font-style: normal;">Remedy
– </i>I’m a huge fan of Maria Taylor and Orenda Fink, and I look forward to any
reunion of Azure Ray. This one had interesting songs, but nothing that hits the
listener.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">110.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Garbage, <i style="mso-bidi-font-style: normal;">No Gods
No Masters – </i>Some might say Shirley Manson is lost in time, not really
1990s or 2000s or now. But these are some of the best songs she’s penned in a
while.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">111.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Wandering Hearts, <i style="mso-bidi-font-style: normal;">s/t – </i>An exceptional folk-rock/country sophomore album from this UK
group.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">112.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lorde, <i style="mso-bidi-font-style: normal;">Solar
Power – </i>The intention of addressing alternative energy and climate change
is real, but the songs are languorous and sort of formless.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">113.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Black Dice, <i style="mso-bidi-font-style: normal;">Mod
Prog Sic – </i>It’s great to have NYC downtown dance band Black Dice back in
action, but in recent years, folks like Parquet Courts and Gang Gang Dance have
entered their territory, making it hard for Black Dice to keep differentiation.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">114.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Besnard Lakes, <i style="mso-bidi-font-style: normal;">The
Last of the Great Thunderstorm Warnings – </i>Since previous albums have delved
into jazz and chamber sounds, this seems more mainstream prog-rock, but still
fun.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">115.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Niam Ni Charra, <i style="mso-bidi-font-style: normal;">Donelly’s
Arm – </i>Ireland’s greatest traditional fiddle and squeezebox player is back
with a decent album seeking inspiration from all over.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">116.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sturgill Simpson, <i style="mso-bidi-font-style: normal;">The
Ballad of Dood and Juanita – </i>It’s apparent what Simpson was trying to do
here, show empathy on immigration and border issues with a post-Civil-War tale
of star-crossed lovers, but it turned out a bit corny.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">117.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Durand Jones and the Indication, <i style="mso-bidi-font-style: normal;">Private Space – </i>The band remains the best implementers of the Motown
revival out there, all while offering original songs. But interest can wear
off.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">118.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Houndmouth, <i style="mso-bidi-font-style: normal;">Good
for You – </i>The shapeshifters on Indiana shifted to an EDM sound, now they’re
back to indie folk-rock storytelling again. Whew.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">119.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Teenage Fanclub, <i style="mso-bidi-font-style: normal;">Endless
Arcade – </i>I’m waiting for a 21<sup>st</sup>-century TF album to hit me with
even a fraction of the power of <i style="mso-bidi-font-style: normal;">Bandwagonesque.
</i>Still waiting.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">120.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sunburned Hand of the Man, <i style="mso-bidi-font-style: normal;">Pick a Day to Die – </i>An argument can be made for putting this live
album in Specials, though as part of the Three-Lobed 20<sup>th</sup>
Anniversary series, I kept it here (funny thing, I put Pelt in Specials). It’s
been a long time since a Sunburned release, and I love their antics, but all
those releases tend to run together over time.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">121.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Anna Egge, <i style="mso-bidi-font-style: normal;">Between
Us – </i>A long-neglected<i style="mso-bidi-font-style: normal;"> </i>New
Mexican/Canadian songwriter cooks up an impressive new batch of songs. Pay
attention!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">122.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Iceage, <i style="mso-bidi-font-style: normal;">Seek
Shelter – </i>Many folks lump this Danish band with the oddball side of indie
rock, but they’ve always sounded pretty traditional to me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">123.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Blanck Mass, <i style="mso-bidi-font-style: normal;">Inferneaux
– </i>I’m beginning to prefer Blanck Mass solo releases to the Fuck Buttons
duo.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">124.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->SUUNS, <i style="mso-bidi-font-style: normal;">Witness – </i>A
lot of people love SUUNS, but I found this release merely OK.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">125.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lotic, <i style="mso-bidi-font-style: normal;">Water</i>
– J’Kerian Morgan, living in Berlin and releasing ethereal EDM/R&B under
the name Lotic, gets a lot more humane and less scary in this new release.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">126.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Billy Bragg, <i style="mso-bidi-font-style: normal;">The
Million Things That Never Happened </i><span style="mso-spacerun: yes;"> </span>-- I am infinitely glad Bragg is still
offering radical anthems, but on this 13<sup>th</sup> album, he asks if he as
an aging white cis man has outlived his usefulness. I hope people listen to the
introspective Bragg.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">127.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kool & The Gang, <i style="mso-bidi-font-style: normal;">Perfect Union – </i>Ironic and sad that, as soon as this lively and
relevant reunion album comes out, founder Dennis Thomas dies.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">128.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->John McCutcheon, <i style="mso-bidi-font-style: normal;">Bucket
List – </i>Apologies for the low ranking for this fine message of resilience
and survival. Like Billy Bragg or Willie Nile, McCutcheon shows us how to
remain an activist and keep smiling.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">129.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Stranglers, <i style="mso-bidi-font-style: normal;">Dark
Matters – </i>it’s good to know The Stranglers have renounced their 1970s
misogyny to put their politics in the right place. It’s even better to see their
commitment to memorializing departed keyboardist Dave Greenfield.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">130.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Split Single, <i style="mso-bidi-font-style: normal;">Amplificado
– </i>Jason Narducy<i style="mso-bidi-font-style: normal;"> </i>of Superchunk
heads up this supergroup with Mike Mills of REM and John Wurster of The
Mountain Goats. Fun.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">131.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Foo Fighters, <i style="mso-bidi-font-style: normal;">Medicine
at Midnight – </i>As is often the case with Grohl and the gang, the idea of a
new FF album sounds good, but you forget the songs a day later.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">132.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Crowded House, <i style="mso-bidi-font-style: normal;">Dreamers
Are Waiting – </i>Kudos to Neil Finn for coming back from a Fleetwood Mac tour,
reassembling Crowded House, and kicking out a fine offering.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">133.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Shakespeare & The Blues, <i style="mso-bidi-font-style: normal;">e.g., Rhapsodic – </i>An intrigiung debut from a New Orleans
experimental trio melding jazz, classical, and hip-hop.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">134.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Hushdrops, <i style="mso-bidi-font-style: normal;">The
Static – </i>The Chicago supergroup finished this album just before drummer Joe
Camarillo passed away, which might make this the last Hushdrops album – but
what a legacy.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">135.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kings of Leon, <i style="mso-bidi-font-style: normal;">When
You See Yourself – </i>The Followill brothers told us this would be a creative
reassessment, but the most memorable thing about the album was the art’s
release as an NFT.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">136.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Vaccines, <i style="mso-bidi-font-style: normal;">Back
in Love City – </i>A worthy effort to be sure, but somewhat stuck in early
2000’s polish.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">137.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lara Hope & The Ark-Tones, <i style="mso-bidi-font-style: normal;">Here to Tell</i> – The 2020’s sorely needs rockabilly this spirited.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">138.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lucero, <i style="mso-bidi-font-style: normal;">When You
Found Me –</i> Ben Nichols seems subdued here, an occupational hazard for a
shitkicker band.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">139.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wanderlust, <i style="mso-bidi-font-style: normal;">All a
View – </i>The Philadelphia 1990s power-poppers are back, and it’s as though
nothing has changed.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">140.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Muckers, <i style="mso-bidi-font-style: normal;">Endeavors
– </i>An interesting young band trying for a hybrid of 1970s styles. Infinitely
better than Greta Van Fleet.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">141.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lizzie & The Makers, <i style="mso-bidi-font-style: normal;">Dear Onda Wahl – </i>Nice to hear a NYC band with such respect for
old-time rock and roll.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">142.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Clap Your Hands Say Yeah, <i style="mso-bidi-font-style: normal;">New Fragility – </i>The ranking on this one might lead you to think
Alec Ounsworth has released yet another mediocre album, but this actually has
fine moments.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">143.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mega Bog, <i style="mso-bidi-font-style: normal;">Life
and Another – </i>I should find Erin Birgy’s whimsical experimentalism
delightful in a Faye Webster sense, and I do, but she jumps around all over the
place.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">144.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Chad VanGaalen, <i style="mso-bidi-font-style: normal;">The
World’s Most Stressed-Out Gardener – </i>VanGaalen has always been on my list
of oddball singer-songwriters, but the charm seems worn a little thin here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">145.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Natalie D-Napoleon, <i style="mso-bidi-font-style: normal;">You
Wanted to be the Shore But Instead You Were the Sea – </i>This Australian<i style="mso-bidi-font-style: normal;"> </i>songwriter recorded an album in a Santa
Barbara chapel, with raw and excellent results.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">146.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Davendra Banhart, <i style="mso-bidi-font-style: normal;">Refuge
– </i>The problem here is that Banhart, whose charm is waning for me, elected
to do an ambient album, which runs the risk of being a snoozefest.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">147.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Penelope Trappes, <i style="mso-bidi-font-style: normal;">Three
– </i>A nice chunk of experimentalism.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">148.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Jenny Thing, <i style="mso-bidi-font-style: normal;">American
Canyon – </i>A 1990s one-hit<i style="mso-bidi-font-style: normal;"> </i>indie
wonder returns with some solid new material.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">149.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fly Pan Am, <i style="mso-bidi-font-style: normal;">Frontera
– </i>Nice to have this Godspeed side project back, though the compositions are
middling.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">150.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Bronx, <i style="mso-bidi-font-style: normal;">VI – </i>Hard
rock? Indie rock? Good in any event.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">151.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brigitte Demeyer, <i style="mso-bidi-font-style: normal;">Seeker
– </i>Another fine album by a Nashville writer delivering in a Bonnie Raitt
vein.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">152.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Juliana Hatfield, <i style="mso-bidi-font-style: normal;">Blood
– </i>Every now and then, this 1990s idol delivers with works far superior to
well-known songs like “My Sister.” This album isn’t up at that level, but it
ain’t bad.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">153.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rev. Peyton’s Big Damn Band, <i style="mso-bidi-font-style: normal;">Dance Songs for Hard Times – </i>The title says it all. This year and
this decade sorely need more whoop and holler.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">154.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ty Segall, <i style="mso-bidi-font-style: normal;">Harmonizer
– </i>So shoot me, most of Ty’s work fails to grab me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">155.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->I See Hawks in L.A., <i style="mso-bidi-font-style: normal;">On Our Way – </i>Maybe the most traditionalist of the Hawks albums,
which is not a bad thing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">156.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hayes Carll, <i style="mso-bidi-font-style: normal;">You
Get It All – </i>Carll called this one his return to country roots, but the
physical copies of this album are so hard to find, it will be hard for him to
expand his audience.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">157.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tommy Womack, <i style="mso-bidi-font-style: normal;">I
Thought I Was Fine – </i>Tommy Womack is such an oddball, self-centered
storyteller, it’s hard to know whether to slap him up or thank him for his
frankness. Which is sort of the point.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">158.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Hobbs Sisters, <i style="mso-bidi-font-style: normal;">Turn
It On – </i>Some great Nashville country fun.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">159.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Beach Fossils, <i style="mso-bidi-font-style: normal;">The
Other Side of Life: Piano Ballads – </i>Hey, good for this Brooklyn indie
dream-pop band for trying something new, but piano ballads?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">160.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Anika, <i style="mso-bidi-font-style: normal;">Change – </i>I
admire this British-German writer for her work in poetry and political
journalism, but her music is standard dance-pop.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">161.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Badge Epoque Ensemble, <i style="mso-bidi-font-style: normal;">Scroll – </i>The fourth album in less than 18 months from this new
Toronto jazz-funk group, worth a listen.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">162.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cruzados, <i style="mso-bidi-font-style: normal;">She’s
Automatic – </i>A rock blast from another era, refreshing but oddly dated.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">163.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bluhauz, <i style="mso-bidi-font-style: normal;">s/t – </i>An
interesting new blues artist.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">164.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Carlos Nino and Friends, <i style="mso-bidi-font-style: normal;">More Energy Fields – </i>I know many fans who swear by Nino’s music,
though it seems a bit hippie-trippy.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">165.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jackson Browne, <i style="mso-bidi-font-style: normal;">Downhill
From Everywhere – </i>It pains me to say that there are only a couple of
redeeming moments here. It mostly sounds like Browne is getting tired.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">166.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lionlimb, <i style="mso-bidi-font-style: normal;">Spiral Groove
– </i>The project of Stewart Branaugh has lots of interest violin and cello
things going on.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">167.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Three Pairs of Boots, <i style="mso-bidi-font-style: normal;">Long Rider – </i>An interesting and independently produced country duo.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">168.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brijean, <i style="mso-bidi-font-style: normal;">Feelings
– </i>Brijean Murphy and Doug Stuart are certainly one of the more interesting
Bay Area duos, though the music can be too ethereal at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">169.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Divine Horsemen, <i style="mso-bidi-font-style: normal;">Hot
Rise of an Ice Cream Phoenix – </i>Chris D of Flesh Eaters has had a side
project going with Julie Christensen since the 1980s, but this is the first new
Divine Horsemen in a while. Definitely worthy moments here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">170.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Richard X. Heyman, <i style="mso-bidi-font-style: normal;">Copious
Notes – </i>One of Heyman’s most frank and honest works.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">171.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bat Fangs, <i style="mso-bidi-font-style: normal;">Queen
of My World – </i>Because of their roots in Ex-Hex, many folks want to treat
this Baltimore/DC duo as though they’re the saviors of women’s rock. In both
albums, I’m hearing mostly shades of Heart or Joan Jett, which I don’t find
terribly interesting.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">172.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Keith Kenny, <i style="mso-bidi-font-style: normal;">Lifetime
Ago Motel – </i>New Jersey bard Keith Kenny would like to bring back hints of
SoCal rock, meaning both the lyricism and the riffs. His second album, a
divorce album, is the ideal vehicle for that.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">173.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Son of the Velvet Rat, <i style="mso-bidi-font-style: normal;">Solitary Company – </i>Another slice of indescribable strangeness from
SVR.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">174.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dwayne Dopsie, <i style="mso-bidi-font-style: normal;">Set
Me Free – </i>A nice bit of Zydeco accordion.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">175.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jon Klages, <i style="mso-bidi-font-style: normal;">Fabulous
Twilight – </i>Klages has genuine roots in Hoboken punk and indie, and this
comeback has some fine moments.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">176.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lanterna, <i style="mso-bidi-font-style: normal;">Hidden
Drives – </i>The concept of hidden geographical spaces is a good one, but the
instrumental music here is just sort of so-so.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in;"><o:p> </o:p></p>
<p class="MsoBodyText"><o:p> </o:p></p>
<p class="MsoBodyText"><o:p> </o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in;"><o:p> </o:p></p>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) </span></b><span style="font-size: 14pt; mso-bidi-font-weight: bold;">(Many straightforward
re-releases this year, but not a lot of truly unreleased new works. The
combined reissue of Radiohead’s <i style="mso-bidi-font-style: normal;">Kid
A/Amnesia </i>almost fit here, but not quite.)<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Prince,
<i style="mso-bidi-font-style: normal;">Welcome 2 America – </i>The first release
from the Prince vaults, this is a fully-realized 2010 concept album that did
not see the light of day until last summer. A fine work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->SLONK,
<i style="mso-bidi-font-style: normal;">Where Do You See Yourself in Five Years? –
and the Whole Recorded Works<span style="mso-spacerun: yes;"> </span>-- </i>This
one goes in Specials for two reasons: 1. The 2021 studio album, <i style="mso-bidi-font-style: normal;">Where Do You See Yourself, </i>is only on
cassette and download for now; and 2. The band offered its entire four-hour
back catalog for download at the end of 2021. SLONK deserves a sacred place in
the annals of new British crazed bands.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Pharoah
Sanders, Floating Points, and the London Symphony Orchestra, <i style="mso-bidi-font-style: normal;">Promises – </i>I’m not even going to be
petty enough to get into arguments as to whether this album constitutes an
advanced form of sampling or not. It’s great, who cares how its sound is
manipulated?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Arca,
<i style="mso-bidi-font-style: normal;">kick ii, iii, iiii, iiiii – </i>Those who
considered <i style="mso-bidi-font-style: normal;">kick I </i>a kick in the head,
the electronic experimentalist Arca has taken on the ambitious task of
releasing four themed albums in different subgenres, all mind-blowing to
absorb.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Juice
WRLD, <i style="mso-bidi-font-style: normal;">Fighting Demons – </i>A second
postmortem collection, timed for the second anniversary of his death in 2019.
No discernible decline in quality, in fact, the collaborations with the like of
Justin Bieber and Suga of BTS might indicate this was too commercial. But there
will be odds and sods from the amazing Juice WRLD gracing us for some time to
come.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Various
Artists, <i style="mso-bidi-font-style: normal;">I’ll Be Your Mirror: A Tribute
to the Velvet Underground’s VU and Nico album – </i>Just when you think there’s
been far too many tribute covers of VU and Lou Reed, along comes this album,
timed with the documentary on Apple TV, filled with musicians like Courtney
Barnett and Sharon Van Etten (and even a rare appearance by Michael Stipe).<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Lera
Lynn, <i style="mso-bidi-font-style: normal;">Live and Unplugged at Vinyl Tap – </i>One
of Nashville most underappreciated artists ended up with the best album out of
the Record Store Day Black Friday event.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->The
Beths, <i style="mso-bidi-font-style: normal;">Live in Auckland 2020 – </i>A live
album in a large concert-hall venue in 2020 was a rare thing indeed, but New
Zealand locked down early and was able to move back to full concerts early. Who
better to spotlight than Auckland’s favorite indie pop band? The set list may
be a little too structured, but the music is first rate.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Steve
Earle, <i style="mso-bidi-font-style: normal;">JT –</i>It’s always heartbreaking
when the parent survives the child, but when Steve, who’s already given us a
couple tribute albums of covers, has to do one for his departed son Justin
Townes Earle, it’s all kinds of tragic and all kinds of beautiful.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pelt, <i style="mso-bidi-font-style: normal;">Reticence/Resistance
– </i>As part of the Three-Lobed 20<sup>th</sup> anniversary album series, this
live performance from the mighty Pelt, at Café OTO in 2017, has been unearthed.
It’s been a long time. Here’s hoping Pelt will grace us with more, and that
this wasn’t just a one-off.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lilli Lewis, <i style="mso-bidi-font-style: normal;">Americana
– </i>Lewis weaves so many modern and traditionalist elements on this
sort-of-debut album, it could be considered a standard studio effort, were it
not for the throwbacks that make “Folk Rock Diva” so indescribable. Besides,
she gets a higher ranking this way.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hassan Ibn Ali, <i style="mso-bidi-font-style: normal;">Metaphysics</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hassan Ibn Ali, <i style="mso-bidi-font-style: normal;">Retrospective
– </i>How special that a former colleague of John Coltrane was rediscovered,
and his 1965 unreleased music turns out to be astounding.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Blanck Mass, <i style="mso-bidi-font-style: normal;">Mind
Killer Live – </i>Unlike with the audience sounds of The Beths, there’s not an
easy way to tell this was a live album, except the spontaneity. But this comes
close to being better than Blanck Mass’s studio work, <i style="mso-bidi-font-style: normal;">Inferneaux.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Aerosmith, <i style="mso-bidi-font-style: normal;">1971,
The Road Starts Hear – </i>Another RSD Black Friday hidden gem, these are tapes
of Aerosmith performances prior to their recording contract. Rough-cut and fun.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->John Coltrane, <i style="mso-bidi-font-style: normal;">A
Love Supreme: Live in Seattle – </i>Since live performances of <i style="mso-bidi-font-style: normal;">A Love Supreme </i>have been included in
deluxe newer editions of the album, does this standalone live album serve a
purpose? Oh yes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Moses Sumney, <i style="mso-bidi-font-style: normal;">Live
from Blackalachia – </i>Sumney could have released a live album from locations
like the Hollywood Bowl, but because he decamped from L.A. to Asheville in
2017, it made perfect sense for him to release a live album from the Blue Ridge
Mountains. Transcendent as fuck.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Richard Hell, <i style="mso-bidi-font-style: normal;">Destiny
Street Complete – </i>Since Hell’s 1982 release was overshadowed by the earlier
<i style="mso-bidi-font-style: normal;">Blank Generation, </i>many people don’t own
even a single version of <i style="mso-bidi-font-style: normal;">Destiny Street. </i>This
double-CD set contains four different versions of the album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Explorer Tapes, <i style="mso-bidi-font-style: normal;">s/t
– </i>Two buddies from Dallas were going to make a great duo, and even had
Keith Urban record one of their songs, but their January 2015 sessions stayed
on a shelf somewhere until now. Still sounds fresh nearly seven years later.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Neil Young, <i style="mso-bidi-font-style: normal;">Way
Down in the Rust Bucket – </i>Neil’s other two live releases in 2021, <i style="mso-bidi-font-style: normal;">Live at Carnegie Hall 1970 </i>and <i style="mso-bidi-font-style: normal;">Young Shakespeare, </i>were official
releases of former bootlegs, so they didn’t really count. But this one was a
real oddity – a November 1990 live album for a <i style="mso-bidi-font-style: normal;">Ragged Glory </i>tour, one that had the dangerously unsettling feeling
of the <i style="mso-bidi-font-style: normal;">Arc/Weld </i>days.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Melvins, <i style="mso-bidi-font-style: normal;">Five-Legged
Dog – </i>A two-disc re-interpretation of covers and Melvins originals, but
definitely not a Melvins unplugged.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sarah McQuaid, <i style="mso-bidi-font-style: normal;">The
St. Buryan Sessions – </i>Cornwall folkie McQuaid recorded several originals
and covers in an empty Cornwall church in the height of Covid 2020. A beautiful
set<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Peter Stampfel, <i style="mso-bidi-font-style: normal;">Songs
of the 20<sup>th</sup> Century – </i>A multidisc compilation of Stampfel (of
Holy Modal Rounders and Kweskin Jug Band fame) interpreting one song from each
year of the last century. One would think that the 1920s and 1930s would be
closest to his style, but Stampfel’s interpretations of 1980s pop hits is fascinating.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->David Olney and Anna Kaye, <i style="mso-bidi-font-style: normal;">Whispers and Sighs – </i>Songwriter David Olney left the world in early
2020, and this was his last recording, realized with young East European
chanteuse Anna Kaye in 2019. A fascinating tribute.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Warpaint, <i style="mso-bidi-font-style: normal;">The
Fool Remixed – </i>A Record Store Day 2-LP oddity features an early Warpaint
album remixed to the point of being a genuine new work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Rubinoos, <i style="mso-bidi-font-style: normal;">The
CBS Tapes – </i>Some unreleased goodies from this new wave/power-pop band that
didn’t get a lot of credit in the late 1970s.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Harry Dean Stanton and the Cheap Dates, <i style="mso-bidi-font-style: normal;">October 1993 – </i>Yes, Stanton was a
musician as well as an actor, and had fun playing in a lot of session and bar bands
around L.A.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Alex Chilton, <i style="mso-bidi-font-style: normal;">Boogie
Shoes: Live on Beale Street – </i>There’s always new Alex Chilton material to
dredge up, and this is better than most, but the more I hear of what a total
dickhead Chilton was to others, the less I care about memorials.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Mumps, <i style="mso-bidi-font-style: normal;">Rock
and Roll This, Rock and Roll That – </i>Perhaps the definitive collection of
Lance Loud’s punk band.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Laura Nyro, <i style="mso-bidi-font-style: normal;">Live
in Japan</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Laura Nyro, <i style="mso-bidi-font-style: normal;">Go
Find the Moon – </i>After all the accolades for Joni Mitchell, Karen Dalton,
and countless other 1960s heroines, it’s nice to see the outpouring of love for
Laura Nyro. Her original studio albums were reissued in 2021, and a 1994 live
recording in Japan was unearthed, along with early demo tapes prior to her
contract signing. The former may be a little Hollywood-ish, the latter rough
cut for fans and completeists, but hooray for it all.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Palace Guard, <i style="mso-bidi-font-style: normal;">All
Night Long – </i>The former garage band of Emitt Rhodes gets a collection of
its own.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Clifford/Wright, <i style="mso-bidi-font-style: normal;">For
All the Money in the World – </i>Doug “Cosmo” Clifford of Creedence Clearwater
Revival envisioned this band as a supergroup of sorts in 1971, but the original
recordings ended up in Cosmo’s Vault. They were finally re-engineered and
mastered and released. More from the vault, please!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in;"><o:p> </o:p></p>
<h2>Singles and EPs <span style="font-size: 14pt; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></h2>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wet Leg, “Chaise Longue” – Of course the Amish surrealists
deserve top spot, having taken the world by storm. Yes, there was a physical
release prior to their April 2022 debut album, a 7” single that sold out in
seconds, and is now fetching $60 to $80 on Discogs and eBay. Ya snooze, ya
lose. <o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jorja Smith, <i style="mso-bidi-font-style: normal;">Be Right
Back – </i>One of the most stunning R&B singers in the world right now
graces us with a brief but powerful 8-track release that belongs in EPs due to
its brevity. Can’t go wrong, though.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Skylar Gudasz, “If I Were a Carpenter” – A stunning
live rendition of the Tim Hardin song.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Angel Olsen, <i style="mso-bidi-font-style: normal;">Aisles
– </i>As we wait for the imminent Angel/Sharon duo work, here’s some 1980s
covers that are all kinds of fun.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Torres, “Making Memories” – A fun single featuring
Keith Urban and Nirvana covers.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sons of Kemet, <i style="mso-bidi-font-style: normal;">African
Cosmology – </i>A fantastic 12” single adjunct to the <i style="mso-bidi-font-style: normal;">Black to the Future </i>album.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Spoon, “Wild” – The 7” preview of the 2022 Spoon album
proves there’s life in Brett yet.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Death Cab for Cutie, <i style="mso-bidi-font-style: normal;">The Georgia EP – </i>Covers of Georgia artists to benefit progressive
Georgia politicians. I can get behind that.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cole Quest, <i style="mso-bidi-font-style: normal;">s/t –
</i>Arlo Guthrie’s nephew weighs in with some decent and lively bluegrass.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Janet LaBelle, <i style="mso-bidi-font-style: normal;">Suddenly
– </i>An exciting songwriter worth your attention.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Billie Eilish, “No Time to Die” – Probably one of the
most essential James Bond movie title soundtracks.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Okay Kaya, <i style="mso-bidi-font-style: normal;">The
Incompatible Okay Kaya – </i>The Kaya Wilkins equivalent of a mixtape, and
given Kaya’s inherent weirdness, plenty of fun to hear.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Habibi, <i style="mso-bidi-font-style: normal;">Somewhere
– </i>A brief offering from the psychedelic girl-group Habibi.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ian Jones, <i style="mso-bidi-font-style: normal;">The
Evergreens – </i>A placeholder EP of tunes that are reminiscent of Jackson
Browne.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sam Gelaitry, <i style="mso-bidi-font-style: normal;">IV –
</i>Cool beats from the Scottish producer.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->James DiGirolamo, <i style="mso-bidi-font-style: normal;">Paper
Boats -- </i><span style="mso-spacerun: yes;"> </span>A session musician for
Alice Peacock offers up a 21<sup>st</sup>-century version of yacht-rock.<o:p></o:p></p>
<p class="MsoBodyTextIndent"><o:p> </o:p></p>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-37716357839704545822020-12-31T07:56:00.005-08:002021-01-01T08:40:13.625-08:00The List 2020<p> </p><p class="MsoNormal"><span style="font-size: 12pt;"> </span><span style="font-size: 14pt;"> In a year
dripping with tragedy, quarantine, and financial ruin, there was no reason to
anticipate musicians even rising to the specific occasion, let alone going
above and beyond a typical year. But by the fourth quarter, many musicians were
rushing out special live sets recorded before the pandemic hit, while others
(Drive By Truckers, Taylor Swift, Mountain Goats, and of course Guided by
Voices) opted for more than one release in a year. For once, the economics
favored a return to recorded music. In the past decade, musicians had realized
the bulk of their profits from live performances, but with that option closed,
a push for more recordings, and more physical instantiations of recordings,
simply made sense (OK, there were a few streaming-only albums like Childish
Gambino, but you get the picture). Even as vaccines arrive and the pandemic
eases, we can’t necessarily expect a return to normalcy. It still seems as though
musicians might experience a year of creative burnout soon. But for now, bask
in the greatness, and do your best to support your local independent musician
or record store, because after a year like this one, everyone is struggling.</span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span><o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>With the exception of the live performances
noted, the “Specials” category, as well as singles/EPs, seemed to be sparse.
The good old 40- to 80-minute album format is alive and well.<o:p></o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></p>
<p class="MsoNormal"><span style="font-size: 14pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Covid cost us some fine musicians, notably
singer-songwriter John Prine and Fountains of Wayne founder Adam Schlesinger .
We also lost troubadour Justin Townes Earle, Rush drummer Neil Peart, reggae
crooner Johnny Nash, roots rock and roller Little Richard, Gang of 4 founder
Andy Gill,<span style="mso-spacerun: yes;"> </span>experimental jazz bassist
Gary Peacock, guitar god Eddie Van Halen (as well as Van Halen bassist Mark
Stone), Toots Hibbert of Toots and the Maytals, folkie Trini Lopez, country
mogul Kenny Rogers, early pop-feminist Helen Reddy, Slash magazine founder Bob
Biggs, Chad Stuart of Chad & Jeremy, jazz pianists McCoy Tyner and Keith
Tippett, country rebel Billy Joe Shaver, Kraftwerk founder Florian Schneider, America’s
redneck Charlie Daniels, ambient instrumentalist Harold Budd, Leslie West of
Mountain, Paul Chapman of UFO, Wynton and Bradford’s dad Ellis Marsalis,
filmmaker and Patti Smith Group member Ivan Kral, Fleetwood Mac founder Peter
Green, “69 Love Songs” co-author and co-creator L.D. Beightol, country crooner
Charley Pride, bluegrass guitarist Tony Rice, Buddy Cage of NRPS, Brit-rocker
Spencer Davis and country crooner Mac Davis, occasional King Crimson member
Gordon Haskell, soul man Bill Withers, country singer Hal Ketchum, Love as
Laughter founder Sam Jayne, saxophonist Lee Konig, power-popper Alan Merrill, Bonnie
Pointer of The Pointer Sisters, Steve Priest of The Sweet, country singer K.T.
Oslin, songwriter Emmitt Rhodes, Jorge Santana of Malo, and Americana originals
Jerry Jeff Walker and Eric Weissberg. (And MF Doom died on Halloween, though it wasn't revealed until Dec. 31.) I’m too hoarse to say “Bring out your
dead,” so RIP to you all.<o:p></o:p></span></p>
<p class="MsoNormal"><b style="mso-bidi-font-weight: normal;"><span style="font-size: 14pt;"><o:p> </o:p></span></b></p>
<h1><span style="font-size: 16pt;">Regular Studio Albums, 2020<o:p></o:p></span></h1>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Fiona
Apple, <i style="mso-bidi-font-style: normal;">Fetch the Bolt Cutters– </i>I
know, you’re sick of hearing the references, but in the height of the lockdown,
Apple came through with her first work in years, and it was mind-bogglingly
great in every possible way.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Bob
Dylan, <i style="mso-bidi-font-style: normal;">Rough and Rowdy Ways – </i>Speaking
of unexpected moves in lockdown, Dylan offered up the sprawling “Murder Most
Foul” single, of a style he used to do in 1965, and followed it up with a
double disc that brought <i style="mso-bidi-font-style: normal;">Blonde On Blonde
</i>to mind. What’s not to like?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Phoebe
Bridgers, <i style="mso-bidi-font-style: normal;">Punisher—</i>The album Phoebe
always was destined to make, with fine arrangements and help from her boygenius
and Better Oblivion pals.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Taylor
Swift, <i style="mso-bidi-font-style: normal;">folklore – </i>Go ahead and call
this opportunistic, this is the path Swift should have taken in the first
place, and if the early streamed songs don’t convince you, the track “The
Lakes” should.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Taylor
Swift, <i style="mso-bidi-font-style: normal;">evermore (Tie with #4)– </i>Yeah,
she did it twice, with the same musicians, and no, the second one was not
outtakes, far from it. <span style="mso-spacerun: yes;"> </span>That “Champagne
Problems” track is such a perfect weepy ballad….<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Protomartyr,
<i style="mso-bidi-font-style: normal;">Ultimate Success Today – </i>In which Joe
Casey and his Detroit sullen punks get together with free-jazz musicians, and
madness ensues.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Bruce
Springsteen, <i style="mso-bidi-font-style: normal;">Letter to You </i>– At last
the rumored E Street return shows up, hovering somewhere between <i style="mso-bidi-font-style: normal;">Born In the USA </i>and <i style="mso-bidi-font-style: normal;">Lucky Town. </i>I find it puzzling more don’t have this in their Top
Ten, as it really is one of The Boss’s best.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Xanthe
Alexis, <i style="mso-bidi-font-style: normal;">The Offering – </i>After a year
of tweaking, the perfect haunting album arrives from everyone’s favorite earth
mother, with midwifery and tomfoolery from the Bourgal brothers.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Frances
Quinlan, <i style="mso-bidi-font-style: normal;">Likewise – </i>The lead singer
and guitarist of Hop Along pulls off a stunning solo album with unique
folk-rock stylings.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jeremy Facknitz, <i style="mso-bidi-font-style: normal;">From
Those Sweet Ashes – </i>The next instantiation of Nick Lowe and other power-pop
barons already exists, and this is his defining work to date.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i style="mso-bidi-font-style: normal;">Styles
We Paid For – </i>Some Guided by Voices albums take a while to sink in – this
one, the last of three released in 2020, grabs the neurons and emotions and
won’t let go. <o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Car Seat Headrest, <i style="mso-bidi-font-style: normal;">Making
a Door Less Open – </i>Anyone who thought this album was a disappointment
obviously didn’t hear the five different mixes Will Toledo created for
different physical media. A jaw-dropping work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Juice WRLD, <i style="mso-bidi-font-style: normal;">Legends
Never Die – </i>I approach posthumous albums with a little trepidation, but
this double-length stunner (and the promise of another album to come) suggests
Juice after his untimely 2019 demise could out-Tupac Tupac.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Skylar Gudasz, <i style="mso-bidi-font-style: normal;">Cinema
– </i>The woman behind Chris Stamey and so many other Carolina indies quietly
releases her second solo album, and it’s a stunner.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Run the Jewels, <i style="mso-bidi-font-style: normal;">RTJ4
– </i>Political hip-hop as only RtJ could offer it, bearing more weight than
Rich, Drake, DaBaby, or most contenders.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Paul McCartney, <i style="mso-bidi-font-style: normal;">McCartney
III – </i>The third all-solo album from Macca in his career, and, as with
Dylan, dazzling work from a geezer - as remarkable in its own way as the last
full-band studio album, <i style="mso-bidi-font-style: normal;">Egypt Station.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Shabaka and the Ancestors, <i style="mso-bidi-font-style: normal;">We Are Sent Here by History – </i>British saxophonist Shabaka
Hutchings, a mainstay of The Comet is Coming and Sons of Kemet, shows in this
solo work that the UK is in the forefront of free jazz.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lady Gaga, <i style="mso-bidi-font-style: normal;">Chromatica
– </i>Sure, she’s obviously angling for a post-pandemic dancehall scene, but
her dance arrangements are more exciting than the 2020 disco-revival offerings
of Jessie Ware, Kylie Minogue, or Roisin Murphy.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Waxahatchee, <i style="mso-bidi-font-style: normal;">St.
Cloud – </i>Katie released this understated masterpiece at the very beginning
of lockdown, and it slipped by many people. Now that she’s in an artistic and
emotional bond with Kevin Morby, we can expect some pretty interesting
experiments to emerge.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Halsey, <i style="mso-bidi-font-style: normal;">Mania – </i>Speaking
of edge of pandemic, this January release spotlighting the breadth of Halsey’s
brilliance seems like it came out years and years ago. But what a monster.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Elvis Costello, <i style="mso-bidi-font-style: normal;">Hey
Clockface – </i>Don’t believe those that say Elvis’s reunion with The Impostors
was his renaissance. This new three-city sessions album is his best in decades.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Blue Oyster Cult, <i style="mso-bidi-font-style: normal;">The
Symbol Remains – </i>What?! BOC hits 50, and 20 years from their last studio album,
with the Krugman and Pearlman Svengalis dead, and the album is actually a lively,
funny tour de force? Thank sci-fi writer John Shirley, Richard Meltzer, and the
kids of Bloom and Roeser for providing lyrics, while the band provides the ace
arrangements. More cowbell, you say? More tyranny and mutation!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Weeknd, <i style="mso-bidi-font-style: normal;">After
Hours – </i>Let me be clear in saying the snubbing by the Grammy Awards was
ridiculous. Even if the bloodied-bandage stage makeup is annoying, this album
is a knockout.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Shopping, <i style="mso-bidi-font-style: normal;">All Or
Nothing – </i>Be glad Shopping is consistently holding up DeBordian visions of
Spectacle pre- and post-Trump, pre- and post-pandemic, because Parquet Courts
and Bodega seemed to keep fairly silent this year.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lydia Loveless, <i style="mso-bidi-font-style: normal;">Daughter
– </i>Lydia’s back! Her first since divorce from Ben Lamb, full of wistful and
tearful observations, and that’s really all you need to know.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Soccer Mommy, <i style="mso-bidi-font-style: normal;">Color
Theory – </i>A fine follow-up for Sophie Allison, demonstrating bigger breadth
in her songwriting.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wire, <i style="mso-bidi-font-style: normal;">Mind Hive –
</i>One of the better of the recent Wire releases, these songs will forever be
associated with the tour at the beginning of lockdown, when everyone was afraid
to go hear these songs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Magnetic Fields, <i style="mso-bidi-font-style: normal;">Quickies
– </i>It isn’t so much that the idea of super-short silly pop tunes is that
original, it’s that Stephin Merritt lets Claudia Gonson run much of this show,
which makes it a keeper.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Torres, <i style="mso-bidi-font-style: normal;">Silver
Tongue – </i>A very personal, quieter album, with the kind of unique production
Torres is always famous for – but the songs gain more of an edge in the live
album she released from Berlin, just as Europe was closing down in March.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Throwing Muses, <i style="mso-bidi-font-style: normal;">Sun
Racket – </i>Hooray for the return of Throwing Muses, in which Kristin Hersh
reclaims the band’s glory days of the late 1980s and early 1990s.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Moses Sumney, <i style="mso-bidi-font-style: normal;">Grae
– </i>Sumney has a way of turning out sprawling, majestic psychedelic-soul
masterpieces, though the punch on impact may not be as serious as someone The
Weeknd.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sylvan Esso, <i style="mso-bidi-font-style: normal;">Free
Love – </i>An informal, loving studio session from Amelia Meath and Nick
Sanborn, proving they can be pandemic-level serious and dance at the same time.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Okay Kaya, <i style="mso-bidi-font-style: normal;">Watch
the Liquid Pour – </i>Just when you think there are dozens of great women in
experimental music these days, along come a few more like Kaya and Katie Gately
to explode the field further.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">34.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Childish Gambino, <i style="mso-bidi-font-style: normal;">3.15.20
– </i>Seemingly designed to address the pandemic that was just breaking, this
astonishing last release under the CG name by Donald Glover still has not
gotten a physical CD or LP release. And Tyler the Creator was right, people
have been largely ignoring an astonishing release.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">35.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i style="mso-bidi-font-style: normal;">Mirrored
Aztec – </i>As often happens with GbV, this seemed in September that it was
bound to be the best of the band’s work during pandemic, until <i style="mso-bidi-font-style: normal;">Styles </i>came out in December and blew us
all away.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">36.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Airborne Toxic Event, <i style="mso-bidi-font-style: normal;">Hollywood Park – </i>Mikel Jollett’s autobiography of the same name,
about growing up in the Synanon cult, has become a best-seller. The album
addresses the same topic with a Springsteen sense of gravity.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">37.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Laura Marling, <i style="mso-bidi-font-style: normal;">Song
for Our Daughter – </i>The album launch and global tour was set for late
March/early April, which sort of let the air out on this one. A fine Marling
statement, though still not at the <i style="mso-bidi-font-style: normal;">Once I
Was An Eagle </i>level of production.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">38.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Drive By Truckers, <i style="mso-bidi-font-style: normal;">The
Unraveling – </i>Chances are, Patton Hood never figured the year would be profound
enough to warrant two studio releases, but this earlier one carries all kinds
of political power, particularly in “Thoughts and Prayers.” But the second 2020
release, <i style="mso-bidi-font-style: normal;">The New OK, </i>is equally
important.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">39.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Mountain Goats, <i style="mso-bidi-font-style: normal;">Song
for Pierre Chauvin – </i>As heavily produced as the official <i style="mso-bidi-font-style: normal;">Knives </i>album is, this acoustic album
from lockdown carries a bigger wallop.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">40.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bonny Light Horseman, <i style="mso-bidi-font-style: normal;">s/t </i>– An intriguing new folk trio featuring Anais Mitchell, and the
first we’ve heard from her since becoming a Broadway star.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">41.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Psychedelic Furs, <i style="mso-bidi-font-style: normal;">Made
of Rain – </i>Wow, Richard Butler and band return with an album that is far
more than a nostalgia trip.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">42.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Beths, <i style="mso-bidi-font-style: normal;">Jumping
Rope Gazers – </i>Some think of the New Zealand power pop band’s sophomore
album as a letdown, I think they dazzle with equal fervor to the debut.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">43.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Deep Sea Diver, <i style="mso-bidi-font-style: normal;">Impossible
Weight – </i>When will people start paying attention to the marvelous Jessica
Dobson, guitarist for Beck and The Shins? Maybe the addition of Sharon Van
Etten to these sessions will focus more outside attention.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">44.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Idles, <i style="mso-bidi-font-style: normal;">Ultra Mono
– </i>Joe Talbot wanted this considered the best punk album ever.<span style="mso-spacerun: yes;"> </span>The critics’ middling reviews no doubt
convinced him he’s understood by no one, but my real quibble is almost a
political one: when you define the ultimate revolutionary step in libertarian
terms, with a slight Ayn Rand edge, getting people to “come together” is almost
a contradiction in terms. Nevertheless, an important work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">45.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Smoke Fairies, <i style="mso-bidi-font-style: normal;">Darkness
Brings the Wonders Home – </i>So good to have Smoke Fairies back! This is one
of those very-early 2020 albums that arrived before we all began living in
fear.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">46.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->US Girls, <i style="mso-bidi-font-style: normal;">Heavy
Eyes – </i>It’s hard to remember when Meg Remy was considered an experimental
artist, because she’s turned her US Girls project into a melodic-pop force of nature.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">47.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fleet Foxes, <i style="mso-bidi-font-style: normal;">Shore
– </i>This might be ranked a little low since it will be streaming-only until
February. This is largely Robin Pecknold with backup support, but the crafting
of the album makes it better than <i style="mso-bidi-font-style: normal;">Crack-Up.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">48.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Roddy Rich, <i style="mso-bidi-font-style: normal;">Please
Excuse Me for Being Antisocial – </i>Hearing many tracks in isolation on pop
radio might lead you to believe Rich is hip-hop’s savior. The only limitation
is that on the full-length, he tries too hard to follow older styles of Drake
and O.G. gangsta rappers. That will change over time.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">49.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bully, <i style="mso-bidi-font-style: normal;">Sugaregg –
</i>Many will tell you Alicia Bognanno has crafted the defining album of her
Bully career. I’m not convinced of that, but this album is nonetheless great.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">50.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Laura Veirs, <i style="mso-bidi-font-style: normal;">My
Echo – </i>Divorce albums are tough things in any event, and a divorce album in
pandemic is a boatload of pain. But Veirs manages to rise above in a manner
that could provide lessons for everyone from Suzanne Vega to Ariana Grande.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">51.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dream Wife, <i style="mso-bidi-font-style: normal;">So
When You Gonna…. – </i>Don’t let this trio fool you. They had a mind to redefine
punk in the first album, but there’s a lot more power-pop here than they might
let on.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">52.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mandy Moore, <i style="mso-bidi-font-style: normal;">Silver
Landings – </i>Now that she’s cocooning with Taylor Goldsmith of Dawes and
about to have a baby, it’s easy to forget Moore gave us some tough minor-key
pop tunes reminiscent of Buck-Nicks Fleetwood Mac during the height of
lockdown, addressing her breakup with Ryan Adams. Note that as good as the new
Dawes album is, Mandy’s solo ranks higher.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">53.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Strokes, <i style="mso-bidi-font-style: normal;">The
New Abnormal – </i>Julian Casablancas and the gang wanted to avoid another
“phone it in” album, and the appearance on SNL shows that these songs will
translate well in live performance, if and when. Is this an echo of Strokes
circa 2000? Maybe not, but it’s damned good.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">54.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jehnny Beth, <i style="mso-bidi-font-style: normal;">To
Live is To Love – </i>The Savages’ lead singer wanted to give the world some
spoken and sung art, maybe a bit pretentious in spots, but impressive overall.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">55.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Destroyer, <i style="mso-bidi-font-style: normal;">Have
We Met? – </i>Some fans think this is Dan Bejar’s crowning glory in the
Destroyer band. It is certainly one of the more sophisticated releases, though
it’s hard for me to rank-order his work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">56.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Harmed Brothers, <i style="mso-bidi-font-style: normal;">Across the Waves – </i>Something is incredibly compelling about this
Americana album, more so than the new Jason Isbell, in fact.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">57.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sarah Harmer, <i style="mso-bidi-font-style: normal;">Are
You Gone? – </i>Both of the Canadian songbirds who have vanished for a decade
have unexpectedly returned! Kathleen Edwards rocks a little harder, but
Harmer’s song crafting edges her out ever so slightly.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">58.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Diane Cluck, <i style="mso-bidi-font-style: normal;">Common
Wealth – </i>The queen of the early millennium freak-folk movement is back from
her rural Virginia hiding place, offering earth-mother wisdom in challenging
times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">59.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kesha, <i style="mso-bidi-font-style: normal;">High Road
– </i>Kesha’s latest was in 2020? Seems like a decade ago. At any rate, she’s
turning into sort of a pop-country hybrid, which is cool.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">60.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Katie Gately, <i style="mso-bidi-font-style: normal;">Loom
– </i>An impressive experimental album on loss and change, perfect for pandemic
times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">61.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i style="mso-bidi-font-style: normal;">Surrender
Your Poppy Field – </i>Another in a long line of stunners from Robert Pollard
and the Dayton gang. He makes it look so easy, we get spoiled.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">62.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->SAULT, <i style="mso-bidi-font-style: normal;">(Black
Is/Rise) – </i>A British Black-consciousness work that recalls the gospel side
of Algiers. Should be two separate rankings reflecting two releases, I suppose.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">63.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kathleen Edwards, <i style="mso-bidi-font-style: normal;">Total
Freedom – </i>As with Sarah Harmer, how wonderful to have the missing Canadian
songbirds back. Several tunes on this album will remind you of why a tough
guitar lick in a minor key, and admissions of resignation and defiance, can
have us crying in our beer.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">64.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Mountain Goats, <i style="mso-bidi-font-style: normal;">Getting
Into Knives – </i>Some fine horn-backed sessions from pre-crackdown, with very
polished Darnielle observations, but maybe too polished in places.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">65.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Haim, <i style="mso-bidi-font-style: normal;">Women in
Music III – </i>A fine third outing, and with more diversity than the sophomore
album, though maybe some punches are pulled here and there.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">66.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Suzzy Roche and Lucinda Wainwright Roche, <i style="mso-bidi-font-style: normal;">I Can Still Hear You – </i>Sad but hopeful
music for grim times, the equal if not the better to anything The Roches ever
put out.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">67.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Algiers, <i style="mso-bidi-font-style: normal;">There is
No Year – </i>Perhaps the most explicit political statement from Algiers,
though since this was released in January, the world has changed several times
over.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">68.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lucinda Williams – <i style="mso-bidi-font-style: normal;">Good
Souls Better Angels – </i>The same rules apply as with Algiers above – this is
Williams’ most angry political work, though how this fits in a post-Trump,
post-pandemic world remains to be seen.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">69.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bright Eyes, <i style="mso-bidi-font-style: normal;">Down
in the Weeds Where the World Once Was – </i>Conor Oberst and his band brought
all their best tricks to the Bright Eyes reunion, though after Oberst’s work
with Phoebe Bridgers and Better Oblivion, a Bright Eyes reunion means less than
it once might have meant.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">70.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hinds, <i style="mso-bidi-font-style: normal;">The
Prettiest Curse – </i>Spain’s riot grrl contenders with the Velvet Underground
buzzy sound opt for greater production and a stronger set of tunes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">71.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Megan Thee Stallion, <i style="mso-bidi-font-style: normal;">Good News – </i>OK, Megan may have opted for a little bit of payback
after being shot in the feet, but the bulk of this album is about the power of
Black women and about using one’s sexual power.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">72.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Margo Price, <i style="mso-bidi-font-style: normal;">That’s
How Rumors Get Started – </i>There was careful song-crafting, production by
Sturgill Simpson, and multiple special vinyl editions, but somehow I wasn’t
feeling this one as much as her two previous albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">73.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Adrienne Lenker, <i style="mso-bidi-font-style: normal;">Songs/Instrumentals
– </i>Big Thief’s lead guitarist and lyricist gives us two discs of her own
impressive work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">74.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Darlingside, <i style="mso-bidi-font-style: normal;">Fish
Pond Fish – </i>No one does CSNY-style harmonies like Boston’s Darlingside (not
Fleet Foxes any more), but this studio release didn’t carry quite the lyrical
punch of <i style="mso-bidi-font-style: normal;">Extralife.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">75.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Blitzen Trapper, <i style="mso-bidi-font-style: normal;">Holy
Smokes Future Jokes – </i>Why the hell did this album get so little publicity?
Eric Earley offers some of his best vocal harmonies here, for songs about the
bardo and life transitions.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">76.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Chicks (Dixie Chicks), <i style="mso-bidi-font-style: normal;">Gaslighter – </i>Here’s to the trio that makes their politics even more
explicit than back in Iraq War days when they got in such trouble. And the
Barbie doll cover art is fiercely tongue in cheek. In your face, America.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">77.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dawes, <i style="mso-bidi-font-style: normal;">Good Luck
with Whatever – </i>Taylor Goldsmith pulled out the stops to make this a
notable Dawes outing, though wife Mandy Moore still beat him with a better
album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">78.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Jayhawks, <i style="mso-bidi-font-style: normal;">XOXO
</i>– After more than 30 years in mid-continent Americana, The Jayhawks still
turn out incredible and relevant works.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">79.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Esme Patterson, <i style="mso-bidi-font-style: normal;">There
Will Come Soft Rains – </i>The former Paper Bird singer is back for her fourth
solo outing, though the songs here sound better performed live – which we may
not get again for a while.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">80.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jason Isbell, <i style="mso-bidi-font-style: normal;">Reunions
– </i>The Margo Price rule applies here. Isbell put a lot of effort into the
production side, but the songs didn’t carry the weight of his last few albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">81.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->X, <i style="mso-bidi-font-style: normal;">Alphabetcity –
</i>Hey, I’m just happy Billy Zoom and Exene Cervenka have come back from their
weird spiritual wildernesses, and that the foursome can still crank out a good
punk tune. Equal to early ‘80s X? Nah, but I didn’t have my expectations set
that high. Cool stuff nonetheless.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">82.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pearl Jam, <i style="mso-bidi-font-style: normal;">Gigatron
– </i>I genuinely feel sorry for Eddie Vedder, going to great lengths to insure
Pearl Jam remains relevant, coming out with a set of great tunes, only to have
them launched in the grimmest part of pandemic. Let’s not forget this was here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">83.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->A.J. Scheiber, <i style="mso-bidi-font-style: normal;">Town
Boy – </i>The bard of Minneapolis finally gets his first solo work separate
from Wilkinson James. Serious and droll and silly at turns, and wonderful.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">84.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Steve Earle, <i style="mso-bidi-font-style: normal;">Ghosts
of West Virginia – </i>A powerful, political testament to a mining disaster 20
years ago.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">85.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Killers, <i style="mso-bidi-font-style: normal;">Implode
the Mirage – </i>The same rule of neglect applies to Brandon Flowers. Sure, his
attempts to add Bon Iver-style tweakings are a bit silly, but he calls upon
Weyes Blood and k.d. lang to add to works that have the Springsteen-style sound
of The Killers’ <i style="mso-bidi-font-style: normal;">Sam’s Town. </i>Credit
where credit is due.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">86.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Claudettes, <i style="mso-bidi-font-style: normal;">High
Times in the Dark – </i>Its’ maddening when the ultimate juke-joint band keeps
cranking out great tunes when there are no juke joints in existence.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">87.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kylie Minogue, <i style="mso-bidi-font-style: normal;">Disco
– </i>The pandemic rule applies to fancy disco dance floors. Kylie returns to
throw her hat into the disco revival, and even if her voice and presentation is
middling, I find her songs more original than those from Jessie Ware or Roisin
Murphy – though maybe not up to Lady Gaga.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">88.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sufjan Stevens, <i style="mso-bidi-font-style: normal;">The
Ascension – </i>He calls this work his most political and most personal in
years, but I could do with a little less of the EDM style and more of the banjo
with chorus sound from the Michigan and Illinois albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">89.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brian Eno & Roger Eno, <i style="mso-bidi-font-style: normal;">Mixing Colours – </i>A return to the ambient greatness of both
brothers.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">90.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jess Cornelius, <i style="mso-bidi-font-style: normal;">Distance
– </i>I love it when a new unassuming singer-songwriter comes around and you
just say “Oh yes.” Oh yes.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">91.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Califone, <i style="mso-bidi-font-style: normal;">Echo
Mine – </i>If Califone was going to suddenly reappear after a period of
silence, what better way than with a strange soundtrack?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">92.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Future Islands, <i style="mso-bidi-font-style: normal;">As
Long As You Are – </i>I have to admit to a prejudice – I think that when you
put Sam Herring’s histrionic voice together with Depeche/OMD-style
synthesizers, the end result is a little melodramatic. But I like these songs
in spite of that bias.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">93.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Joan of Arc, <i style="mso-bidi-font-style: normal;">Tim
Melina Theo Bobby – </i>Allegedly the last official Joan of Arc album, this
Chicago band is so difficult to characterize, it’s no surprise they left us
with an understated sampler rather than anything majestic.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">94.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Norah Jones, <i style="mso-bidi-font-style: normal;">Pick
Me Up Off the Floor – </i>This album lets Jones explore her smoky nightclub
side, without trying so hard to prove her indie cred, and it definitely works
for me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">95.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Peter Himmelman, <i style="mso-bidi-font-style: normal;">Press
On – </i>It’s great to hear Himmelman back with songs that recall some of his
early-1990s best.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">96.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Magik Markers, <i style="mso-bidi-font-style: normal;">2020
– </i>Wow, when Elisa Ambrogio isn’t trying so hard to be the queen of noise,
she has an outstanding voice! Magik Markers go melodic.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">97.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Drive By Truckers, <i style="mso-bidi-font-style: normal;">The
New OK – </i>A fitting postscript to the blistering testament from early in the
year, with a side of sadness and preaching.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">98.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Luke Haines and Peter Buck, <i style="mso-bidi-font-style: normal;">Beat Poetry for Survivalists – </i>An intriguing album that has its
moments, though the idea of a Haines-Buck collaboration may be cooler than the
reality.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">99.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Nels Cline Singers, <i style="mso-bidi-font-style: normal;">Share
the Wealth – </i>A massive and sprawling work with some of the singers’ more
out-there compositions.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">100.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sarah Jarosz, <i style="mso-bidi-font-style: normal;">World
On the Ground – </i>Her first attempt at storytelling through the eyes of
others, and a wonderful effort, though the arrangements aren’t as wild as the
last couple albums.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">101.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bonnie Whitmore, <i style="mso-bidi-font-style: normal;">Last
Will & Testament – </i>Some full-throated Americana with big band going on
right here, and some great songwriting as well.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">102.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sad13, <i style="mso-bidi-font-style: normal;">Haunted
Painting – </i>The second solo work from Speedy Ortiz’s Sadie Dupuis, in which
far more serious subject matter is handled with fun hooks and luscious pop
arrangements.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">103.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The 1975, <i style="mso-bidi-font-style: normal;">Notes
on a Conditional Form – </i>The 1975 have a way of telling you it’s time for
profundity or majesty, but much gets lost in translation. <o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">104.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tanya Donelly and the Parkington Sisters, <i style="mso-bidi-font-style: normal;">s/t – </i>I relish any excuse to hear the
beautiful voice of the lead singer of Belly and Throwing Muses, and here she
joins the folkie-oriented Parkington Sisters for some Americana covers.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">105.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->CocoRosie, <i style="mso-bidi-font-style: normal;">Put
the Shine On – </i>I’m so glad the Casady sisters remain weird in these
uncertain times. And I mean that sincerely.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">106.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lapsley, <i style="mso-bidi-font-style: normal;">Through
Water – </i>Even more ethereal and mysterious than her earlier work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">107.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ohme, <i style="mso-bidi-font-style: normal;">Fantasize
Your Ghost – </i>Well, now, here’s an interesting duo. My first introduction, I
want to hear more.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">108.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Nap Eyes, <i style="mso-bidi-font-style: normal;">Snapshot
of a Beginner – </i>One of those great pop albums that came just as the world
turned dark in late March, saving us from spending time without smiles.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">109.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wolf Parade, <i style="mso-bidi-font-style: normal;">Thin
Mind – </i>This is actually one of Wolf Parade’s best works, but one of those
albums destined to be forgotten due to its mid-lockdown release.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">110.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Gordi, <i style="mso-bidi-font-style: normal;">Our Two
Skins – </i>A quiet, minimal and wonderful work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">111.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tobin Sprout, <i style="mso-bidi-font-style: normal;">Empty
Horses – </i>An intriguing album, as the former GbV guitarist shifts more
toward a country/Americana sound.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">112.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sparks, <i style="mso-bidi-font-style: normal;">A Steady
Drip, Drip, Drip – </i>The mere fact that the Mael brothers are still making
relevant music is a minor miracle. Treasure them while they’re still in the
studio.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">113.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jules Shear, <i style="mso-bidi-font-style: normal;">Slower
– </i>Nice contemplative tunes from Shear for a stay-at-home year.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">114.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Caroline Rose, <i style="mso-bidi-font-style: normal;">Superstar
– </i>Rose has made the full shift from folkie to dance-pop queen, though the
new one didn’t have quite the biting edge of <i style="mso-bidi-font-style: normal;">Loner.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">115.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->San Fermin, <i style="mso-bidi-font-style: normal;">Cormorant
I & II – </i>While I’ll always appreciate the composition talents of Ellis
Ludwig-Leone, the power vocals of Charlene Kaye are missing here. San Fermin
goes through lead vocalists at a fairly regular pace, which makes me wonder
about stability….<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">116.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Roisin Murphy, <i style="mso-bidi-font-style: normal;">Roisin
Machine – </i>I like my disco with a side of weird, though Murphy can get lost
in her psychedelia. I still find it preferable to the sophisticated chill sound
of Khruangbin, which is favored by many out there.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">117.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hamilton Leithauser, <i style="mso-bidi-font-style: normal;">The Loves of Your Life – </i>The former Walkmen lead singer must always
be on guard to avoid drifting too far into smoky nightclub crooner territory,
but this has some cool new songs, though the better 2020 Leithauser album was
his live set, in the Specials section.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">118.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Angelica Garcia, <i style="mso-bidi-font-style: normal;">Cha
Cha Palace – </i>Don’t imagine for a moment that the Richmond, VA songwriter’s
talent is limited to novelty works like “Jicama.” Garcia is the real deal.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">119.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Pretenders, <i style="mso-bidi-font-style: normal;">Hate
for Sale – </i>Since Chrissie Hynde’s recent solo efforts have been
disappointing, it’s good to see The Pretenders come back with such power.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">120.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Miley Cyrus, <i style="mso-bidi-font-style: normal;">Plastic
Hearts – </i>No, this isn’t Miley’s “punk” album, too much 21<sup>st</sup>-century
production here. But with guests ranging from Dua Lipa to Joan Jett to Billy
Idol, it’s certainly her best selection of material since Hannah Montana days.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">121.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Field Music, <i style="mso-bidi-font-style: normal;">Making
a New World – </i>If there was an award for “most prescient,” this might take
the top slot. This concept album on the end of WW1 came out in early 2020, and
its relevance, what with a coronavirus that mimicked the 1918 flu, was almost
eerie. Still, the cryptic references made it difficult to tell what Field Music
was trying to say here.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">122.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dua Lipa, <i style="mso-bidi-font-style: normal;">Future
Nostalgia – </i>Sure, the arrangements might be predictable, but it’s fun
nonetheless, and in 2020, fun is good.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">123.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Phantogram, <i style="mso-bidi-font-style: normal;">Ceremony
– </i>A cool release almost forgotten in a plague year.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">124.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Aces<i style="mso-bidi-font-style: normal;">, Under
My Influence – </i>Four Southern California women turn from guitar-heavy
rock-pop to sparkly pop on their second album, and that’s perfectly all right
with me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">125.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tame Impala, <i style="mso-bidi-font-style: normal;">The
Slow Rush – </i>Yeah, you heard right, I was never a huge fan of this
Australian psych project, and nothing I hear makes me place it much higher. At
least it outranks Perfume Genius by a good deal.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">126.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Khruangbin, <i style="mso-bidi-font-style: normal;">Mordechai
– </i>There’s nothing really wrong with this chill Atlanta side of the disco
revival, it’s just that this somehow feels too top-shelf and class-conscious.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">127.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Allman-Betts Band, <i style="mso-bidi-font-style: normal;">Bless
Your Heart – </i>The survivors and kin of the originals get credit for trying
to recreate the sound, though they always have to be careful to be more than a
tribute band.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">128.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jessie Ware, <i style="mso-bidi-font-style: normal;">What’s
Your Pleasure – </i>There is nothing wrong with this disco-revival album from
the leading British dance diva, it’s just that it sounds for more polished and
less innovative than Gaga, Minogue, or Murphy.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">129.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Matt Berninger, <i style="mso-bidi-font-style: normal;">Serpentine
Prison – </i>Not bad for a solo album from The National’s lead singer, though I
liked his duo work with EL VY much better – and his duets with Taylor Swift
carry more wallop.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">130.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Glass Animals, <i style="mso-bidi-font-style: normal;">Dreamland
– </i>An ambitious and interesting piece of pop-psych-soul, though it doesn’t
stick with the listener.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">131.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Flying Lotus, <i style="mso-bidi-font-style: normal;">Flamagra
(Instrumentals) – </i>More an accompaniment to last year’s album than a proper
new release, but still beautiful.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">132.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hala, <i style="mso-bidi-font-style: normal;">Red Herring
</i>– Detroit’s yacht-rock revivalist comes back with an album of happy when
happy is needed most.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">133.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brian Eno, <i style="mso-bidi-font-style: normal;">Film
Music, 1976-2020</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">134.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brian Eno, <i style="mso-bidi-font-style: normal;">Rams –
</i>Two solid chunks of ambient film scoring, necessary for the Eno fan, though
it doesn’t add that much to overall ambient studies.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">135.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Best Coast, <i style="mso-bidi-font-style: normal;">Always
Tomorrow – </i>An impressive collection of songs, though this turns more into a
Bethany Cosentino solo effort with each album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">136.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Microphones, <i style="mso-bidi-font-style: normal;">Microphones
2020 – </i>As much as I love Phil Elverum’s Mt. Eerie work, I should have given
this more of a chance, but putting all the wonderful lyricism in one 40-minute
piece was a challenge.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">137.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mark Lanegan, <i style="mso-bidi-font-style: normal;">Straight
Songs of Sorrow – </i>By all rights, I should have liked this more than most
Lanegan releases, but maybe the year had too much sorrow already.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">138.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dan Penn, <i style="mso-bidi-font-style: normal;">Living
on Mercy – </i>A warm new set of originals from the author of “I’m Your Puppet”
and “Dark End of the Street.”<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">139.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Craig Finn, <i style="mso-bidi-font-style: normal;">All
These Perfect Crosses – </i>This was a two-record set billed as a curated
culling from three studio sessions, but it could have been a single album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">140.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Angel Olsen, <i style="mso-bidi-font-style: normal;">Whole
New Mess – </i>Since this was an acoustic reimagining of last year’s release,
perhaps it should have been in the Specials section. Enchanting in its own way.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">141.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Happy Dead Man, <i style="mso-bidi-font-style: normal;">Vines
Between Eyes – </i>Another spinoff of Sun City Girls members, and a decent
album in its own right.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">142.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bob Mould<i style="mso-bidi-font-style: normal;">, Blue
Hearts – </i>The yang side of <i style="mso-bidi-font-style: normal;">Sunshine
Rock </i>and a great album, but maybe I’m suffering a bit of Mould burnout.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">143.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Kevin Krauter, <i style="mso-bidi-font-style: normal;">Full
Head – </i>A joyful re-spinning of a Rundgren mystique, circa 1973.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">144.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cidny Bullens, <i style="mso-bidi-font-style: normal;">Walkin’
Through – </i>A fine testament to trans politics by the rocker with a long
history as Cindy Bullens.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">145.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Heidi Newfield, <i style="mso-bidi-font-style: normal;">The
Barfly Sessions, Vol. 1 – </i>The lead singer of Trick Pony is back with some
dazzling new Americana blues-county anthems.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">146.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Grimes, <i style="mso-bidi-font-style: normal;">Miss
Anthropocene – </i>I’ll admit to my prejudices and say this album should have
been a lot higher, but I gave her demerit points for having a baby with Elon
Musk and giving the kid such a weird name.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">147.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->And You Will Know Us by the Trail of Dead, <i style="mso-bidi-font-style: normal;">X: Goddess Void – </i>It really is good to
have Trail of Dead back, and a fine album this is, though not breaking a whole
lot of new ground.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">148.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Thurston Moore, <i style="mso-bidi-font-style: normal;">By
the Fire </i>– A competent and inventive double album of material from the
former Sonic Youth lead guitarist that shows his improvisation still is decent.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">149.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Beach Slang, <i style="mso-bidi-font-style: normal;">The
Deadbeat Bang of Heartbreak City – </i>This is all kinds of fun to listen to,
but James Alex wishes he could make it a punk rock 1979 year just by snapping
his fingers, and the revival doesn’t always take.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">150.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Deerhoof, <i style="mso-bidi-font-style: normal;">Future
Teenage Cave Artists – </i>Their official release didn’t spark me as much as
their online George Floyd memorial work, maybe because in comparison with the
Deerhoof gets political effort, this seemed like Dadaism without a purpose.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">151.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Charli XCX, <i style="mso-bidi-font-style: normal;">How
I’m Feeling Now – </i>A great dance mix from the British pop queen, but I
wasn’t feeling it somehow.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">152.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sweet Lizzy Project, <i style="mso-bidi-font-style: normal;">Technicolor – </i>A new and worthy Cuban export, worth your time to
seek out.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">153.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Gasoline Lollipops, <i style="mso-bidi-font-style: normal;">All
the Misery Money Can Buy – </i>Denver’s favorite grit-rockers make an album
sounding like Joe Cocker’s Mad Dogs & Englishmen.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">154.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jeff Tweedy, <i style="mso-bidi-font-style: normal;">Love
is the King – </i>Another year, another pleasant solo album from Wilco’s founder.
OK, I suppose.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">155.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Six Organs of Admittance, <i style="mso-bidi-font-style: normal;">Companion Rises – </i>Hey, it’s Ben Chasny, it bears the mark of
quality.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">156.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pam Tillis, <i style="mso-bidi-font-style: normal;">Looking
for a Feeling – </i>Of all the country singer revival albums out there, this
one is best.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">157.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lindstrom and Prins Thomas, <i style="mso-bidi-font-style: normal;">III – </i>Maybe the best of this duo’s EDM collaborations.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">158.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Nada Surf, <i style="mso-bidi-font-style: normal;">Never
Not Together – </i>Doug Gillard is back with Nada Surf for another fine set of
tunes, and that’s all you need to know.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">159.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Willie Nile, <i style="mso-bidi-font-style: normal;">New
York at Night – </i>Given the total lockdown the city went into in March, this
love song to the city ended up being a haunted tome.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">160.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Stephen Malkmus, <i style="mso-bidi-font-style: normal;">Traditional
Techniques – </i>See Tweedy above. I’d rather hear Malkmus doing this than his
EDM work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">161.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hackedepicciotto, <i style="mso-bidi-font-style: normal;">The
Current – </i>Europe’s most intriguing experimental couple continues to
mystify.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">162.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rituals of Mine, <i style="mso-bidi-font-style: normal;">Hype
Nostalgia – </i>Terra Lopez gives lessons in grief to help us survive a vicious
2020.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">163.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Robert Vincent, <i style="mso-bidi-font-style: normal;">In
This Town You’re Owned – </i>Can a Liverpool songwriter compose convincing
Americana? Damn right.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">164.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Louis Michot and Friends, <i style="mso-bidi-font-style: normal;">Le String Noise – </i>A star-studded odd collaboration of Cajun and
experimental artists. Great fun.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">165.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cut Copy, <i style="mso-bidi-font-style: normal;">Freeze
Melt – </i>This one is more in the strict “Eno meets disco” category than
recent CC works, but is enchanting nonetheless.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">166.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->I Don’t Know How, But They Found Me, <i style="mso-bidi-font-style: normal;">Razzmatazz -- </i><span style="mso-spacerun: yes;"> </span>When this duo spun from Panic at the Disco!
played live sets back in the day, they emphasized comedy a la Spinal Tap. The
first studio album is a little too polished, with some of the chuckle squeezed
out.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">167.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Liar, flower, <i style="mso-bidi-font-style: normal;">Geiger
Counter – </i>A strange and enchanting work from the lead singer of Daisy
Chainsaw.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">168.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pynkie, <i style="mso-bidi-font-style: normal;">#37 – </i>Lyndsie
Radice is a very compelling singer and songwriter, with a style similar to
Claudia Gonson.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">169.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Real Estate, <i style="mso-bidi-font-style: normal;">The
Main Thing – </i>I’ve yet to hear a Real Estate work that ranks more than
“pleasant” in the books, but at least this meets that moderate expectation.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">170.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Biddishop, <i style="mso-bidi-font-style: normal;">Broken
Love – </i>Hypnotic beats, percussion, and singing from Bishop Kendrick of
Tulsa via Colorado.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">171.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ryan and Pony, <i style="mso-bidi-font-style: normal;">Moshi
Moshi – </i>A sparkling and fun release from a duo with roots in Soul Asylum.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">172.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rookie, s/t – An interesting indie-rock-as-classic-rock
effort, worth following for the future.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">173.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Will Butler, <i style="mso-bidi-font-style: normal;">Generations
– </i>A decent second (?) album from the other Butler brother of Arcade Fire.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">174.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Matt Wilson Orchestra, <i style="mso-bidi-font-style: normal;">When I Was A Writer – </i>A wistful collection of happy pop tunes that
can be a good antidote for pandemic<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">175.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cults, <i style="mso-bidi-font-style: normal;">Host – </i>This
album actually has more instrumental backing and more improvisational feel that
any previous Cults album, so let’s give Madeline Follin her due for expanding
the sound.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">176.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Cory Marin, <i style="mso-bidi-font-style: normal;">Dockside
Saints – </i>The Colorado solo blues artist adds some Cajun backdrop to his
work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">177.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Rachel Brooke, <i style="mso-bidi-font-style: normal;">The
Loneliness In Me – </i>Why pay attention to mainstream Nashville when there are
women like Brooke and Whitney Rose around?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">178.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Vance Gilbert, <i style="mso-bidi-font-style: normal;">Good
Good Man – </i>A folkie who’s been out of sight for a while, Gilbert offered
one of 2020’s first albums, well before the lockdown changed everything.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">179.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mark Olson and Ingunn Ringvold, <i style="mso-bidi-font-style: normal;">Magdalen Accepts the Invitation – </i>A former Jayhawks member and his
partner concoct intriguing music for hobbits.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">180.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Mastersons, <i style="mso-bidi-font-style: normal;">No
Time for Love Songs – </i>Always a pleasure to have these Steve Earle
collaborators back, this time with a rather tense little declaration.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">181.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tennis, <i style="mso-bidi-font-style: normal;">Swimmer –
</i>Notice how I always criticize this Denver duo for their aristocratic
detached demeanor, yet I always come back for more? Yeah, so did I.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">182.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Struts, <i style="mso-bidi-font-style: normal;">Strange
Days – </i>Luke Spiller figured two albums’ worth of trying to emulate NY Dolls
or early Aerosmith could only go so far, so why not make an album to chronicle
the pandemic? It hiccups in places, but at least The Struts aren’t standing
still.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">183.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Badge Epoque Ensemble, <i style="mso-bidi-font-style: normal;">Self-Help – </i>An intriguing funk-jazz-electronic mix, with moments of
pure passion.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">184.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Chris Stamey, <i style="mso-bidi-font-style: normal;">Brand
New Shade of Blue – </i>After Stamey produced <i style="mso-bidi-font-style: normal;">20<sup>th</sup> Century Songs </i>in 2019, he returned with a songbook
effort featuring a roster of special guests. Should this be in the Specials
category?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">185.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Will Sexton, <i style="mso-bidi-font-style: normal;">Don’t
Walk the Darkness – </i>A fine selection of tunes from Charlie Sexton’s
brother.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">186.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Perfume Genius, <i style="mso-bidi-font-style: normal;">Set
My Heart On Fire Immediately – </i>I keep trying to figure out a reason why
people think Michael Hadreas is such a genius as a composer. Everything I hear
sounds mildly interesting but predictable, and this latest work is no
exception.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">187.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->James Elkington, <i style="mso-bidi-font-style: normal;">Ever
Roving Eye – </i>Another Wilco-related Chicago project, Elkington has that
roots-folk-blues sound that is instantly likeable.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">188.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Easy Love, <i style="mso-bidi-font-style: normal;">Wander
Feeler – </i>Some good old-fashioned summertime pop love songs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">189.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bill Callahan, <i style="mso-bidi-font-style: normal;">Gold
Record – </i>Many of Callahan’s recent studio works have been exceptional, but
this diffuse and scattered effort carries the hint that maybe, just maybe,
rural bliss is turning him into a bit of a redneck.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">190.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Badly Drawn Boy, <i style="mso-bidi-font-style: normal;">Banana
Skin Shoes – </i>Damon Gough is as eclectic and enchanting as ever, though the
childlike delivery (without being a children’s album) is off-putting at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">191.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Chris Maxwell, <i style="mso-bidi-font-style: normal;">New
Store No. 2 – </i>A sold songwriter’s Americana album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">192.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Avett Brothers, <i style="mso-bidi-font-style: normal;">Third
Gleam – </i>Let’s give the Avett Brothers some credit for treating their fans
to works closer to improvisational than over-planned. Still, the band’s
over-sincerity can trip them up at times.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">193.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ela Minus, <i style="mso-bidi-font-style: normal;">Acts
of Rebellion – </i>Some good, beat-heavy EDM from Colombia, with a few definite
keepers.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">194.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Junko Beat, <i style="mso-bidi-font-style: normal;">Satinfunk
-- </i>One of the more interesting takes on the Great 2020 Disco Revival.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">195.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Isobel Campbell, <i style="mso-bidi-font-style: normal;">There
is No Other – </i>Campbell adjusts to California life and a world separate from
Mark Lanegan, but the former Belle & Sebastian singer still has some pretty
breathy vocals.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">196.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Diana Krall, <i style="mso-bidi-font-style: normal;">This
Dream of You – </i>An interesting combination of traditionals and newer
numbers.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">197.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Whitney Rose, <i style="mso-bidi-font-style: normal;">We
Still Go To Rodeos – </i>Another one of the alt-country unsung wonders who are
much better than the typical Nashville fare.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">198.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ariana Grande, <i style="mso-bidi-font-style: normal;">Positions
– </i>Am I just mad at Grande because she carried the “piss on Pete Davidson”
shtick a bit too far? I don’t think so. Many found this album both more
ballad-oriented and more powerful, but I think she opted for the easy route.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">199.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Turning Jewels Into Water, <i style="mso-bidi-font-style: normal;">Our Reflection – </i>An enchanting work in small doses.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">200.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Devin B. Thompson, <i style="mso-bidi-font-style: normal;">Tales
of the Soul – </i>A revival of classic Motown and Philadelphia sounds, but with
new songs.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">201.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Samoa Wilson and Jim Kweskin, <i style="mso-bidi-font-style: normal;">Horizontal – </i>Any appearance of Jim Kweskin is cause for
celebration, and this smoldering collaboration is interesting.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">202.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Michael Doucet, <i style="mso-bidi-font-style: normal;">Lacher
Prise – </i>This year needed some good old fashioned Zydeco. Here it is.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">203.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Mary Chapin Carpenter, <i style="mso-bidi-font-style: normal;">The Dirt and the Stars – </i>Even if this is ranked low, I’m glad to
see she’s still at it.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">204.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Chris Smither, <i style="mso-bidi-font-style: normal;">More
from the Levee – </i>Another decent Smither collection that more people need to
hear.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">205.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Loma, <i style="mso-bidi-font-style: normal;">Don’t Shy
Away – </i>The second album by a side project of Shearwater, but more ethereal
than Marburg’s main band.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">206.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Marshall Chapman, <i style="mso-bidi-font-style: normal;">Songs
I Can’t Live Without – </i>An eclectic selection of tunes for her unique husky
voice.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">207.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Alex Dixon, <i style="mso-bidi-font-style: normal;">The
Real McCoy – </i>Willie Dixon’s son provides some new interpretations of dad’s
blues.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">208.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Vanessa Carlton, <i style="mso-bidi-font-style: normal;">Love
Is An Art – </i>Some find Carlton inexcusably poppy, but people once said that
about Carly Rae Jepsen and Mandy Moore too. Carlton is definitely worth a
listen.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">209.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Joey Molland, <i style="mso-bidi-font-style: normal;">Be
True to Yourself – </i>A fun pop album from former Badfinger guitarist.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">210.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Tami Nielson, <i style="mso-bidi-font-style: normal;">Chickaboom
– </i>The ghost of Wanda Jackson is back, saucier than ever.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">211.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Carla Olson, <i style="mso-bidi-font-style: normal;">Have
Harmony, Will Travel 2 – </i>A wonderful collection of collaborations from the
Textones guitarist.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">212.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Eels, <i style="mso-bidi-font-style: normal;">Earth to
Dora – </i>I’d like to give Mark Everett some limited credit for trying to
leave his slump, and the execution here is beautiful, but this is still an
Eeels “ain’t it awful” album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">213.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bobby Rush, <i style="mso-bidi-font-style: normal;">Rawer
Than Raw – </i>Two studio blues albums from Rush, two years in a row! We are
blessed.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">214.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->KLLO, <i style="mso-bidi-font-style: normal;">Maybe We
Could – </i>An interesting and moody soul/chill-pop album.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">215.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ellie Goulding, <i style="mso-bidi-font-style: normal;">Brightest
Blue – </i>Definitely a growth in songwriting capacity, and the bonus version
with Juice WRLD is interesting, but it’s still a long and drawn-out experience.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">216.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->My Morning Jacket, <i style="mso-bidi-font-style: normal;">Waterfall
II – </i>I suppose this is an OK follow-up to the first release, but it seems
like Jim James has been treading water lately, while many of his compatriots
are going for 100-meter sprints.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">217.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->John Fusco, <i style="mso-bidi-font-style: normal;">John
the Revelator – </i>Who says producers can’t make fine blues-rock albums?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">218.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bibio, <i style="mso-bidi-font-style: normal;">On the
Wing – </i>I understand the source of Bibio’s popularity in some realms of
ambient and EDM, but he remains an ethereal puzzle to me, for the most part.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">219.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Olafur Arnalds, <i style="mso-bidi-font-style: normal;">Some
Kind of Peace – </i>This got a lot of attraction as chill-mood electronica for
a plague year, but it mostly served as a sleeping aid for me.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">220.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Flaming Lips, <i style="mso-bidi-font-style: normal;">American
Head – </i>I will keep this on my list because Flaming Lips can always provide
a few moments of levity, but honestly Wayne, do we still need to hear about
Martians on drugs?<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.5in;"><o:p> </o:p></p>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) </span></b><span style="font-size: 14pt; mso-bidi-font-weight: bold;">(Lots of last-minute live
sets at the end of the year, and some special spoken-word and collaborative
pieces, but the Specials category is dwindling a bit. I allowed all box sets
in, though Neil Young and Gang of Four boxes were light on unreleased material.
Remember, no greatest hits or re-released older albums qualify.)<o:p></o:p></span></p>
<p class="MsoNormal"><b><span style="font-size: 18pt; mso-bidi-font-size: 10.0pt;"><o:p> </o:p></span></b></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Matmos,
<i style="mso-bidi-font-style: normal;">The Consuming Flame: Open Exercises in
Group Form – </i>Wow, is this audacious in concept. Like an experimental-music
version of <i style="mso-bidi-font-style: normal;">69 Love Songs. </i>Matmos
invites 99 musicians willing to work in a 99-beats-per-minute format to
participate in a sort of phone-it-in jam session for quarantine times, three
hours long!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Mary
Halvorson and Code Girl, <i style="mso-bidi-font-style: normal;">Artlessly
Falling</i><span style="mso-spacerun: yes;"> </span>-- If the debut double-disc
Code Girl album wasn’t ambitious enough, this album uses spoken-word poetry in
the form of sestinas and pantoums to augment the jazz. Just wow. And some guest
readings by Robert Wyatt, too!<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Joni
Mitchell, <i style="mso-bidi-font-style: normal;">Archives Vol. 1 1963-66 – </i>The
most essential of all the box sets this year, because this contains five discs
of a very young Joni that most of us have never heard.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Heather
Leigh, <i style="mso-bidi-font-style: normal;">Glory Days – </i>No dissonant
pedal steel here, just a lovely voice and found sounds at home as she
quarantined in Glasgow. The best of lockdown compositions.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Torres,
<i style="mso-bidi-font-style: normal;">Live in Berlin, March 11, 2020 – </i>A
haunting performance of selections from <i style="mso-bidi-font-style: normal;">Silver
Tongue </i>and earlier works, as Torres performs in Germany on the eve of a
global shutdown.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->The
Mountain Goats, <i style="mso-bidi-font-style: normal;">Jordan Lake Sessions
Parts 1 and 2 – </i>A recording of two livestream performances from The
Mountain Goats in October, covering <i style="mso-bidi-font-style: normal;">Getting
Into Knives </i>and an extensive back catalog.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Deerhoof,
<i style="mso-bidi-font-style: normal;">To Be Surrounded Benefit – </i>Deerhoof’s
online benefit for George Floyd was better than the band’s studio release this
year.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Patti
Smith and Soundwalk Collective, <i style="mso-bidi-font-style: normal;">Peradam –
</i>Maybe the best of the “poetic vision” trilogy of albums, with a very
haunting Smith chanting, “I would not speak of the mountain.”<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";"> </span></span><!--[endif]-->Billie
Eilish, <i style="mso-bidi-font-style: normal;">Live at Third Man Records – </i>Quite
honestly the best release to come out of the three Record Store Day drops this
year, an intimate and warm performance by the megastar.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Game Theory, <i style="mso-bidi-font-style: normal;">Across
the Barrier of Sound – </i>This is sort of a postscript album of unreleased
material from 1988-89, when Scott Miller was touring with Michael Quercio, and
was getting ready to re-form as The Loud Family. Some of us look forward to
anything coming from Scott Miller, and this little gem has liner notes by Doug
Gillard of Guided by Voices.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Richard and Linda Thompson, <i style="mso-bidi-font-style: normal;">Hard Luck Stories – </i>This box is full of unique outtakes from the
late 1970s, but CD production problems made this collection very scarce and
quite pricey.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->John McCutcheon, <i style="mso-bidi-font-style: normal;">Cabin
Fever – </i>A charming download-only album of songs composed in quarantine,
complete with wry references to social distancing. Some day, this will be seen
as a classic period piece of 2020.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Okkervil River, <i style="mso-bidi-font-style: normal;">A
Dream in the Dark – </i>A four-LP compendium of two decades of Okkervil River
performances, a good introduction to the music of Will Sheff, or a great
addition for fans.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Nick Cave, <i style="mso-bidi-font-style: normal;">Idiot
Prayer: Alone at Alexandria Palace – </i>Intended as a companion to a
full-length film, this is Cave with a piano, similar to John Cale’s <i style="mso-bidi-font-style: normal;">Fragments of a Rainy Season.</i><o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Margo Price, <i style="mso-bidi-font-style: normal;">Perfectly
Imperfect at the Ryman – </i>This live album is from her 2018 three-day
residency at The Ryman, so it focuses more on her first two albums than her
newest work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Lana Del Rey, <i style="mso-bidi-font-style: normal;">Violet
Bent Backwards Over the Grass – </i>Don’t let anyone tell you this is
sophomoric beat poetry. It’s compassionate, direct readings with a Plath or
Wakoski feel, with interesting minimal background music.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The War On Drugs, <i style="mso-bidi-font-style: normal;">Live
Drugs – </i>Even if I’m a little lukewarm on Adam Granduciel, this is the first
non-bootleg compilation of live tracks from the 2015-18 period, and worth a
listen.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Various Artists, <i style="mso-bidi-font-style: normal;">Going
to Georgia – </i>A benefit album for Georgia elections, featuring such Merge
artists as Eric Bachmann, Will Butler, Torres, and Superchunk covering songs by
Georgia artists.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Maggie Rogers, <i style="mso-bidi-font-style: normal;">Notes
from the Archive – </i>Remastered songs from 2016 to 2019, prior to her first
proper album – and many are quite good.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sturgill Simpson, <i style="mso-bidi-font-style: normal;">Cutting
Grass #1 – </i>The first of the Butcher Shoppe Sessions, harking from Simpson’s
pre-country bluegrass days. Great fun.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Hamilton Leithauser, <i style="mso-bidi-font-style: normal;">Live at Café Carlyle – </i>A January 2020 performance with selections
from his new album and older works.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Algiers, <i style="mso-bidi-font-style: normal;">Cleveland
20/20 – </i>A 50-minute benefit for Black Lives Matter, featuring a recitation
of those killed by police 2012-20, recorded Sept. 2020.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jason Isbell and Amanda Shires, <i style="mso-bidi-font-style: normal;">Live at the Bend – </i>A physical LP to accompany another downloadable
set, <i style="mso-bidi-font-style: normal;">Live at Brooklyn Bowl, </i>to help
out musicians in a year without performances.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Don Flemons, <i style="mso-bidi-font-style: normal;">Prospect
Hill – </i>Some great roots-music sessions from the Carolina Chocolate Drops
founder.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Belle and Sebastian, <i style="mso-bidi-font-style: normal;">What to Look for in Summer – </i>B&S certainly have offered live
sets before, but this particular collection focuses on newer material, and
includes performances from their sea cruises.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Various Artists, <i style="mso-bidi-font-style: normal;">Willie
Nile Uncovered – </i>An interesting collection of musicians cover Willie Nile’s
songs, with some real gems in the collection.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bobby Bare, <i style="mso-bidi-font-style: normal;">Bare
Sings Silverstein Plus – </i>An 8-CD collection of Bobby Bare (Sr.) covering
the works of Shel Silverstein. Eclectic, perhaps, but very cool.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Joan Shelley, <i style="mso-bidi-font-style: normal;">Live
at the Barmont – </i>A very cool two-LP set focusing on some of her more recent
work.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Stooges, <i style="mso-bidi-font-style: normal;">Live
at Goose Lake – </i>Released in August 2020 on the 50<sup>th</sup> anniversary
of Iggy’s electric performance at the Goose Lake Festival in Michigan.
Soundboard quality is surprisingly good, and you can tell why parents were
scared.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Monkees, <i style="mso-bidi-font-style: normal;">The
Mike and Micky Show Live – </i>Oh, stop acting so snobby. This is a set from
the 2019 performances from the two surviving Monkees, and it’s great.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Gang of Four, <i style="mso-bidi-font-style: normal;">1977-81
– </i>This is great in combining LP versions of the first four albums with a
cassette of a live performance from the time, but it’s overpriced.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ruthie Foster, <i style="mso-bidi-font-style: normal;">Live
at the Paramount – </i>Ruthie’s always been interested in roots music, but here
she adds some standards like “Mack the Knife”. Cool stuff.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Arctic Monkeys, <i style="mso-bidi-font-style: normal;">Live
at Albert Hall – </i>Like Belle & Sebastian, Arctic Monkeys have offered
live sets before, but this one focuses on material from the <i style="mso-bidi-font-style: normal;">Tranquility Base </i>era.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">34.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Yo La Tengo, <i style="mso-bidi-font-style: normal;">We
Have Amnesia Sometimes – </i>Somehow appropriate for a pandemic year,
consisting of five drone pieces.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">35.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sun City Girls, <i style="mso-bidi-font-style: normal;">Live
at the Sky Church – </i>A 2004 recording to honor the great departed weirdos.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">36.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Sigur Ros, <i style="mso-bidi-font-style: normal;">Odin’s
Raven Magic – </i>Sigur Ros hasn’t been heard from in a while, and this is a
2002 recording from an orchestral theatre performance in Iceland, so a little
dated.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">37.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Alison Mosshart, <i style="mso-bidi-font-style: normal;">Sound
Wheel – </i>Mosshart’s work with The Kills and Dead Weather has her pegged as
one tough woman, and this album of poetry plays a little to that, but is
worthwhile in its own right, consistently funny, and occasionally very
self-disclosing.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">38.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->NRBQ, <i style="mso-bidi-font-style: normal;">infrequencies
– </i>Collector songs from the notorious NRBQ are always a cause for
celebration.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">39.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Charli XCX, <i style="mso-bidi-font-style: normal;">Live
from Austin – </i>One of the last live performances from the British diva
before shutdown.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">40.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Pere Ubu, <i style="mso-bidi-font-style: normal;">By
Order of Mayor Pawlicki, Live in Jarocin – </i>This might seem anti-climactic,
given the band’s announced farewell last year, but this is a live album from
Poland in 2017, where the band performs songs from the 1977-80 “Coed Jail”
tour.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">41.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Father John Misty, <i style="mso-bidi-font-style: normal;">Off-Key
in Hamburg, Live – </i>Again, Misty has a few live sets available, but this one
is a benefit for Covid relief, from an August 2019 live set with orchestra in
Hamburg, Germany.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">42.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Bill Kirchen, <i style="mso-bidi-font-style: normal;">The
Proper Years – </i>Commander Cody’s legendary guitarist collects all his Proper
recordings in one fun collection.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">43.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Church, <i style="mso-bidi-font-style: normal;">Last
Call Live at the Music Box – </i>A great reunion set from a nearly-forgotten
1960s pop legend.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">44.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Neil Young, <i style="mso-bidi-font-style: normal;">Neil
Young Archives Vol. 2 </i>and <i style="mso-bidi-font-style: normal;">Homegrown –
</i>As much as I love Neil, I’m putting this at the bottom because he’s been
releasing a lot of overlapping material in the last couple years. <i style="mso-bidi-font-style: normal;">Homegrown, Hitchhiker, Tuscaloosa, </i>and <i style="mso-bidi-font-style: normal;">Live at the Roxy </i>are certainly critical
elements from the “ditch period” of 1972-76, but the long-awaited second volume
of the archives, with ten CDs, overlaps much of the material on the individual
albums. And the box set is $150! Think I’ll take advantage of Neil offering
free access to his archives online until the end of 2020.<o:p></o:p></p>
<p class="MsoBodyText" style="margin-left: 0.75in;"><o:p> </o:p></p>
<h2>Singles and EPs <span style="font-size: 14pt; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></h2>
<p class="MsoNormal"><o:p> </o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Da Baby and Roddy Ricch, “Rockstar” – Not to be
confused with the Post Malone single of the same name, which isn’t bad in its
own right.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Comet Is Coming, <i style="mso-bidi-font-style: normal;">Imminent, <span style="mso-spacerun: yes;"> </span>-- </i>Yes, they’re
Record Store Day regulars, but how many mystical jazz ensembles relish in
releasing EPs and special LPs?<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Harry Pussy, <i style="mso-bidi-font-style: normal;">Superstar
– </i>The long-rumored 1993 Rat Bastard sessions finally get an official 7” 45
rpm release. HP at its primal-scream best.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Adam Weiner, “Christmas Makes Me Cry” – The lead singer
of Low Cut Connie gives us the ultimate 2020 holiday anthem.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Ramond and the Side Three Collective, “Can’t Breathe
(Again)” – One of the best of the BLM and George Floyd-influenced musical
works.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dirty Projectors, <i style="mso-bidi-font-style: normal;">Windows
Open</i><o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dirty Projectors, <i style="mso-bidi-font-style: normal;">Flight
Towers</i><o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dirty Projectors, <i style="mso-bidi-font-style: normal;">Super
Joao</i><o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dirty Projectors, <i style="mso-bidi-font-style: normal;">Earth
Crisis</i><o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Dirty Projectors, <i style="mso-bidi-font-style: normal;">Ring
Road – </i>Since these 5 EPs were also released as the album <i style="mso-bidi-font-style: normal;">5EPs, </i>a case could have been made for
putting them in the standard studio releases for 2020. But David Longstreth
always wanted them to be considered independently, since a different lead
singer is featured for each EP. In any event, this was a great if confusing
idea, and the songs display Dirty Projectors at its finest.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Fiery Furnaces, “Down at the So and So” – They’re back!
‘Nuf said.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Suuns, <i style="mso-bidi-font-style: normal;">Fiction – </i>A
fascinating and ominous EP, featuring originals with single-word titles, and a
closing cover of Frank Zappa’s “Trouble Every Day.”<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->The Dead C, <i style="mso-bidi-font-style: normal;">Unknowns
– </i>Hey, it’s The Dead C, sounding more like Mogwai in this outing.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]--><span style="mso-spacerun: yes;"> </span>Jack Harlow, “What’s
Poppin’,” – The full album may be a catalog of all that is bad in white-boy
hip-hop, but that eerie nightmarish piano trill makes for a great single.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Wye Oak, <i style="mso-bidi-font-style: normal;">No
Horizon – </i>There is never enough Jenn Wassner in the universe, but we’ll
take what meager handouts we can get.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Forever, <i style="mso-bidi-font-style: normal;">Close to
the Flame – </i>The artist June Moon records as Forever, and this EP is a
sample of what we might expect.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Jumpstarted Plowhards, <i style="mso-bidi-font-style: normal;">Round One – </i>The latest project of Mike Watt and Todd Congeliere
promised to have four EPs out in rapid succession, though the pandemic slowed
them down. Still, a cool beginning.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Archers of Loaf, “Raleigh Days” and “Talking Over Talk”
– Two teasers to what was to have been a 2020 reunion tour and album, here’s
hoping more will be coming.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Brittany Howard, <i style="mso-bidi-font-style: normal;">Live
at Sound Emporium – </i>Since this EP had live selections from her 2019 album,
I expected it to exude more life. Good execution, but not as brash as Howard
can get.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -0.25in;"><!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7pt "Times New Roman";">
</span></span><!--[endif]-->Connor Garvey, <i style="mso-bidi-font-style: normal;">Chasing
Horizons – </i>Songs composed on a freighter bound for Iceland. Interesting.<o:p></o:p></p>
<p class="MsoBodyTextIndent" style="margin-left: 0.5in;"><o:p> </o:p></p>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-61097067906315330492019-12-28T08:37:00.001-08:002019-12-28T08:39:39.377-08:00The List 2019<br />
<br />
<br />
<h1 style="text-indent: .5in;">
<o:p></o:p></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"> </span><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> The year and
decade came to an end in far finer shape than it had any right to be, not
because some new genre of pop music defined the decade, but because a startling
number of new artists established themselves, both within 2019 and the decade
previous. The trend toward women’s dominance in pop continued in 2019, to the
point where four-member male rock bands almost became an afterthought – check
out the gender balance of the top 30 this year. It didn’t take any effort to
come up with more than 200 albums in 2019 worth hearing. Reunited bands from a
wealth of previous decades were all the rage, but special albums (live,
compilations, etc.) were a rare commodity, as were EPs. Just as pop discovered
experimentalism a few years ago, it was great to see R&B and hip-hop plunge
headlong into the weird in 2019. Musicians no longer need to stick to genres,
to predictable rhythms, even to identifiable melodies! Oddly enough, pop music
showed more of a risk for experimentation than did rock of the 4/4,
guitar-oriented variety.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> The album as a 40- to 80-minute vehicle for
making an artistic statement was as alive as ever, but the physical
instantiation of that album was in strange shape. All signs pointed to the
death of the CD from larger manufacturers within 2020, but what proved even
stranger was the apparent desire of major labels to fail to ship any form of
physical product, even though they were well aware of the global vinyl fetish. Do
the Big Three labels really WANT to die?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> There are many releases to look forward to
in 2020 – Halsey, TORRES, Cowsills, Diane Cluck, Sarah Harmer, Destroyer in
just the first couple months -- but it
is uncertain whether the releases will show up as anything other than streaming
wraiths in the cloud.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> We lost some wonderful people in 2019,
including Pegi Young (Neil’s former wife), Roky Erickson, David Berman of
Silver Jews, Kim Shattuck of The Muffs, Lorna Doom of The Germs, Peter Tork of
The Monkees, drummer Hal Blaine, Keith Flint of The Prodigy, Mark Hollis of
Talk Talk, experimentalist crooner Scott Walker, rapper Nipsey Hustle, Leon
Redbone, Dr. John, Elliot Roberts, Lloyd Watson of 801, Johnny Clegg, Joao
Gilberto, Daniel Johnston, Eddie Money,
Ric Ocasek of The Cars, Daryl Dragon, Robert Hunter, Ginger Baker, Paul
Barrere, Marie Fredrikksen of Roxette, rapper Juice WRLD, writer Nick Tosches,
and Dick Dale. Hard to remember a year-end list this long and grim. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span style="font-size: 16.0pt;">Regular Studio Albums, 2019<o:p></o:p></span></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Lana
Del Rey, <i>Norman Fucking Rockwell – </i>With
each succeeding album, Del Rey becomes less a dissolute louche and more a
chronicler of this century. You could call this her pinnacle, but I thought the
last album was. Never underestimate Lana Del Rey.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->FKA
Twigs, <i>Magdalene – </i>One could argue
that Twigs and Solange are exploring similar strange and ethereal territories,
but Twigs inserts a little more Kate Bush/Janelle Monae styling into her work,
and hence ranks higher.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->The
National, <i>I Am Easy to Find – </i>Yes,
the short film made the difference for me, but the music alone is the best
thing Matt B. and gang have released in many years. It is inexplicable that
this album didn’t make more Top 10 or even Top 50 lists.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Bis,
<i>Slight Disconnects – </i>Could a Glasgow
teen bubblegum-punk band still find relevance in their mid-40s? Oh yes. Bonus
points for holding their first reunion show at the legendary Hug & Pint.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Jesca
Hoop, <i>Stonechild – </i>A masterpiece from
a woman who makes masterpieces look easy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Sturgill
Simpson, <i>Sound and Fury – </i>If you
thought the duty of a good musical artist was to frighten and surprise, Simpson
sure has gone beyond his original goal of bringing psychedelia to country
music. Bring on the noise.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Holly
Herndon, <i>PROTO – </i>One of America’s
finest experimentalists turns to vocal ensembles, with startling results.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Lizzo,
<i>Cuz I Love You – </i>A newish R&B
artist worth every bit of the hype for her full-length debut.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Solange,
<i>When I Left Home – </i>I am so
appreciative of a Knowles sister keeping it weird. A true avant-classic.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Amanda Palmer, <i>There
Will Be No Intermission – </i>Yes, of course she’s insufferable, but sometimes
that equals great art.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Billie Eilish, <i>When
We All Fall Asleep, Where Do We Go? – </i>Yes, the marketing hype was a bit
extreme for a teen artist, but she and her brother were allowed recording
freedom, and didn’t screw it up.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tyler the Creator, <i>Ygor
– </i>Shifting to a Gil-Scott Heron piano-driven sound was the right move, by
far.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->King Princess, <i>Cheap
Queen – </i>In which Mikaela Straus proves she was worth the wait. Don’t even
tell me this is all dance and no content, Straus is great.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Maggie Rogers, <i>Heard
it in a Past Life – </i>Her media overexposure caused some to dismiss her as a
lightweight hippie queen, but this album actually was very good.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Rhiannon Giddens, <i>There
is No Other – </i>What an insane 2019! Giddens leads a group of four
traditionalist women, taking first place in our Specials section, and releases
this impressive solo album as well, with unusual input from Francesco Turrisi.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Emily Strange, <i>The
Other Side – </i>An incredibly varied jazz-stylist/hip-hop/poet debut from
someone we will no doubt hear from again.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Who, <i>Who – </i>Whaaaat?!
Townshend and Daltrey are relevant again? Well, that was an unexpected year-end
bonus.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The New Pornographers, <i>In the Morse Code of Brake Lights – </i>A quieter but interesting
album, minus Dan Bejar but adding violinist Simi Stone.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Son Volt, <i>Union –
</i>Wow, did Jay Farrar get political and poetical after the disappointment of
the last album. Whew.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Big Thief, <i>UFOF</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Big Thief, <i>Two
Hands – </i>How many folk-rockers are audacious enough to release two albums
this good in one year?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Angel Olsen, <i>All
Mirrors – </i>I admit to being worried about Olsen adding strings to this one,
but she can go big and go audacious and make everything all right.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sharon Van Etten, <i>Remind
Me Tomorrow – </i>A dense and complex work from someone growing exponentially
with each release.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chris Stamey, <i>New
Songs for the 20<sup>th</sup> Century – </i>It almost seemed appropriate to put
this one in Specials. It’s a studio work of new compositions, but crafted in a
Tin Pan Alley style with a slew of singers. Intriguing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cate Le Bon, <i>Reward
– </i>Wow, what interesting songwriting directions she is heading in. Somehow
this is her most mainstream work, but makes no compromises.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Calexico/Iron& Wine, <i>Years to Burn – </i>Proof that the two bands’ collaborative EP of a few
years back was not a one-time fluke – they belong together.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jenny Lewis, <i>Hold
the Line – </i>The sizzling redhead chanteuse looks back on life from early
middle age, and provides us with stunning observations.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Better Oblivion Community Center, <i>s/t – </i>Who would have dreamed a duo of Phoebe Bridgers and Conor
Oberst would work this well?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Brittany Howard, <i>Jaime
– </i>If we don’t count the anonymous <i>Thunderbitch
</i>record, this is the first solo outing from the Alabama Shakes singer, a
powerful confessional and endlessly creative work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kim Gordon, <i>No
Home Record – </i>Depend on Kim to keep it weird. She’s becoming more essential
than ex-husband Thurston Moore.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jamila Woods, <i>Legacy!
Legacy! – </i>Like Solange and others, I am loving this melding of R&B and
avant garde experimentalism.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>Warp
& Woof – </i>While other GbV fans squabble over the early 2019 <i>Zeppelin Over China </i>or the late 2019 <i>Sweating the Plague, </i>I find this
mid-year collection of 1- and 2-minute songs to be the most intriguing of all.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bruce Springsteen, <i>Western
Stars – </i>Quite an exceptional album from The Boss, even if over-orchestrated
in spots, and only doesn’t make the top 20 because the new vanguard already has
taken over.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Craig Finn, <i>I
Need a New War – </i>Finn kicked out a new Hold Steady LP and EP in 2019, both
of which were great, but his new solo album is really exceptional – just like
his last two solos were.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jenny Hval, <i>The
Practice of Love – </i>Hval achieves the optimal balance of experimentalism and
passion in a truly exceptional album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Girlpool, <i>What
Chaos is Imaginary – </i>It took a while for me to grasp where this queer duo
was going, but now I’m all in.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->37.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Twilight Sad, <i>It
Won’t Be Like This All the Time – </i>While some find James Graham
repetitiously morose in the manner of Arab Strap, there are songs like “I’m Not
Here” in this collection that are simply magical.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->38.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->SOAK, <i>Grim Town –
</i>A remarkable step forward in SOAK’s sophomore album, a concept album of
sorts.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->39.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pere Ubu, <i>The
Long Goodbye – </i>A powerful farewell for the Cleveland Dadaists, though they
had strong competition this year preventing a Top 20 ranking. Props for
covering the rare Neil Young song, “Running Dry.”<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->40.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Santana, <i>Africa
Speaks – </i>Who sez Carlos Santana is out of touch? Wow!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mark Lanegan Band, <i>Somebody’s
Knocking – </i>An unusual but rocking effort, occasionally dredging up the
ghost of Joy Division.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->42.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Charli XCX, <i>Charli
– </i>An impressive collection after a five-year hiatus, putting Charli back on
the top of the pops.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->43.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>Zeppelin
Over China</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->44.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>Sweating
the Plague – </i>There are some who consider GbV’s <i>Plague </i>album to be best of the decade, but it emphasizes hard rock
over power-pop, and I think GbV’s real power is in the pop.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->45.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Eilen Jewell, <i>Gypsy
– </i>Jewell leaps from rockabilly and blues to a first-rate songwriter worth
repeated listens.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->46.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Muffs, <i>No
Holiday – </i>What a way for Kim Shattuck to go out with a bang. Even better
than David Berman’s last will and testament.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->47.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Joy Williams, <i>Front
Porch –- </i>She’s still the better songwriter of the former Civil Wars, and
this album proves it (though John Paul White is no slouch).<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->48.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Caroline Polachek, <i>Pang
– </i>Wow, what an intriguing solo work from the former lead singer of
Chairlift.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->49.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Aldous Harding, <i>Designer
</i>– I know some would rank Hannah/Aldous up there with King Princess or
Solange for stage presence, but her breathy ethereal style seems more like
Hatchie to me at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->50.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Not for Pussies, <i>Into
the East – </i>A worthy return to the studio for this Scottish duo.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->51.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Comet is Coming, <i>Trust in the Lifeforce of the Deep Mystery</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->52.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Comet is Coming, <i>Afterlife – </i>Could we classify these two albums as a unified single
work? Not sure, but the Impulse! Label wants to call this British ensemble the
future of free jazz. They’re a little more structured than that, more like
Return to Forever or Mahavishnu Orchestra, but they’re certainly cool.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->53.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Taylor Swift, <i>Lover
– </i>Maybe a bit fluffy in places, but she functions best in a sparkly pop
environment, and this is so much better than the ill-conceived <i>Reputation.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->54.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Highwomen, s/t – Maybe this ensemble doesn’t have
the harmonic range of other country women supergroups like I’m With Her, but
Brandi Carlile and Maren Morris turn this into one kickass debut.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->55.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Priests, <i>The
Seduction of Kansas – </i>A decided improvement from their first album, a shame
this isn’t higher, as this album rocks.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->56.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Art Ensemble of Chicago, <i>We Are On the Edge – </i>A two-disc Mcompendium of everything that made
the ensemble great since the mid-1960s. The only reason this doesn’t rank
higher, is that with only two surviving members, this is really an album of
Roscoe Mitchell and Famoudou Don Moye with a bunch of young whippersnappers –
but it’s great.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->57.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Nick Cave, <i>Ghosteen
– </i>This is supposed to be the culmination of the trilogy involving the death
of his son, but over two discs, Nick gets a little too overstated compared to <i>The Skeleton Tree. </i>Still, a powerful
work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->58.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bill Callahan, <i>Shepherd
in a Sheepskin Vest – </i>Callahan has a vast body of work under his own name
and (smog), but here he proves that connubial bliss and a righteous life
well-lived can lead to great songs, too.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->59.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Quelle Chris, <i>Guns
– </i>Anyone who thinks Danny Brown is the quintessential sardonic hip-hop
artist needs to hear Quelle Chris. Relevant, political, and vastly
underappreciated.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->60.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Carly Rae Jepsen, <i>Dedication
– </i>As much as she turned from “Call Me, Maybe” to critical darling, she
still hovers on the outside edge of top-tier pop divas, but the sheer
enthusiasm displayed in this album continues to make her important.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->61.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Marissa Nadler, <i>Droneflower
– </i>An uusual “movie score’ project with Stephen Brodsky, maybe belonged in
the Specials section, but super-cool in any event.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->62.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Campfire Flies, <i>Sparks
Like Little Stars – </i>An intriguing high-harmony folk supergroup of sorts,
with rough edges that serve to enhance the effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->63.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Flesh Eaters, <i>I
Used to Be Pretty – </i>The pre-X L.A. punk band returns, with some enhanced
saxophone and long-form poetry to shake things up.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->64.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Shovels and Rope, <i>By
Blood – </i>Folk-rock as a camp revival meeting only works if you’re rowdy.
This works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->65.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Neil Young and Crazy Horse, <i>Colorado – </i>Of course it’s wonderful to have Neil and Crazy Horse
back together, and Neil’s lyrics are blistering in political finger-pointing,
though as with other recent albums, he sometimes gets a little too pointed and preachy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->66.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Heather Maloney, <i>Soil
in the Sky – </i>Not quite as earth-shattering as her last EP, but any time
Heather enters the studio is cause for celebration.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->67.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Mountain Goats, <i>In
League with Dragons – </i>I enjoy any time John Darnielle goes into the studio,
though his topical excursions sometimes lose me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->68.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bon Iver, <i>I,I </i> -- Yeah, I really do think Justin Vernon is up
to some cool stuff, though his experimentalism can lean to the pretentious at
times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->69.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Beth Bombara, <i>Evergreen
– </i>Thanks to Wendy at Conqueroo for turning me on to a Grand Rapids native
with an incredible portfolio of work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->70.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sasami, <i>s/t – </i>What
an intriguing solo debut for this former keyboardist of Cherry Glazerr.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->71.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cherry Glazerr – <i>Stuffed
and Ready – </i>And speaking of Cherry Glazerr, Clementine Creevy is moving
further into guitar goddess category.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->72.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ariana Grande, <i>Thank
U, Next – </i>A lot of people call this her peak work, but there’s a little too
much self-assured picking on Pete and others for me to enjoy it as much as
previous albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->73.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bob Mould, <i>Sunshine
Rock – </i>Good to see the Husker Du founder get happy – while staying
relevant.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->74.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Joan Shelley, <i>Like
the River Loves the Sea – </i>A return to the stripped-down acoustic music that
fits this Kentucky songstress best.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->75.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pernice Brothers, <i>Spread
the Feeling </i>– Joe and Bob are back, with that Byrds/Jayhawks sound that fit
the late 1990s so well, and sounds just fine in 2019.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->76.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gang of Four, <i>Happy
Now – </i>Strong political statements from Andy Gill, but arrangements are hit
and miss.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->77.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gary Clark, <i>This
Land – </i>Easily Clark’s most powerful work, with some frank and potent
lyrics.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->78.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ex Hex, <i>It’s Real
– </i>Mary Timony turns a little more toward hard-rock rock goddess in this
album, but there ain’t nothing wrong with that!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->79.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]--><i>Purple Mountains
(</i>s/t) – David Berman’s final work, a great project, but full of the sorrow
that would eventually lead him to take his own life.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->80.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->!!!, <i>Wallop – </i>A
cool and complex work from NYC’s finest underground dance band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->81.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Swans, <i>Leaving
Meaning – </i>The latest in Michael Gira’s string of double-CD epics, with this
one emphasizing poetry and chanting.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->82.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cranberries, <i>In
the End – </i>A fine remembrance for Dolores O’Riordan, crafted with love by
her former bandmates.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->83.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wendy Woo, <i>Immigrant
– </i>Some strong self-disclosure and political statements from one of Denver’s
most powerful guitar goddesses.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->84.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sebadoh, <i>Act
Surprised – </i>A great return of Lou Barlow to his best band project.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->85.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tindersticks, <i>No
Treasure But Hope – </i>A more jazzy, vibraphone-and-piano type of album for
Stuart and the morose gang, and like the title implies, some glimmers of hope
in the lyrics.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->86.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wilco, <i>Ode to Joy
– </i>In which Jeff Tweedy gets his Buddha on, with good results.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->87.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mindi Abair and the Boneshakers, <i>No Good Deed – </i>A raucous album featuring one of the finest sax
players around today.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->88.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Pixies, <i>Beneath
the Eyrie – </i>Frank has been sort of hit and
miss since the band reunited, but this one works well.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->89.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Stella Donnely, <i>Beware
of Dogs – </i>A truly wonderful southern Australia import.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->90.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bat for Lashes, <i>Lost
Girls – </i>A sci-fi experimental album for Natasha, though maybe not as
arresting as her last two.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->91.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Dressy Bessy, <i>Fast
Faster Disaster – </i>Tammy really expands both lyrics and arrangements on this
one.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->92.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->American Football, <i>LP3
– </i>Many have this in their Top 10, considering Mike Kinsella the future of
shoegaze rock. I’m not quite as convinced, but I do like this album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->93.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Rosali, <i>Trouble
Anyway – </i>Some deep and complex rock from this Philadelphia
singer-songwriter.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->94.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ka Baird, <i>Respires
– </i>Here’s a woman who uses breath and silences to optimal effect in her
experimentalism. Cool stuff.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->95.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Southern Avenue, <i>Keep
On – </i>Good to see some chunky blues-tinged rock bands this good.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->96.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Behavior, <i>Spirits
and Embellishments – </i>One of L.A.’s more intriguing punk bands expands into
hints of Pavement, Preoccupations, Bodega….<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->97.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Vampire Weekend, <i>Father
of the Bride – </i>Don’t get me wrong, I like this return to the studio,
particularly the duos with Danielle Haim, but Ezra hasn’t totally left
preppie-ville yet.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->98.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Maria Taylor, <i>s/t
-- </i> Perhaps her most introspective
and honest work. If this doesn’t make you cry, you’re unreachable.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->99.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jessica Pratt, <i>Quiet
Songs – </i>Sort of the equivalent of P.J. Harvey’s <i>White Chalk. </i>A work of minimalist beauty.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->100.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Filthy Friends, <i>Emerald
Valley – </i>The ranking might suggest a sophomore slump, but Corin Tucker’s
work here still outranks her work with Sleater-Kinney.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->101.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Hold Steady, <i>Thrashing
Through the Passion – </i>Really a great return to form, but sort of got
overshadowed by Craig Finn’s solo work this year.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->102.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Of Monsters and Men, <i>Fever Dream – </i>Nice to see our cute Icelandic indies go all scary
and serious on us.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->103.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cage the Elephant, <i>Social
Cues – </i>No longer the young Tennessee whippersnappers, but still interesting
and relevant.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->104.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Deerhunter, <i>Why
Hasn’t Everything Already Disappeared? – </i>A very poppy and intriguing effort
produced by Cate Le Bon, but it didn’t quite connect for me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->105.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lily Kershaw, <i>Arcadia
– </i>An ethereal and erudite songwriter with a voice like Lana Del Rey.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->106.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Yawpers, <i>Human
Question – </i>Because sometimes brash and rowdy matters.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->107.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Titus Andronicus, <i>An
Obelisk – </i>A return to near-greatness after a couple of dreary albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->108.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Buddy and Julie Miller, <i>Breakdown on 20<sup>th</sup> Avenue – </i>Given Julie’s health
problems, the duo has come back in surprisingly strong form.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->109.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->K. Flay, <i>Solutions
– </i>I know, shoulda been higher, I love this woman’s transition from hip-hop
to pop.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->110.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Trumans Water, <i>Chevre
Au Lait – </i>These guys are my favorite Dadaists, and I’m just happy to see
them back, though the chaotic sounds sometimes seem stuck in the 1990s.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->111.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Heavy Diamond Ring, <i>s/t
– </i>Who says Esme Patterson was the heart of Denver’s former Paper Bird?
Sarah Anderson carries the day on this excellent debut.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->112.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Florist, <i>Emily
Alone – </i>A very cool, understated songwriter debut.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->113.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Joe Jackson, <i>The
Fool </i>– Quite a great pop album by the master, despite the low ranking.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->114.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Beirut, <i>Gallipoli
– </i>Nothing inherently wrong with this place-based travelogue from Zach
Condon, just an occasional sense of drift.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->115.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mekons, <i>Deserted
– </i>Hooray, Mekons are back, and Sally in particular is sounding great! Needs
to be higher, I know.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->116.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Yeasayer, <i>Erotic
Reruns – </i>They may be a dance band first and foremost, but they sure are
whip-smart and they sure are fun. Too bad this is apparently their swan song.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->117.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Faye Webster, <i>Atlanta
Millionaire’s Club – </i>This woman is hard to characterize but all kinds of
wonderful.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->118.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Karen Hagloff, <i>Tobiano
– </i>A classic example of how to make something experimental and rocking
simultaneously.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->119.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Claypool Lennon Delirium, <i>South of Reality – </i>A great way to get your Zappa-esque psychedelia
on.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->120.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Black Keys, <i>Let’s
Rock – </i>Good to see this duo back, but they’re getting a bit overpriced and
full of themselves.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->121.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kevin Morby, <i>Oh
My God – </i>Morby’s observations on spirituality are cool, but tend to drag on
occasion.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->122.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Van Morrison, <i>Three
Chords – </i>Probably deserves better, but Van’s been kicking out so much new
material of late, it’s getting exhausting!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->123.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Free Nationals, <i>s/t
– </i>Is Anderson.Paak’s backup band as good in neo-soul as Durand Jones or
Solid Bronze? Who cares, we all benefit!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->124.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bobby Rush, <i>Sitting
On Top of the Blues – </i>Proof that one can kick out an amazing blues album
when one is well above 80 years old.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->125.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Frankie Cosmos, <i>Close
It Quietly -- </i> Make no mistake, I
love Greta Klein, though her observations tend to be a bit lite-pop at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->126.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Patty Griffin, <i>s/t
– </i>A bit hippie-ish at times, but still an important work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->127.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Charlie Faye and the Fayettes, <i>The Whole Shebang – </i>What a big passel of fun!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->128.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lower Dens, <i>The
Competition – </i>An interesting concept album on capitalism from Jana Hunter,
though the anthemic sweep sounds too much like U2 at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->129.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Karen O and Dangermouse – <i>Lux Prima – </i>An intriguing collaboration, even if it’s quickly
forgettable.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->130.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bill Orcutt, <i>Odds
Against Tomorrow – </i>It’s Orcutt guitar improvisation, and that’s really all
you need to know.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->131.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Durand Jones and the Indications, <i>American Love Call – </i>Some outstanding retro-Motown originals here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->132.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sara Bareilles, <i>Amidst
the Chaos – </i>Once you get past the Broadway production elements and
occasionally overwrought lyrics, Bareilles can offer unique rhythms and
stunning arrangements.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->133.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Those Pretty Wrongs, <i>Zed for Zulu – </i>Luther Russell and Jody Stevens (Big Star) have been
so busy with their own solo projects lately, it was easy to overlook this duo
release. Lots of good power-pop within.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->134.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Hatchie, <i>Keepsake
– </i>A cool new artist, though a bit dream-poppy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->135.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Madonna, <i>Madame X
– </i>It could have been worse, she could have insisted she was a sex goddess
in her sixties, instead we get sort of a “Where in the world is Carmen San
Diego?” concept album – which has cool moments.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->136.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Rebecca Turner, <i>The
New Wrong Way – </i>At first her Victoria Williams style of vocal phrasing can
put one off, but these arrangements and lyrics are fascinating.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->137.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Dead C, <i>Rare
Ravers – </i>It’s always good to see our New Zealand noise experts back in the
studio, though this seemed to meander a bit.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->138.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Weyes Blood, <i>Titanic
Rising – </i>Many people had this in their top ten, and I wanted to like it
much better, but Natalie is too Sarah-McLachlan-overproduction for me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->139.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Lumineers, <i>III
– </i>As much as this band gets made fun of, this concept album on substance
abuse has a lot going for it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->140.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Hot Club of Cowtown, <i>Wild Kingdom – </i>Reminds me of the best days of Asleep at the Wheel,
kickass tunes galore.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->141.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Le Butcherettes, <i>Bi/Mental
– </i>Some cool ponderings and arrangements from Teri Gender Bender, probably
should have been higher.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->142.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Grace Potter, <i>Daylight
– </i>Her second solo work, with many good songs to recommend it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->143.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cass McCombs, <i>Tip
of the Spear – </i>Starts out as one of his strongest works, but meanders a
little toward the end.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->144.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lambchop, <i>This is
What I Wanted to Tell You – </i>Mixing Kurt Wagner and Autotune seems wrong,
but somehow this works, though far different from most Lambchop albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->145.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Redd Kross, <i>Beyond
the Door – </i>This latest reunion of the band that keeps coming back for more
is their most power-pop work of all, sounding almost like Todd Rundgren at
times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->146.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->We Are Not a Glum Lot, <i>The Price of Simply Existing – </i>Great to see Sam Erickson back on
the circuit again, with guitar stylings a la Don Caballero and a lively bass on
the side.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->147.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Delines, <i>Imperial
– </i>Almost got overlooked as an early January release, but a powerful
juke-joint album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->148.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kyle Craft, <i>Show
Boat Honey – </i>In which Craft evolves from a Mott the Hoople fast-talker to a
country-tinged rocker. Intriguing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->149.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Head and The Heart, <i>Living Mirage – </i>The band takes an unfortunate turn to mainstream
pop, but still manages interesting moments.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->150.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Xiu Xiu, <i>Girl
With Basket of Fruit – </i>Normally I’d follow Jamie in any of the weird
directions he’d take Xiu Xiu, but this seemed to be dark and strange just for
the sake of being dark and strange.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->151.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Amelia White, <i>Rhythm
of the Rain – </i>An overlooked and fascinating songwriter.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->152.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Raconteurs, <i>Help
Us Stranger – </i>Not that bad in the overall Jack White canon, but not
earth-shattering either.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->153.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Andrew Bird, <i>My
Finest Work Yet – </i>In some ways, the title isn’t that far-fetched, though
his stylings seem to be the same in all albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->154.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Idea Fire Company, <i>The
Light That Never Ceases to Fail – </i>While Karla Borecky’s piano still lingers
front and center, this IFCO album seems more like a jazz trio in a late-night
smoky club.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->155.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->John Paul White, <i>The
Hurting Kind – </i>While I’m glad he’s past the blame-placing over the demise
of Civil Wars, he’s plowed into old-timey country, which is cool, but of less
interest to me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->156.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Drahla, <i>Useless
Coordinates – </i>Probably the wildest trio to come out of Leeds in a long
time, I probably should have given this one more due, but in any event, worth a
listen.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->157.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Meat Puppets, <i>Dusty
Notes – </i>A nice revival, though this mellower version of cowpunk can be
sleepy at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->158.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->DAWN, <i>New Breed –
</i>Dawn Richard is really redefining 21<sup>st</sup>-century R&B, though
she’s still better live. A worthy album still.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->159.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Iggy Pop, <i>Power
and Freedom – </i>Sounds cool in theory, and a nice diversion from punk, but I
wouldn’t turn to Iggy first for my existential philosophy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->160.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->US Nails, <i>Life Cinema
– </i>Cool shout-out punk, though not life-changing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->161.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sleater-Kinney, <i>The
Center Won’t Hold – </i>I won’t join the legions in saying I hate this album,
though I am upset with Tucker and Brownstein for kicking Janet Weiss out of the
band. The problem wasn’t St. Vincent’s production, the problem was that the
band and producer just weren’t a good fit.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->162.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pedro the Lion, <i>Phoenix
– </i>A fine return to form, with excellent historical stories from the Valley
of the Sun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->163.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->ELEPHANT9, <i>Psychedelic
Backfire, Vols. 1 and 2 – </i>Just as it says, psychedelic chill-jazz, just
right for certain parties.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->164.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Clinic, <i>Wheeltappers
and Shunters – </i>Good to have the British comedic band back, though this
seemed to lack a center.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->165.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Thom Yorke, <i>Anima
– </i>Interesting moments, though this is a soundtrack and not a proper album
from Radiohead’s founder.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->166.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mini-Mansions, <i>Guy
Walks Into a Bar… -- </i>Not as bad as I feared from this L.A. band, now that
they’ve learned to stop taking themselves so seriously.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->167.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Violent Femmes, <i>Hotel
Last Resort – </i>It’s cool that Gordon Gano has turned VF into a jug band of
sorts, though it limits what the band can do.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->168.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jeff Tweedy, <i>WARMER
– </i>Cool to get a second Warm volume as a Record Store Day release, though
not a huge amount of substance.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->169.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Solid Bronze, <i>The
Fruit Basket – </i>Some very cool psychedelic soul from New Jersey<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->170.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Coldplay, <i>Everyday
Life – </i>I want to acknowledge Chris Martin’s attempt to open up the band’s
rigidity, but the earnestness keeps getting in the way.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->171.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Claude Fontaine, <i>s/t
– </i>An odd breathy mix of samba and reggae, yet kind of cool in a way.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->172.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Luther Russell, <i>Medium
Cool </i>– A solo effort and a duo project from Those Pretty Wrongs, all in one
year!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->173.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tiny Ruins, <i>Olympia
Girls – </i>A fine songwriter-pop effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->174.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jimmy Eat World, <i>Surviving
– </i>The title says it all, more treading water than anything else.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->175.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Silversun Pickups, <i>Widow’s
Weeds – </i>I want to give this L.A. band the breaks, but this isn’t one of the
more interesting albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->176.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Davendra Banhart, <i>Ma
– </i>An ode to mothers that is mostly throwaway.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->177.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Battles, <i>Juice B
Crypts – </i>Battles has now shrunk to a duo, which makes its meld of jazz and
electronica more difficult in practice, though still worth hearing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->178.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Schramms, <i>Omnidirectional
– </i>Although Dave Schramm is from Yo La Tengo, this seventh album by Schramms
has more of a Decemberists-but-poppier feel.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->179.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tedeschi-Trucks Band, <i>Signs – </i>A cool tribute to lost blues friends.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->180.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Beck, <i>Hyperdrive
– </i>Look, I don’t care if he’s a Scientologist or not, I just care that his
chameleon identities are getting squishy. This has the sweet harmonies of <i>Sea Change, </i>but all layered in
psychedelia-lite.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->181.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Olden Yolk, <i>Living
Theater – </i>A side project of the Quilt founder, still psychedelic, but with
folk influences thrown in.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->182.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kinky Friedman, <i>Resurrection
– </i>Some worthy political observations from Mr. Friedman, but without that
wild fire from the Texas Jewboys days.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->183.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Hot Chip, <i>Bath
Full of Ecstasy – </i>As usual, Hot Chip provides a healthy serving of dance,
but not nearly as convincing as !!! or Yeasayer.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->184.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Glen Hansard, <i>This
Wild Willing – </i>Some worthy steps forward from his last two solo outings,
but he’s still wallowing in some self-pity.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->185.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Fastball, <i>The
Help Machine – </i>Hey, we need to apologize to Fastball for lumping the band
in the 1990s one-hit-wonders category. This reunion is really good!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->186.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The River Arkansas, <i>Any
Kind of Weather – </i>A new outing by Mike Clark, which is always good no
matter which project he’s working on.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->187.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Avey Tare, <i>Crows
on Hourglass Pond</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->188.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Panda Bear<i>, Buoys
– </i>In the case of both Avey Tare and Panda Bear, I just didn’t get a lot out
of Animal Collective members’ solo works this year.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->189.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Feels, <i>Post Earth
– </i>A cool conceptual album by this L.A. punk-electronic band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->190.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gary Nicholson, <i>The
Great Divide</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->191.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Whitey Johnson, <i>More
Days Like This – </i>If nothing else, it was an audacious and interesting move
for pop producer Gary Nicholson to simultaneously release an album under his
own name, and an album as imaginary blues artist Whitey Johnson. Is anyone
thinking of Hari Kunzru’s <i>White Tears </i>here?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->192.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Black Mountain, <i>Destroyer
– </i>I’ve always liked these guys, but recent band departures have made them
sound more run-of-the-mill hard rock.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->193.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Vandoliers, <i>Forever
– </i>A fine half-major-label release for these juke joint rockers.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->194.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Broken Social Scene, <i>Let’s Try the After, Parts 1 and 2 – </i>This might have ranked higher
if I would have treated it as two separate EPs, but as much as I love this
Canadian supergroup, this effort was sort of meh.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->195.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Richard X. Heyman, <i>Pop
Circles – </i>Fun explorations in three-minute pop.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->196.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lee “Scratch” Perry, <i>Rainford – </i>The legendary reggae producer goes avant garde, sort of.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->197.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->James Blake, <i>Assume
Form – </i>As much as I appreciate Blake using sincerity as a means of staying
fresh, this album treats itself far too seriously.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->198.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Frank Hurricane, <i>Life
is Spiritual – </i>Frank has a tendency to either be too hippie-spiritual or
too comedic in delivery, but if you’re good with that, this one is interesting.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->199.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Vivian Girls, <i>Memory
– </i>Many people are cheering the return of this early-2000s riot grrl outfit,
but they sound too fuzzy to me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->200.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Harry Styles, <i>Fine
Line – </i>Honestly, this former boy-band 1 Direction member put out a fine
debut album, and his appearance on SNL was impressive, but this second album
sort of meanders.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->201.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mac de Marco, <i>Here
Comes the Cowboy – </i>Pretty solid, but not as memorable as some of his
earlier works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->202.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chris Cohen, <i>s/t
– </i>This is the third album from this member of Deerhoof, and actually pretty
fine singer-songwriter material.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->203.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Modern Nature, <i>How
to Live – </i>These British newcomers have cornered a market on neo-hippie
transcendentalism, though that gets my snarky side up.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->204.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Hozier, <i>Wasteland
Baby! – </i>Since I was never a huge Hozier fan, I didn’t have to experience
any sense of letdown. Some cool references to 60s and 70s icons here, maybe too
much to establish originality credentials.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->205.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Stephen Malkmus, <i>Groove
Denied – </i>Since this was a long suppressed electronica effort from the
Pavement founder, it almost belongs in the specials section, but its worth is
mostly as an eclectic change in style.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->206.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Oumar Konate, <i>I
Love You Inna – </i>A cool new studio work from Mali’s most popular guitarist.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->207.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lust for Youth, <i>s/t
– </i>A must for fans of 1980s coldwave of the OMD/Depeche Mode variety.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->208.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Morning Line, <i>North
– </i>An intriguing sweet-suite of folk-rock-pop numbers.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->209.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->DBUK, <i>Songs 9-16
– </i>This is mostly cowboy-tinged avant garde for fans of Slim Cessna and Munly.
Odd but effervescent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->210.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sir Richard Bishop, <i>Carte
Blanche – </i>Although I love material from any member of Sun City Girls, this
one just sort of meandered for me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->211.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Menagerie, <i>Chama
– </i>Cool southern Colorado jams with a sense of humor.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->212.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Danny Brown, <i>uknowhatimsayin?
</i>– Many people wanted to jump on this as some great sardonic and comedic
hip-hop, but honestly, this seemed as dark and depressing as his previous <i>Atrocity Exhibition </i>work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->213.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jason James, <i>Seems
Like Tears Ago – </i>Some good retro 1950s-style country, with decent
songwriting behind it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->214.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Blanck Mass, <i>Animated
Violence Mild – </i>Some interesting electronica, but easy to lose interest.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->215.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Drunken Prayer, <i>Cordelia
Elsewhere – </i>Morgan Geer of Freakwater offers up some fine comical
country-rock.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->216.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->John Xerxes Fussell, <i>Out of Sight – </i>A diverse batch of tunes worth repeated listens.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->217.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Foxygen, <i>Seeing
Other People –</i>Remember when Jeff Tweedy promoted Foxygen as the future of
pop and rock? Their arrogance was bound to catch up with them.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->218.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Will Kimbrough, <i>I
Like It Down Here – </i>Some nice blues-influenced roots writing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->219.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Avett Brothers, <i>Closer
Than Together – </i>I want to avoid poking fun at this immensely popular
Americana band, but really, they often make it easy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->220.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Drugdealer, <i>Raw
Honey – </i>This might have been a better album if it wasn’t so bouncy-happy.
Not to be a Debbie Downer here, but sparkle-pop often doesn’t work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->221.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Hedvig Mollestad Trio, <i>Smells Funny – </i>You have to give them credit for even attempting the
genre of comical metal, and there’s a lot of cool stuff going on.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->222.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Fitz & The Tantrums, <i>All the Feels – </i>The best Tantrums singles like “Out of My League”
are certainly fun, but the band seems extremely programmed, like a marketing
experiment.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->223.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->John Fusco, <i>X-Road
Riders – </i>Some cool roots material within.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->224.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bibio, <i>Ribbons – </i>Some
swear by this British electronic artist’s ambient work, but it sounds a bit
Windham Hill to me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->225.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Homeshake, <i>Helium
– </i>Another electronica work that is sort of OK.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: 18.0pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) </span></b><span style="font-size: 14.0pt; mso-bidi-font-weight: bold;">(Of special interest was the
reissue of all later Steve Goodman albums this year, though not eligible since
not dominated by new material)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Our
Native Daughters, <i>s/t -- </i>Rhiannon Giddens worked overtime in
2019, putting out a fine solo album as well as collaborating with a group of
African-American banjo-pickin’ women for a roots album unlike anything else
that has gone on before. If you don’t think slavery culture in the pre-Civil
War era played a key role in folk and country, it’s time for a history lesson.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Various
Artists, <i>Tiny Changes – </i>What began as
a tribute to Frightened Rabbit’s <i>Midnight
Organ Fight </i>shifted gears following the suicide of Frightened Rabbit’s
singer/songwriter Scott Hutchinson in 2018. Some remarkable covers of some
unforgettable songs.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Patti
Smith and the Soundwalk Collective, <i>Peyote
Dance</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Patti
Smith and Soundwalk, <i>Mummer Love – </i>Parts
1 and 2 of a trilogy Smith and friends planned for French surrealist poets.
Parts 1 and 2 honor Artaud’s time in Mexico with peyote shamans, and Rimbaud’s
time in Ethiopia with Sufis. Utterly fascinating. Don’t ask what Patti Smith
has done in rock music, she’s far beyond that now.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Laurie
Anderson, Jesse Paris Smith, and Tenzin Choegyal, <i>Songs from the Bardo – </i>Laurie, meanwhile, teams up with Patti’s
daughter Jesse and a Tibetan musician to present readings/music from the
Tibetan Book of the Dead. Notice how much Laurie and Patti begin to sound like
each other when reading from spiritual works. This album has some otherworldly
repetition, as one would expect from a ritual piece, but it’s fascinating.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Deral
Fenderson, <i>Dressing Up – </i>Those who
have heard him cover Neutral Milk Hotel’s “Two-Headed Boy” know that Deral
Fenderson can generate mighty covers. Here he ranges as wide as Daniel
Johnston, Cat Stevens. Pere Ubu, and Prince.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Leonard
Cohen, <i>Thanks for the Dance – </i>I was
so afraid this would be leftover studio noodlings, but several songs are better
than anything from <i>You Want It Darker. </i> This is Cohen’s true final studio work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Harry
Nilsson, <i>Losst and Founnd – </i>And where
the hell did this come from? 1993, to be precise, but left unreleased for 25
years. A fine Nilsson bookend.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Negativland,
<i>True/False – </i>An analysis of
pattern-matching, paranoia, and fake news, one of the finest Negativland
releases ever, and essential listening for these deranged times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->San Fermin, <i>Live
at the Fillmore – </i>The best thing to come out of Record Store Day 2019, and
a final chance to hear Charlene Kaye before she left the band. Breathtaking.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The National, <i>Juicy
Sonic Magic: Live at the Greek cassette box – </i>A three-cassette compilation
of a Berkeley show by The National, released for Black Friday. Not just a
gimmick, but a wonderful live set.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Julia Wolfe and the New York Philharmonic, <i>Fire In My Mouth – </i>An oratorio for the
1911 Triangle Shirtwaist fire. Remarkable, though I want the video of the
performance.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bodega, <i>Witness
Scroll – </i>A live album to complement the band’s 2018 debut, though we still
don’t have a recording of the stunning “How Did This Happen?”<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Nils Lofgren, <i>Blues
for Lou – </i>As a prelude to Lofgren getting back with Crazy Horse, we get a
solo album with new recordings of songs Lofgren wrote with Lou Reed back in the
1980s. Cool as fuck.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sheryl Crow, <i>Threads
– </i>The most impressive this year in a trio of middle-aged women rock stars
releasing covers/duets. If this is truly Crow’s final album, she left us with
quite a testament.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Car Seat Headrest, <i>Commit
Yourself Completely – </i>This live set from 2018 desperately needs a physical
media release, but Matador Records evidently is not committing itself
completely to Will Toledo’s amazing body of work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Accidentals, <i>Live
– </i>This is more a “live in studio” work than collections from live
performances, but there’s all kinds of new originals and covers, so it’s well
worth the search.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->LCD Soundsystem, <i>Live
at Electric Lady Studios – </i>Like the Patti Smith and Kills albums at
Electric Lady that came before, this is not a true live album, but it’s a
heckuva way to present LCD Soundsystem’s greatest hits.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mercury Rev and Friends, <i>The Delta Sweete – </i>A multi-musician tribute to Bobbie Gentry and
the little-known album she released after “Ode to Billie Joe.” Lucinda
Williams’ cover of “Ode” is more powerful than the songs from Delta Sweete
proper, but it’s a worthy effort anyway.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chrissie Hynde, <i>Valve
Bone Woe – </i>This has more continuity than the Sheryl Crow album because of
the standard session musicians, but the interpretations of old classics are
sometimes overstuffed. Nice to know Hynde’s voice is in fine shape, though.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->New Order, <i>Live
with Liam Gillick – </i>This is the album from the Manchester studios that
first introduced Joy Division to the world, and it features an “orchestra of
synthesizers” sound. It doesn’t always come off well, but the version of
“Bizarre Love Triangle” is alone worth the price.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->John McCutcheon,
<i>Sings Pete Seeger – </i>Pete has long
needed his own tribute, and it might as well be McCutcheon.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Circuit des Yeux, <i>Reaching
for Indigo Live: Gaia Infinitus – </i>Recorded with members of the Netherlands
Chamber Orchestra, but except for one song, it’s largely a full-ensemble
recording of Haley Fohr’s 2017 masterpiece.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cate Le Bon, <i>Live
at Kings Place, London – </i>Before the release of <i>Reward, </i>Le Bon did a limited tour of minimalist piano works.
Stunning.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chip and Tony Kinman, <i>Sounds Like Music – </i>The founders of The Dils, Rank and File, and
Blackbird, have needed a compilation of unreleased material for a while. Here
it is.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Juliana Hatfield, <i>Sings
the Police – </i>I have stuck with Hatfield when others dismiss her, though she
does veer in strange directions. Her album of Olivia Newton John covers was a
bridge too far for me, but this one ain’t bad.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Steve Earle, <i>Guy
– </i>This tribute to Guy Clark should have been better, but seemed listless in
places. Pity.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bill Evans, <i>Evans
in England – </i>Dredging up an unknown 1960s set from the esoteric jazz
pianist.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Diane Cluck, <i>Live
at Trans-Pecos Sept. 20, 2019 – </i>A compassionate and intimate set previewing
some songs from Cluck’s upcoming 2020 album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->New Riders of the Purple Sage, <i>Thanksgiving in New York City – </i>A long overdue double CD of a fascinating
1972 set, though like many country-bluegrass-rock acts of the time, it
occasionally shows its age.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Empty Pockets, <i>Live
in Seattle – </i>A wonderful tight set from a Chicago folk-rock band more
people should know.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lone Justice, <i>Live
at the Palomino – </i>In combination with studio sessions released in 2018,
this completes the output of a fascinating country-rock band in the early 1980s
that disappeared way too soon.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->NRBQ, <i>Turn On
Tune In – </i>A CD/DVD set of radio shows in 2015 and 2017. Great fun with basic
roots rock.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Pernice Brothers, <i>Live at Mercury Café, Oct. 20, 2019 – </i>Joe and Bob Pernice are back!
Selections from their new album, and great interpretations of some 1990s work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Richard Thompson, <i>Soundtrack
for the Cold Blue – </i>A 19-track instrumental work for a film on the pilots
of Flying Fortresses in WW2. Beautiful in its own way.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->TuNe-YaRdS, <i>Score
for “Sorry to Bother You” – </i>This film already had a soundtrack featuring
The Coup, but here Merrill Garbus gives us the background score.<o:p></o:p></div>
<div class="MsoBodyText">
<br /></div>
<h2>
Singles and EPs <span style="font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lil Nas X, “Old Town Road,” – Yes, of course it
deserved the sensation, but the real key will be whether this begins more
country/hip-hop mashups, or remains a one-shot.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bodega, <i>Shiny New
Model – </i>This is long enough to be considered an album, but the band calls
it an EP. In any case, it shows more of the sheer genius that came out of the
Brooklyn ensemble’s 2018 debut.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lizzo, <i>Coconut
Oil – </i>OK, a reissue of earlier material, but this EP was so hard to come by
except streaming, it’s great to have it on vinyl.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cheap Perfune, <i>Burn
It Down – </i>This punk band continues in the footsteps of bands like Crass and
Bikini Kill in putting politics to practical work,<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Spirettes, <i>Esoteria
– </i>A leap beyond the first EP, featuring Lisa’s fine cello work to augment
the songwriting of Kate and Kellie.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lucy Dacus, <i>2019
– </i>An intriguing collection of covers and new originals, loosely arranged
around holidays in 2019.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->John Spengler, <i>What
Would You Change? – </i>This second EP features sharper and more sardonic
lyrics (“The [Other] Wall”), as well as horn arrangements from Jeremy Van Hoy.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cinema Cinema, <i>CCXMD
– </i>With the addition of saxophones, these guys reach a level of crazy rarely
heard since Pere Ubu’s debut.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Phoebe Bridgers with Fiona Apple and Matt Berninger,
“Silent Night/7 O’Clock News” – I’m not much for Christmas releases, but this
cover and update of the Simon & Garfunkel song is amazing.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Heazza, s/t – This Chicago song-stylist is remarkable m,
and her debut EP shows why - maybe a bit overproduced in places, but sounding
like a cross between Norah Jones and Lady Gaga.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Disturbed Furniture, <i>Continuous Pleasure – </i>A long-lost Brooklyn art-punk band returns to
the land of the living.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Joan Shelley, <i>Rivers
and Vessels – </i>This collection of covers and originals sort of got
overshadowed by her new album, but it’s impressive.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Hold Steady, <i>Four
On Ten – </i>Four outtakes from <i>Thrashing
Thru the Passion, </i>all good.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jonatha Brooke, <i>Imposter
– </i>Brooke, like Anais Mitchell, has been spending a lot of time as director
and playwright of late, so it’s good to see her return to the recording studio.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Eric Bachmann, “Misinformation Age’ – Like Negativland,
it’s good to see Bachmann speak out against the madness. Looking forward to his
reunion of Archers of Loaf in 2020.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Norah Jones, <i>Begin
Again – </i>An eclectic and fun collection that shows the breadth of her
references.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Death Cab for Cutie, <i>Blue EP – </i>Although the title might make one guess depressing and
slow, this is some of Death Cab’s most raucous music in years,<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jackie and the Racket, <i>Gold Digger – </i>The best hell-raisin’ honky tonk since Lyin’ Bitch
and the Restraining Orders.<o:p></o:p></div>
<br />
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bridges Will Break, <i>I
Was a Commodity – </i>Almost a concept EP of sorts, exploring with topics Lower
Dens and others covered this year.<o:p></o:p></div>
<br />
<br />
<br />
<h1 style="text-indent: .5in;">
<span style="mso-tab-count: 1;"> </span><span style="font-size: 12pt;"><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14pt;"><span style="mso-spacerun: yes;"> </span></span></h1>
Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-26401571166057837972018-12-29T09:07:00.002-08:002018-12-31T15:04:39.040-08:00The List 2018<br />
<h1 style="text-indent: .5in;">
<span style="mso-tab-count: 1;"> </span></h1>
<h1 style="text-indent: .5in;">
<span style="mso-tab-count: 1;"> </span><o:p></o:p></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>If we were to
consider only legacy artists in compiling the year’s best, the list would be
competent, though nothing special. Add in bands with histories of 5 to 10
years’ running, and the list gains a lot of credence. But when rookies are
added to 2018, the year is impressive indeed. In fact, we may look back to see
the end of the decade represented a changing of the guard, to a new generation
of pop musicians eventually sporting long pedigrees. Of course, the reality is
that the guard is always changing, always in flux, but 2018 was a year when
newcomers stood out.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;"><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">DISQUALIFICATIONS: </span></b><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">You simply won’t find any
Kanye West here, for obvious reasons. Sun Kil Moon is left off the list because
Mark Kozelek is getting boring with his endless personal-diary releases. Drake
and The Carters (Beyonce and Jay-Z) are here, but pushed down in rank because
alleged sincerity seems formulaic. More difficult is the case of the
Frankenmuth family band Greta Van Fleet, who claim to be making original music,
but sound too much like a note-for-note ripoff of Led Zeppelin to be worth
their own ranking. Fans of GbV may notice no ranking for Cash Rivers – the joke
wore thin on me pretty quickly.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Among the departures from this sphere,
Aretha Franklin’s was the highest profile, but the most heartbreaking departure
of 2018 was Scott Hutchison of Frightened Rabbit, who gave us plenty of hints
that he saw suicide in his future. Too bad no one could steer him from his
goal. Dolores O’Riordan, Mac Miller, and Lil’ Peep also died way too young and
tragically. Other particularly sad grace notes were for Tony Joe White, who
died soon after releasing a remarkable studio album; Pete Shelley of The
Buzzcocks, who died suddenly of a heart attack in December at age 63; and Hardy
Fox of The Residents, who succumbed to cancer after his band released yet
another anonymous masterpiece.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>And 2019 looks set to begin with fervor –
Maggie Rogers, The Dead C, Sharon Van Etten, Emily Strange, Deerhunter, The
Twilight Sad, The Cowsills, maybe even The Wrens?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span style="font-size: 16.0pt;">Regular Studio Albums, 2018<o:p></o:p></span></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->TIE
– Julia Holter, <i style="mso-bidi-font-style: normal;">Aviary</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->TIE
– Mary Halvorson, <i style="mso-bidi-font-style: normal;">Code Girl -- </i><span style="mso-spacerun: yes;"> </span>The world was graced with three double-length
jazz/experimental compositions in 2018, and while Kamasi Washington’s is down
the list slightly for its traditionalism, two women shot straight to the top.
Chicago’s dream-vocalist Julia Holter takes linguistic poetry-play to new
levels, backed by a double-bass recalling Joni Mitchell in <i style="mso-bidi-font-style: normal;">Hejira </i>days. Jazz guitarist Mary Halvorson, meanwhile, debuts a new
ensemble led by the stunning vocalist Amirtha Kidambi. Both jazz-influenced
albums put voice on the center stage, not in a traditional jazz-chanteuse way,
but as studies in linguistics, information, emotion and nonsense. It is
unprecedented to have two such amazing works in a single year.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Mitski,
<i style="mso-bidi-font-style: normal;">Be the Cowboy – </i>She may be called the
Japanese-American chanteuse for the strange, but Mitski can aim an arrow at
your emotions as well as she foils any and all conventions of music.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Low,
<i style="mso-bidi-font-style: normal;">Double Negative – </i>Another
experimental leap comes from everyone’s Duluth favorites. Alan and Mimi elect
to follow a route similar to the one pursued lately by Bon Iver, in making noise
and sonic drone serve the interest of songwriting. The effort may unsettle some
Low fans, but this seems their best work to date.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Heather
Leigh, <i style="mso-bidi-font-style: normal;">Throne </i>– Face it, the best
works of the year eschewed normality. Heather Leigh (Murray) has given us plenty
of improvisational pedal-steel solo albums, as well as duos with saxophonist
Peter Brotzmann, but here she mixes vocals suggestive of Kate Bush with
dream-induced noise. It’s amazing to see her continue to set new goals and then
exceed them.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->John
McCutcheon, <i style="mso-bidi-font-style: normal;">Ghost Light – </i>Wow, a
hammered dulcimer player best known for covers and kids’ albums releases the
best album of folk originals by anyone in many years. Loaded with unforgettable
songs that hint at Wendell Berry.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]--><span style="mso-spacerun: yes;"> </span>Belly, <i style="mso-bidi-font-style: normal;">Dove
– </i>A lot of 1990s indie bands were reuniting in the late 2010s, so why should
we have expected Tanya Donelly to score such a stunning surprise with the Belly
reunion? Tanya walks off with the reunion award. A strong collection of taut,
emotional songs.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Fucked
Up, <i style="mso-bidi-font-style: normal;">Dose Your Dreams – </i>Speaking of
double-disc megaworks, Fucked Up supposedly gave us the ultimate punk-opera
with <i style="mso-bidi-font-style: normal;">David Comes to Life, </i>but then
the band returns to the concept form with a stellar album featuring dozens of
guests, including the elusive Mary Margaret O’Hara.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Kamasi
Washington, <i style="mso-bidi-font-style: normal;">Heaven and Earth – </i>Occasionally,
lovers of the Coltrane/Coleman school insist that saxophonist Washington is a
little too traditionalist, but when epic orchestrated arrangements are mixed
with direct political calls, who can complain? (BTW, Coltrane’s lost album is
#1 in the Specials section.)<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bodega, <i style="mso-bidi-font-style: normal;">Endless
Scroll – </i>Nice to see a Brooklyn band return to the art-rock styles of Pink
Section. More fun than you ever bargained for in 2018.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Paul McCartney, <i style="mso-bidi-font-style: normal;">Egypt
Station – </i>It’s not just that a Beatle can make such a solid record at age 76,
it’s that this diverse and powerful recording bests most Wings output, and many
of the better solo albums McCartney released in the 1990s.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Hop Along, <i style="mso-bidi-font-style: normal;">Bark
Your Head Off, Dog – </i>Frances Quinlan already was wowing the world with her
guitar arrangements, now her lyricism skyrockets forward. A serious toast to a
band reaching peak.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Quell Chris and Jean Grae, <i style="mso-bidi-font-style: normal;">Everything’s Fine – </i>This isn’t so much a hip-hop observation of pop
culture, as a hip-hop version of Firesign Theatre for the 21<sup>st</sup>
century, which makes it an odd duck indeed. Probably deserves to be higher for
sheer audacity.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lucy Dacus, <i style="mso-bidi-font-style: normal;">Historian
– </i>The biggest problem with Dacus forming boygenius with Julien Baker and
Phoebe Bridgers is that this exceptional album from early in the year might get
overlooked. No.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->They Might Be Giants, <i style="mso-bidi-font-style: normal;">I Like Fun – </i>Since this morose yet peppy album comes close to the
standards of 1990’s <i style="mso-bidi-font-style: normal;">Flood, </i>one might
consider a Top 10 ranking to be necessary. Hey, competition was very tight this
year, what can I say?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Earl Sweatshirt, <i style="mso-bidi-font-style: normal;">Some
Rap Songs – </i>One might think 15 songs clocking in at under 30 minutes were
exercises in nonsense, but Sweatshirt has followed his muse into deep corners
of jazz-influenced poetry.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Laurie Anderson, <i style="mso-bidi-font-style: normal;">Landfall
– </i>An exceptional collaboration with Kronos Quartet on Hurricane Sandy. Its
only limitation was the predictable minor-key viola runs, making this work a
little less groundbreaking than Anderson’s most recent <i style="mso-bidi-font-style: normal;">Heart of a Dog.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Tracy Grammer, <i style="mso-bidi-font-style: normal;">Low
Tide – </i>This is Grammer’s first fully-realized album as a solo artist since
the death of Dave Carter. And she covers Kate Bush. And that’s really all you
need to know.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Darlingside, <i style="mso-bidi-font-style: normal;">Extralife
– </i>If you haven’t gotten the vocal harmonic oddness that is Boston’s
Darlingside, you have some catching up to do.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i style="mso-bidi-font-style: normal;">Space
Gun – </i>Robert Pollard’s relevance never ever falters, which is a miracle in
its own right.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Richard Thompson, <i style="mso-bidi-font-style: normal;">13
Rivers – </i>Wow! One of Thompson’s best. Hard to name a weak cut here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Soccer Mommy, <i style="mso-bidi-font-style: normal;">Clean
– </i>The rumors are true. Just listen.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->David Byrne, <i style="mso-bidi-font-style: normal;">American
Utopia – </i>Not a dystopia, but an effort at hope in a time of Trump. Byrne
takes songwriting to the level of his collaboration with St. Vincent some years
back.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Hayley Heyndrickx, <i style="mso-bidi-font-style: normal;">I
Need to Start a Garden – </i>Acoustic and deeply rhythmic at the same time, and
brilliant lyrics.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->John Prine, <i style="mso-bidi-font-style: normal;">The
Tree of Forgiveness – </i>Wow, not just a placeholder and cancer-survivor
return to the fold, but a sharp album featuring some of Prine’s most droll
poetry ever.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Zaimph, <i style="mso-bidi-font-style: normal;">Rhizomatic
Gaze – </i>Marcia Bassett gives us a double-LP dose of her signature electronic
drone sounds, but structured as a multi-suite symphony, including babbling
voices.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Elvis Costello and the Impostors, <i style="mso-bidi-font-style: normal;">Look Now – </i>A sprawling and well-crafted album, though not intended
to be a late-70s rocker style.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Johnny Marr, <i style="mso-bidi-font-style: normal;">Call
the Comet – </i>Marr has released some impressive solo work between Smiths and
Modest Mouse stints, but this one is a ringing, chiming success.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Arthur Buck, s/t –Wow, can Joe Arthur and Peter Buck crank
out great pop tunes as a team!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Dollhouse Thieves, s/t – Perhaps the most
interesting folk-rockish rookies to come out of the Denver area in a decade or
more.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lucero, <i style="mso-bidi-font-style: normal;">Among the
Ghosts – </i>Yes, connubial bliss can be a state for writing angst-driven blistering
rock.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Kacey Musgraves, <i style="mso-bidi-font-style: normal;">Golden
Hour – </i>Skeptics might grumble she’s moving too swiftly (bad pun) into pure
pop, but with songs this good, who cares?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Willie Nile, <i style="mso-bidi-font-style: normal;">Children
of Paradise – </i>At a time when populists are telling us to hate the refugee
and hate the homeless, punk-pub-rocker Willie Nile comes back to stand in
defense of the voiceless. A powerful statement.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">34.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Residents, <i style="mso-bidi-font-style: normal;">Intruders
– </i>Eric Drew Feldman is making The Residents less anonymous and more
melodic, but that doesn’t make them less weird. This album on the doppelgangers
among us is startling, and The Residents’ live shows in 2017-18 leave audiences
breathless.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">35.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Vase Vide, <i style="mso-bidi-font-style: normal;">Sleep[Talk]
– </i>The vocal interplays and keyboard are every bit as interesting as last
year’s <i style="mso-bidi-font-style: normal;">Colors of Entropy <span style="mso-spacerun: yes;"> </span></i>EP, but the addition of Kellie Palmblad
turns VV into a finely-honed shiny pop wonder.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">36.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Superchunk, <i style="mso-bidi-font-style: normal;">What
a Time to Be Alive – </i>Mac gives us a strong antidote to the Trump era,
dancing every second.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">37.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Cat Power, <i style="mso-bidi-font-style: normal;">Wanderer
– </i>Chan Marshall is back, more self-assured than ever, dragging Lana Del Rey
along for the ride.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">38.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Marissa Nadler, <i style="mso-bidi-font-style: normal;">For
My Crimes – </i>One of the nation’s best freak-folk practitioners just got a
whole lot better, hinting at images of early 1960s murder ballads, updated for
2018 sensibilities.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">39.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Tony Joe White, <i style="mso-bidi-font-style: normal;">Bad
Mouthin’ – </i>Fans had few ideas when this lo-fi blues masterpiece came out
that this would be White’s last will and testament, but how appropriate, if we
have to lose him.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">40.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bird Streets, s/t – Want to know the future of Southern
California riff-infused pop? You’re looking at it, listening to it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">41.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Neko Case, <i style="mso-bidi-font-style: normal;">Hell-On
– </i>Apologies to both Neko and Father John below at ending up in the 40s, but
this was a great year. In Neko’s case, this stands among her finest efforts,
solo or with New Pornographers.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">42.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Father John Misty, <i style="mso-bidi-font-style: normal;">God’s
Best Customer – </i>The wry humor and self-deprecation here made this my
favorite FJM album, at least since <i style="mso-bidi-font-style: normal;">I Love
You Honey Bear.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">43.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Aces, <i style="mso-bidi-font-style: normal;">When My
Heart Felt Volcanic – </i>We could call these four women derivative for trying
to recapture the fire of the first Haim album, but really, Aces can write great
pop tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">44.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Wye Oak, <i style="mso-bidi-font-style: normal;">The
Louder I Call, The Faster It Runs – </i>Jen has finally reconciled her two
styles in a compelling and beautiful fashion.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">45.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The 1975, <i style="mso-bidi-font-style: normal;">A Brief
Inquiry Into Online Relationships – </i>It’s easy to dismiss lead singer
Matthew Healy’s angst and histrionics, but this was undoubtedly the most
interesting album the band has ever made. Sometimes the clashes between solo
piano and autotune seem gimmicky, but hey….<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">46.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Rosanne Cash, <i style="mso-bidi-font-style: normal;">She
Remembers Everything –</i>A strong riff-filled angry album for women, one that
could almost be a #MeToo anthemic moment.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">47.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Palm, <i style="mso-bidi-font-style: normal;">Rock Island
– </i>Palm is melodic weirdness at its very best. Hard to call it “difficult
music” when it’s so danceable.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">48.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bardo Pond, <i style="mso-bidi-font-style: normal;">Volume
8 – </i>Previous volumes of jam sessions at the Lemur House came out in small
batches, but Fire Records decided to make this one a full commercial release.
Highly deserving for fans of Philly sludge psychedelia.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">49.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Rock*A*Teens, <i style="mso-bidi-font-style: normal;">Sixth
House – </i>As impressive an indie reunion as one might find in a very busy
year. Virtually every track is a keeper.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">50.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Snail Mail, <i style="mso-bidi-font-style: normal;">Lush
– </i>An impressive debut for a teenager, and we can say with certainty that
Lindsey Jordan has a lot more to show the world.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">51.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Beths, <i style="mso-bidi-font-style: normal;">Future
Me Hates Me – </i>A strong woman-led guitar-band debut from New Zealand. The
Beths make me dance and cry at the same time, which should tell you something.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">52.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Graham Parker, <i style="mso-bidi-font-style: normal;">Cloud
Symbols – </i>Surprising horn-infused dance music from the old master of pub
boogie.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">53.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Sons of Kemet, <i style="mso-bidi-font-style: normal;">Your
Queen is a Reptile – </i>Bonus points for trying something as audacious as
tuba, kettle drum, and sax. Much more than a novelty, though limiting at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">54.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Dodos, <i style="mso-bidi-font-style: normal;">Certainty
Waves – </i>The former folkie duo from San Francisco takes a noisy turn similar
to Low, and it works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">55.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->I’m With Her, <i style="mso-bidi-font-style: normal;">See
You Around – </i>A country-rock supergroup trio succeeds not so much due to
Sara Watkins as to Sarah Jarosz, and Jarosz fans are not a bit surprised.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">56.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Janelle Monae, <i style="mso-bidi-font-style: normal;">Dirty
Computer – </i>Cool to see Monae back away ever so slightly from sci-fi
storytelling to dive more deeply into straight-up immediate songs of desire.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">57.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Rainbow Kitten Surprise, <i style="mso-bidi-font-style: normal;">How To: Friend, Love, Freefall – </i>Think of a laid-back version of
Darlingside, plenty of harmonies and plenty of in-joke smiles, and that gives
you a picture of the appealing RKS style.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">58.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Shopping, <i style="mso-bidi-font-style: normal;">The
Official Body – </i>The UK’s answer to Pink Section continues its madness,
though it faces new competition from the likes of Bodega and Palm.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">59.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Courtney Barnett, <i style="mso-bidi-font-style: normal;">Tell
Me How You Really Feel – </i>This kind of ranking suggests a sophomore slump
for the Australian wunderkind, but really, no slump here. Great confessional
songs, but the new kid on the block had to compete with scores of newer kids
this year.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">60.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Heather Leigh/Peter Brotzmann, <i style="mso-bidi-font-style: normal;">Sparrow Nights – </i>More focused than the duo’s three live albums,
though a bit overshadowed by Heather Leigh’s solo work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">61.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Ought, <i style="mso-bidi-font-style: normal;">Room
Inside the World – </i><span style="mso-spacerun: yes;"> </span>I’m a huge fan of
Canada’s premier art-rockers, though this one didn’t grab me as much as the
first two.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">62.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Culture Club, <i style="mso-bidi-font-style: normal;">Life
</i>– Who would have guessed Boy George had such a burst of energy in him?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">63.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Parquet Courts, <i style="mso-bidi-font-style: normal;">Wide
Awake! – </i>This slight move to mainstream garnered the band a slot on Ellen
DeGeneris, and it’s a fine album, but not as high up as previous works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">64.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Pusha-T, <i style="mso-bidi-font-style: normal;">Daytona
– </i>Consistent innovation in this album, though not as groundbreaking as some
fans claim.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">65.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Dream Wife, s/t – Damn, how did this UK trio get below
50? There’s just too many damned great new bands out there, and this is one of them.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">66.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Speedy Ortiz, <i style="mso-bidi-font-style: normal;">Twerp
Verse – </i>Hey, it’s another helping of Sadie Dupuis, it has to be good for
you.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">67.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Rubble Bucket, <i style="mso-bidi-font-style: normal;">Sun
Machine – </i>What do you do when you’re a Broadway-oriented, Deaf School-style
band with horns and percussion, and you face a painful breakup, substance
abuse, and thoughts of suicide? If you’re Kalmia Traver, you dance to it! I
heartily endorse the Rubble Bucket strategy over the Frightened Rabbit
alternative.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">68.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Decemberists, <i style="mso-bidi-font-style: normal;">I’ll
Be Your Girl – </i>Say what you will about Colin Meloy, this is a strong, poppy
effort that turns down the pompousness and overthinking, with good results.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">69.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->IDLES, <i style="mso-bidi-font-style: normal;">Joy As An
Act of Resistance – </i>This isn’t as interesting to me in the punk-revival
category as, say, Fucked Up or Bodega or Shopping (always preferred the likes
of Mars and DNA over Jam or Clash), but kudos to the crew for reviving British
punk anyway.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">70.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Swearin’, <i style="mso-bidi-font-style: normal;">Fall
Into the Sun – </i>In which Alison Crutchfield reunites with an old lover,
takes a bunch of risks, and offers up a collection as good as anything from her
sister Katie.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">71.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Camp Cope, <i style="mso-bidi-font-style: normal;">How to
Socialise and Make Friends – </i>Australia’s heroines of indie rock sometimes
get demerit points from the over-emoting of guitarist-lyricist Georgia
McDonald, but when she talks about the death of her musician father, you have
to fall under Camp Cope’s spell.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">72.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Mothers, <i style="mso-bidi-font-style: normal;">Render
Another Ugly Method – </i>Unlike some critics, I thought Kristine Leschper made
a bid for a wider audience in Mothers’ second album, but their music admittedly
is angular, odd, and an acquired taste.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">73.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Caroline Rose, <i style="mso-bidi-font-style: normal;">Loner
– </i>In which the former folk-pop singer/songwriter Caroline Rose makes a bid
for audacious pop, and it works! These songs will drive you crazy, but in a
good way.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">74.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Florence and The Machine, <i style="mso-bidi-font-style: normal;">High as Hope – </i>Nice to hear Florence Welch go for understatement
for a change, and her nod to Patti Smith is great.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">75.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Mt. Eerie, <i style="mso-bidi-font-style: normal;">Now
Only – </i>In some senses, this is as good as last year’s groundbreaking album
on acceptance of the death of a loved one, but one can only go back to that
well so often. It’s nice to know Phil Elverum is finding connubial bliss with
Michelle Williams, or at least one would hope.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">76.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->August Greene, s/t – Common may be overexposed in some
circles, but his heart and political sensibilities are in the right place in
this hip-hop supergroup album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">77.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Chris Corsano and Bill Orcutt, <i style="mso-bidi-font-style: normal;">Brace Up! – </i>The drum and guitar maniacal noise pair offer up their
first studio work after a few live outings. Orcutt’s focus on electric guitar
calls to mind his old band Harry Pussy, with hints of Zappa and Hendrix on the
side. Fry your brain.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">78.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->US Girls, <i style="mso-bidi-font-style: normal;">In a
Poem Unlimited – </i>I don’t always get what Meg Remy is about, but sign me up
for caring about it. Fascinating.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">79.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Good, The Bad, and The Queen, <i style="mso-bidi-font-style: normal;">Merrie Land – </i>Notice that Damon Albarn’s GBQ project ranks slightly
higher than his Gorillaz album for this year. GBQ gets specific and political
at a time that the UK needs a good swift kick in the ass, and Gorillaz looks
unfocused by comparison.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">80.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Hymn 4 Her, <i style="mso-bidi-font-style: normal;">Pop’n’Downers
– </i>America’s ultimate road couple makes a quirky and delightful album owing
as much to Broadway or Gilbert & Sullivan as to Americana roots.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">81.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Joy Formidable, <i style="mso-bidi-font-style: normal;">EARRRTH
</i>– Some might not like Ritzy’s new minor-key dive into mysticism, but I
think it’s fine.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">82.<span style="font: 7.0pt "Times New Roman";"> </span></span><span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="text-indent: -0.25in;">The
Wooldridge Brothers, </span><i style="text-indent: -0.25in;">Starts at Dusk – </i><span style="text-indent: -0.25in;">The
finest and grittiest suite of pop tunes yet from Milwaukee’s finest songwriting
siblings.</span><br />
<span style="text-indent: -0.25in;">83. </span><span style="text-indent: -0.25in;"><span style="font-family: "times new roman"; font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span></span><span style="text-indent: -0.25in;">J. Cole, </span><i style="text-indent: -0.25in;">KOD – </i><span style="text-indent: -0.25in;">Many
critics really loved Cole’s honesty here about substance abuse, but it didn’t
seem as direct as his last two albums.</span><br />
<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">84.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Alison Statton and Spike, <i style="mso-bidi-font-style: normal;">Bimini Twist – </i>It may not reach the level of Young Marble Giants,
but there’s a lot of cool shit going on here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">85.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Typhoon, <i style="mso-bidi-font-style: normal;">Offerings
– </i>Despite the band’s tendency to get a little over-majestic in a Muse
fashion, this concept album was brilliant in arrangement and delivery.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">86.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jeff Tweedy, <i style="mso-bidi-font-style: normal;">WARM
– </i>A subtle, quiet accompaniment to his new autobiography, featuring some of
his best solo work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">87.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Death Cab for Cutie, <i style="mso-bidi-font-style: normal;">Thank You for Today – </i>Ben Gibbard may have to reach a bit more for
relevance, but this is not a bad album for this stage in the band’s career.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">88.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Sarah Davachi, <i style="mso-bidi-font-style: normal;">Gave
In Rest</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;"> .<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Sarah Davachi, <i style="mso-bidi-font-style: normal;">Let
Night Come On Bells End the Day – </i>Canada’s keyboard experimentalist graces
us with two impressive works in one year.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">89.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Ariana Grande, <i style="mso-bidi-font-style: normal;">Sweetener
– </i>This album really impressed me on first listen, but the meltdown with
Pete sort of soured the sweetener.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">90.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Gorillaz, <i style="mso-bidi-font-style: normal;">The Now
Now – </i>This seemed to me to be an afterthought to Albarn’s main <i style="mso-bidi-font-style: normal;">Humanz </i>statement in 2017, though many
people loved it. Still not as good as his Good/Bad/Queen album, though.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">91.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Blood Orange, <i style="mso-bidi-font-style: normal;">Negro
Swan – </i>One of the most impressive and understated R&B albums of the
year, addressing depression in its many forms.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">92.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Alannah McCready, <i style="mso-bidi-font-style: normal;">Ricochet
Heart – </i>One might think at an 90 level I’m meh about new-country, but note
that this one still is higher than Pistol Annies or Ashley Monroe. A talent
worth paying attention to.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">93.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Roy Montgomery, <i style="mso-bidi-font-style: normal;">Suffuse
– </i>Some interesting vocal experiments alongside Roy’s always-intriguing
guitar, with guest appearances by the likes of Circuit des Yeux.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">94.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Laura Grace and the Devouring Mothers, <i style="mso-bidi-font-style: normal;">Bought to Rot – </i>The transgender lead
singer of Against Me! tries some solo work that is not supposed to be punk, but
retains a lot of punk energy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">95.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Kyle Craft, <i style="mso-bidi-font-style: normal;">Full
Circle Nightmare – </i>In some ways, Craft really is a 21<sup>st</sup>-century
Dylan, but he carries a little too much of that angst Ian Hunter always favored
in certain Mott the Hoople albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">96.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lake Street Dive, <i style="mso-bidi-font-style: normal;">Free
Yourself Up – </i>Another heaping helping of retro-soul bebop from the Boston
masters, though the companion EP ranks higher in the EP section due to its
spoof nature.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">97.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lily Allen, <i style="mso-bidi-font-style: normal;">No
Shame – </i>The British press may rail at Allen as dissolute and a bad mommy,
but screw that. These are heartfelt and fine pop tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">98.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Sarah Borges and the Broken Singles, <i style="mso-bidi-font-style: normal;">Love’s Middle Name – </i>I’m hearing a warm
evolution on this one, taking Sarah more toward a Susan Cowsill style. Hooray!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">99.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Interpol, <i style="mso-bidi-font-style: normal;">Marauder
– </i>It seems to be cool to dismiss Interpol these days, but I actually found
a lot to like in this new studio session.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">100.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Foolish, <i style="mso-bidi-font-style: normal;">Pleasantly
Depressing – </i>Bunk Nesbit reminds us that any time one of his alter egos
enters the studio, magic happens.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">101.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Nap Eyes, <i style="mso-bidi-font-style: normal;">I’m Bad
Now – </i>This is the most intriguing work yet from this Nova Scotia band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">102.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Laura Gibson, <i style="mso-bidi-font-style: normal;">Goners
– </i>One of the more intriguing and subtle singer-songwriters out there. Heartwarming,
wistful, and incredibly sad, all at once. An interesting step forward from <i style="mso-bidi-font-style: normal;">Empire Builder.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">103.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jeffrey Gaines, <i style="mso-bidi-font-style: normal;">Alright
– </i>Who would have thought that a return by 1990s favorite Gaines would have
hints of a 1978 Costello? Some great pop tunes here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">104.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Sophie, <i style="mso-bidi-font-style: normal;">Oil of
Every Pearl’s Un-Insides – </i>She’s the toast of every dance floor, but is
Sophie truly the next big thing?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">105.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Breeders, <i style="mso-bidi-font-style: normal;">All
Nerve – </i>Fans of the Deal sisters will be shocked I put Belly in my top ten
and Breeders down here, but I rank based on interest. A good album nonetheless.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">106.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->First Aid Kit, <i style="mso-bidi-font-style: normal;">Ruins
– </i>A bit more morose for our FAK friends, but they wear sorrow well.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">107.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Body/Head, <i style="mso-bidi-font-style: normal;">The
Switch – </i>A lot of people have this album way up, and I give Kim Gordon
credit for sticking with unadulterated experimental noise, but I found that
limiting.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">108.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Chvrches, <i style="mso-bidi-font-style: normal;">Love Is
Dead – </i>Lauren Mayberry had an honest intention here, of distilling the
band’s themes and making them a little more pop-accessible. Too much repetition
of lyrics and riff lines made the album a bit less interesting than previous
ones – but check out the Hansa Sessions EP, reviewed below.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">109.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Cardi B, <i style="mso-bidi-font-style: normal;">Invasion
of Privacy – </i>Yes, she can rhyme it up, and yes, it’s fun, but sort of
limiting – still, a much better shelf life than Nicki Minaj.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">110.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Young Fables, <i style="mso-bidi-font-style: normal;">Old
Songs – </i>A country-music couple from a rural area outside Knoxville give us
hope for the future of country, with stunning tracks like “Sawmill Wages.”<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">111.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Cloud Nothings, <i style="mso-bidi-font-style: normal;">Last
Building Burning – </i>Dylan Baldi returns to punkier roots to mostly good
results, though at times I like the more pensive Cloud Nothings.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">112.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Kaia Kater, <i style="mso-bidi-font-style: normal;">Grenades
– </i>Caribbean-influenced folk beats, and the only political analysis of
islander revolt I’ve ever heard.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">113.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Animal Collective, <i style="mso-bidi-font-style: normal;">Tangerine
Reef – </i>Another chapter in the band’s newfound fascination with
environmental devastation, this one dealing with the death of the ocean. It may
not be as alluring as some of the band’s earlier work, but fascinating
nonetheless.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">114.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Hot Snakes, <i style="mso-bidi-font-style: normal;">Jericho
Waves – </i>Nice to have Hot Snakes back in a strident album that sounds a lot
like Drive Like Jehu.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">115.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Calexico, <i style="mso-bidi-font-style: normal;">The
Thread That Keeps Us – </i>A rich and emotional collection from our favorite
bilingual border band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">116.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Arctic Monkeys, <i style="mso-bidi-font-style: normal;">Tranquility
Base Hotel + Casino – </i>Hey, if nothing else, the band should be credited
with not making the same album over and over, instead opting for a strange tale
about a cheesy jazz club at a space station. Maybe the idea doesn’t always
work, but I’m impressed they tried it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">117.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Struts, <i style="mso-bidi-font-style: normal;">Young
and Dangerous – </i>If it wasn’t for lead singer Luke Spiller’s hilarious
self-deprecation, this band’s mashup of NY Dolls, Queen, and early Aerosmith
could be annoying – instead, it’s just fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">118.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Frankie Cosmos, <i style="mso-bidi-font-style: normal;">Vessel
– </i>Greta Kline writes some great lyrics and puts on a fascinating live show,
though I can’t say it always translates in the studio.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">119.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Dirty Projectors, <i style="mso-bidi-font-style: normal;">Lamp
Lit Prose – </i>It’s good to see David Longstreth has gone back to being happy,
though these songs work better in a live venue, as the ranking of the Brooklyn
show in the Specials section indicates.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">120.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Pistol Annies, <i style="mso-bidi-font-style: normal;">Interstate
Gospel – </i>Despite immense popularity, the trio of Lambert, Monroe, and
Presley don’t always click as often as say, I’m With Her, but they’re more
mainstream country. This one carries the tradition well.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">121.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Hinds, <i style="mso-bidi-font-style: normal;">I Don’t
Run – </i>The crazy women from Spain try for a deliberate lo-fi Velvet
Underground approach, but it doesn’t click as often as with their first album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">122.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Joan of Arc, <i style="mso-bidi-font-style: normal;">1984
– </i>An eclectic experiment to let vocalist and visual artist Melina
Ausikaitis release her inner hillbilly while Tim Kinsella weaves tales of rural
innocence. Odd but wonderful.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">123.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->tUnEyArDs, <i style="mso-bidi-font-style: normal;">I Can
Feel You Creep Into My Private Life – </i>I live for Merrill Garbus’s forays
into the studio, though this one was a little meandering.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">124.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Ashley Paul, <i style="mso-bidi-font-style: normal;">Lost
in Shadows – </i>A stunning ambient noise work from the always-interesting
Paul.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">125.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bridget Hayden, <i style="mso-bidi-font-style: normal;">Pure
Touch Only From Now On, They Said So – </i>An oft-overlooked member of
Vibracathedral Orchestra reminds us why any Hayden release is a cause for
celebration.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">126.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Kimbra, <i style="mso-bidi-font-style: normal;">Primal
Heart – </i>Even if Kimbra’s attempt to release her inner Maori is only
partially successful, she remains the Kiwi pop-dance queen of choice.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">127.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Peter Holsapple, <i style="mso-bidi-font-style: normal;">Game
Day – </i>Continental Drifters and dB’s founder Holsapple gives us a fond look
back at his life in rock, though I’d like a few more forward glances. Holsapple
retains his deft touch, however.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">128.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Claudettes, <i style="mso-bidi-font-style: normal;">Dance
Scandal at the Gymnasium – </i>Chicago’s boisterous bar band offers up a
sort-of concept album on high school life. Tremendous fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">129.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jackie-O Motherfucker, <i style="mso-bidi-font-style: normal;">Bloom – </i>This might have belonged in special albums, since it’s a
compilation from several recording sessions, though the music is unreleased,
and more conventional in song structure than much of Jackie-O’s catalog.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">130.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lykke Li, <i style="mso-bidi-font-style: normal;">So Sad
So Sexy – </i>The title says it all – sensuous songs about dominating the dance
floor with tears in your eyes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">131.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Preoccupations, <i style="mso-bidi-font-style: normal;">New
Material – </i>Honestly, I don’t begrudge these guys for the name change from
Viet Cong, and their style is a situationist spin of Interpol, but all too
often the tracks fade from the mind.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">132.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Eric Bachmann, <i style="mso-bidi-font-style: normal;">No
Recover – </i>Eric’s solo acoustic tours recently have been great, and he
promises a 2019 Archers of Loaf reunion tour. This studio outing with his wife
is more of a dream-pop effort, however, with few of the hard-hitting lyrics
he’s known for.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">133.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Hunt Sales Memorial, <i style="mso-bidi-font-style: normal;">Get Your Shit Together – </i>Fun and howling deliveries from the former
session musician with Tin Machine and Iggy Pop.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">134.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jack White, <i style="mso-bidi-font-style: normal;">Boarding
House Ranch – </i>Every time someone starts ranting against Jack, I find
something good to say about his latest solo efforts, but this one made it hard
to do, as it fell flat for the most part.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">135.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Galen Ayers, <i style="mso-bidi-font-style: normal;">Monument
– </i>The daughter of prog-rock legend Kevin Ayers describes the tough years of
being primary caregiver for her late dad, with a voice similar to Aimee Mann’s.
We’re bound to be hearing more from her soon.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">136.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Stephen Malkmus, <i style="mso-bidi-font-style: normal;">Sparkle
Hard – </i>I know, the Pavement founder deserves better ranking, particularly
since this is better than most Jicks work. Not to be overlooked.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">137.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Travis Scott, <i style="mso-bidi-font-style: normal;">Astroworld
– </i>It’s too bad this album is defined primarily for the collaboration with
Drake, because Scott’s voice and vision is far more interesting than Drake’s
own.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">138.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Art Brut, <i style="mso-bidi-font-style: normal;">Biff!
Bam! Pow! – </i>Eddie Argos may be more reticent about taking over the world
than when Art Brut was founded, but the Dadaist-comedian vocalist remains as
wry and snarky as ever.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">139.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Charalambides, <i style="mso-bidi-font-style: normal;">Tom
and Christina Carter – </i>So glad to see Charalambides back in the studio,
though this double album is some of their most minimal work. Still, Christina’s
blues harp is important to hear.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">140.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Pig Destroyer, <i style="mso-bidi-font-style: normal;">Head
Cage – </i>Decently inventive grindcore.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">141.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Loma, s/t – The side project of Jonathan Meiburg of
Shearwater is worth hearing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">142.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Mandy Barnett, <i style="mso-bidi-font-style: normal;">Strange
Conversation – </i>A really diverse collection of country and pop tunes from a
woman who knows Broadway as well as she knows Nashville.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">143.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Gang Gang Dance, <i style="mso-bidi-font-style: normal;">Kazuashita
– </i>The weirdo Brooklyn dance ensemble returns after a hiatus to have a more
gauzy demeanor, though in live performances, Lizzy is as amazing as ever.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">144.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Amanda Shires, <i style="mso-bidi-font-style: normal;">To
the Sunset – </i>To her credit, Shires has a great cozy singer-songwriter style
somewhat reminiscent of Victoria Williams, though nothing stands out too
tremendously.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">145.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Stuart Staples, <i style="mso-bidi-font-style: normal;">Arrhythmia
– </i>A cool album but an acquired taste, as the lead singer of Tindersticks
experiments with long pieces combining orchestral backing with improvisation.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">146.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Houndmouth, <i style="mso-bidi-font-style: normal;">Golden
Age – </i>When a Midwestern folkie-Americana group wants to hit the dance
floor, it could be a disaster, but in this case, it works!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">147.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Kinky Friedman, <i style="mso-bidi-font-style: normal;">Circus
of Life – </i>Kinky returns to the road with songs of reminiscing and Willie
Nelson worship. OK, it can be maudlin at times, but it still beats Willie’s
latest.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">148.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Iceage, <i style="mso-bidi-font-style: normal;">Beyondless
– </i>Some people think of Iceage as the saviors of indie-post-punk, but I only
see them as mildly interesting. But still worth a listen.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">149.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lucy Kaplansky, <i style="mso-bidi-font-style: normal;">Everyday
Street – </i>Another fine collection from Lucy, but her desire to make a
statement against streaming makes this album too unavailable, and needlessly
so.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">150.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Franz Ferdinand, <i style="mso-bidi-font-style: normal;">Always
Ascending – </i>When FF recorded a collaboration album with Sparks in 2016, I
thought a revival was in order, but this new studio album mostly treads water.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">151.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Laura Veirs, <i style="mso-bidi-font-style: normal;">The
Lookout – </i>I’m glad Veirs is getting a wider audience with what many think
is her best work yet, but I don’t think husband/producer Tucker Martine is
encouraging her to go far enough out of her comfort zone. Her work in the
case/lang/veirs trio shows what she can accomplish.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">152.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Dwarfs of East Agouza, <i style="mso-bidi-font-style: normal;">Rats Don’t Eat Synthesizers – </i>Normally, I’m all about any Sun City
Girls spinoff project out there, but this was only mildly interesting.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">153.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bad Bunny, <i style="mso-bidi-font-style: normal;">X
100pre – </i>Bad Bunny may have originally ridden on Drake and Cardi B
coattails, but the bilingual Puerto Rican rapper has a depth to his songs that
indicate he will advance well beyond this debut album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">154.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Ensemble Economique, <i style="mso-bidi-font-style: normal;">Radiate – </i>Fun in a droney way, but I still miss Starving Weirdos.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">155.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Kal Marks, <i style="mso-bidi-font-style: normal;">Universal
Care – </i>Some raucous Boston punk, though maybe not as groundbreaking as some
fans believe.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">156.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Robyn, <i style="mso-bidi-font-style: normal;">Honey – </i>Yes,
she’s dominated the dance floor for 20 years, but my interest wanes quickly.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">157.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Chris Smither, <i style="mso-bidi-font-style: normal;">Call
Me Lucky – </i>Cool session of new material from Smither, his first in nearly a
decade.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">158.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Let’s Eat Grandma, <i style="mso-bidi-font-style: normal;">I’m
All Ears – </i>This British women’s duo explores the same type of gauzy
psychedelia as Trailer Trash Tracys – interesting for a while, but not
life-changing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">159.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Ashley Monroe, <i style="mso-bidi-font-style: normal;">Sparrow
– </i>This album is probably her best solo work to date (distancing from the
Jack White enterprise probably helped), but it’s overshadowed by her work with
Pistol Annies.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">160.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Albert Hammond Jr., <i style="mso-bidi-font-style: normal;">Francis
Trouble – </i>Still like Albert as a singer-songwriter, but this album didn’t
stick in my memory long.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">161.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Sarah Sample, <i style="mso-bidi-font-style: normal;">Redwing
–- </i>Now here’s a good example of how alt-country singer-songwriting should
be done.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">162.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Yo La Tengo, <i style="mso-bidi-font-style: normal;">There’s
a Riot Going On – </i>There is? YLT passionate defenders will hate this, but
the band to me just gets sleepier all the time.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">163.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Frank Turner, <i style="mso-bidi-font-style: normal;">Be
More Kind – </i>The UK’s best purveyor of blue-eyed soul has intentions in all
the right places, and is certainly a hell of a lot more interesting than Sam
Smith.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">164.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Brandi Carlile, <i style="mso-bidi-font-style: normal;">By
the Way, I Forgive You – </i>People whose opinions I trust insist this is
Brandi’s best album. Not hearing it. Good tunes to be sure, but occasionally
lackluster.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">165.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Janiva Magness, <i style="mso-bidi-font-style: normal;">Love
is an Army – </i>Some impressive blues-jazz chanteuse arrangements going on
here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">166.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Hudson (deJohnette, etc.), s/t – I think it’s cool to
put Jack DeJohnette and friends in the service of pop reinventions, but I still
like his hard-core jazz better.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">167.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Okkervil River, <i style="mso-bidi-font-style: normal;">In
the Rainbow Rain – </i>Will Sheff’s turn to happy psychedelia makes for more
pleasant party music, though not as essential as his last two Okkervil River
albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">168.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Walter Salas-Humara, <i style="mso-bidi-font-style: normal;">Walterio – </i>A very decent solo album form the lead singer of The
Silos.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">169.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Emily Kinney, <i style="mso-bidi-font-style: normal;">Oh
Jonathan – </i>Sometimes actresses shouldn’t be vocalists and songwriters, but
Kinney makes a good case, and the Betty Boop voice works to her advantage.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">170.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Matthew Sweet, <i style="mso-bidi-font-style: normal;">Tomorrow’s
Daughter – </i>Some of Sweet’s recent duo work with Susanna Hoffs has been
cool, though his solo efforts have been a bit forgettable. This is an
exception, tight and energetic throughout.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">171.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Paul Kelly, <i style="mso-bidi-font-style: normal;">Nature
– </i>Cool adaptations of works by the likes of Sylvia Plath and Dylan Thomas
by this Australian folk singer.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">172.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->We Were Promised Jetpacks, <i style="mso-bidi-font-style: normal;">The More I Sleep, The Less I Dream – </i>As good as this band can be, I
wish they’d be a little less anthemic, as sounding like U2 does not suit them.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">173.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Beach House, <i style="mso-bidi-font-style: normal;">7 – </i>I
put Beach House in the Yo La Tengo category of dreamy-sleepy, and this one is
no exception.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">174.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Willie Nelson, <i style="mso-bidi-font-style: normal;">Last
Man Standing – </i>For longevity and rebellion alone, I ought to give Willie a higher
ranking. He’s still sounding good for the mid-80s, but I didn’t have a lot of
clear takeaways from this album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">175.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Six String Drag, <i style="mso-bidi-font-style: normal;">Top
of the World – </i>Just an enjoyable and light-hearted jam session, and there’s
certainly nothing wrong with that.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">176.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Christina Aguilera, <i style="mso-bidi-font-style: normal;">Liberation
– </i>The trills and angst still may be set to stun, but this feels like the
most legit and heartfelt work she’s ever done. Seems like Drake, Nicki Minaj,
and The Carters all could get lessons on street cred from Aguilera.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">177.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Dave Holland and Evan Parker, <i style="mso-bidi-font-style: normal;">Uncharted Territories – </i>Nice to see Holland back in the fray,
though some of the jazz newcomers are doing more interesting things.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">178.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Dawes, <i style="mso-bidi-font-style: normal;">Passwords
– </i>I’ve often defended Dawes when others say the band is too southern
California/Jackson Browne. Yet many people liked this album best of all, and it
somehow didn’t move me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">179.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Gwenno, <i style="mso-bidi-font-style: normal;">Le Kov – </i>I’ll
follow Gwenno everywhere, but an album sung entirely in Cornish (?) was a bit
much.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">180.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Coheed and Cambria, <i style="mso-bidi-font-style: normal;">Unheavenly
Creatures – </i>The band may sound a bit Rush-pompous when they’re involved in
all this sci-fi storytelling, but I’m ready for this five-part Vax tale to
start.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">181.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Elle King, <i style="mso-bidi-font-style: normal;">Shake
the Spirit – </i>King has much more in blues rock to offer the world than X’s
and O’s, but she allows her cheesier moments to define the tone of the album
here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">182.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Natalie Prass, <i style="mso-bidi-font-style: normal;">Future
and Past – </i>I am a strong believer in Prass, but her shift from Muscle
Shoals horns to electronica-pop robbed her lyrics and arrangements of some of
their soul.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">183.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bat Fangs, s/t – Many people swear by this newcomer
hard-rock women-led band, but the songs don’t translate all that well in the
studio. I’m keeping my mind and ears open.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">184.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Glorious Sons, <i style="mso-bidi-font-style: normal;">Young
Beauties and Fools – </i>A British band that opts for some nostalgia blues-rock
of 1970s vintage, an easy listen with plenty of emotional delivery.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">185.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Mumford & Sons, <i style="mso-bidi-font-style: normal;">Delta
– </i>They might be rich, but we can still feel a little bit of sympathy for
the Mumford gang, who insisted they poured out their soul in the new album,
only to be told by many fans (as well as most critics) that they sounded like
“Coldplay on Xanax.” It may be tedious at times, but at least Marcus Mumford
didn’t try to make the same album over and over.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">186.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Ben Harper and Charlie Musselwhite, <i style="mso-bidi-font-style: normal;">No Mercy In This Land – </i>Ad hoc
collaborations can have the same problem as regular bands – they can suffer
from sophomore slump. There’s some great musicianship here, but it doesn’t
stand as well as their 2013 album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">187.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Tracey Thorn, <i style="mso-bidi-font-style: normal;">Record
– </i>Nice to see the lead singer of Everything But the Girl return to offer
synth-driven observations on middle age, though this does reinforce why I was
only mildly interested in EBTG.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">188.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->I See Hawks in L.A., <i style="mso-bidi-font-style: normal;">Live and Never Learn – </i>Some fine moments in Southern California
jam-band/folk-rock mashups, though that style was never totally my thing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">189.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lord Huron, <i style="mso-bidi-font-style: normal;">Vide
Noir – </i>Still evolving, but also still vague in delivery at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">190.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Muse, <i style="mso-bidi-font-style: normal;">Simulation
Theory – </i>Let’s give Muse credit for always being politically astute and
giving us political warnings when necessary. But the turn to electronica to
talk about the hazards of online culture had sort of predictable results.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">191.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jim White, <i style="mso-bidi-font-style: normal;">Waffles,
Triangles and Jesus – </i>White has always struck me as a more countrified
version of Stan Ridgway, and there’s nothing wrong with that.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">192.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bart Davenport & The Bedazzled, <i style="mso-bidi-font-style: normal;">Blue Motel – </i>Is this the modern
equivalent of yacht rock? There’s a certain amount of pop fun here, but I was
never a yacht-rock kinda guy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">193.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Great Lake Swimmers, <i style="mso-bidi-font-style: normal;">The Waves, The Wake – </i>This Canadian folk-rock band is becoming more
and more the personal project of Tony Dekker, which is not a bad thing in and
of itself, but the dream pop that results is less interesting than their
original work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">194.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->JD Wilkes, <i style="mso-bidi-font-style: normal;">Fire
Dream – </i>The concept of this is fascinating enough, relying on elements of
Tom Waits and Crazy World of Arthur Brown, but the delivery is a little over
the top.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">195.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Devotchka, <i style="mso-bidi-font-style: normal;">The
Night Falls Forever – </i>Fans of the Denver gypsy band may not like it when I
say Devotchka mostly makes the same album again and again, but that’s what I
hear.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">196.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Gucci Mane, <i style="mso-bidi-font-style: normal;">Evil
Genius – </i>Much more finely crafted than many of his releases, but also a bit
formulaic.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">197.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lucius, <i style="mso-bidi-font-style: normal;">Nudes – </i>The
debut album didn’t convince me, and this is a bit of a sophomore slump, but I’m
still willing to grant Lucius a listen.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">198.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Eleanor Friedberger, <i style="mso-bidi-font-style: normal;">Rebound – </i>Ever since she left as lead singer of Fiery Furnaces,
Friedberger’s been exploring some 1960s and 1970s landscapes, often with some
great results, but other times, like now, just meandering.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">199.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Drake, <i style="mso-bidi-font-style: normal;">Scorpion –
</i>OK, this was supposed to prove Drake’s vulnerability and sad self, but a
lot of the arrangements seem calculated.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">200.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Snow Patrol, <i style="mso-bidi-font-style: normal;">Wildness
– </i>I’ll give Gary Lightbody credit for trying to age gracefully, but the
band isn’t going to relive that late 1990s angst, but then again, I wouldn’t
want them to.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">201.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Tami Nielsen, <i style="mso-bidi-font-style: normal;">Sassafras!
– </i>The former singer for Canada’s Nielsen Family gets swamp-funky, with good
results.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">202.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->XXL, <i style="mso-bidi-font-style: normal;">Puff O’Gigio
– </i>Usually the collaboration albums of Xiu Xiu and the EDM band Larsen are
fairly interesting just for something different, but only a few tracks rise
above the noise here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">203.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Mount Joy, s/t – Mildly intriguing folk rock good for
morning meditation.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">204.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Justin Timberlake, <i style="mso-bidi-font-style: normal;">Man
of the Woods – </i>We can give Timberlake credit for at least trying a “back to
nature” vehicle as he approaches middle age, but it doesn’t gain him much.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">205.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Matt & Kim, <i style="mso-bidi-font-style: normal;">Almost
Every Day – </i>Matt & Kim could have gone more for a certain TMBG-style
humor, or strict dance electronica. The fact that they are choosing the latter
path is a disappointment.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">206.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Glen Hansard, <i style="mso-bidi-font-style: normal;">Between
Two Shores – </i>Dude, forget Marketa. Go back to The Frames. I’m not getting
much out of this morose path.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">207.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Imagine Dragons, <i style="mso-bidi-font-style: normal;">Origins
– </i>The Utah/Vegas superstars actually can sound decent when they let rhythm
come first. But this album opts for pure pop formula.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">208.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Titus Andronicus, <i style="mso-bidi-font-style: normal;">A
Productive Cough – </i>I’ve usually followed Titus Andronicus through all the
punky and operatic twists they’ve made, but this album just sort of falls flat.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">209.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Carters (Jay-Z and Beyonce), <i style="mso-bidi-font-style: normal;">Everything is Love </i>– I am going to keep this on the list because
our favorite mega-celebrity pair are trying for fidelity and legitimacy, but,
as Jay-Z has shown in recent solo efforts, when you’re this rich your efforts
to define street cred look sort of lame.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">210.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Eels, <i style="mso-bidi-font-style: normal;">Deconstruction
– </i>Because there are a couple songs of merit, this album will close out the
list of “worth a listen.” But Mark E. keeps making the same morose statements
over and over. He has hit the limit here. Mark Kozelek already exceeded my limit,
which is why there are no Kozelek solo or Sun Kil Moon albums on the 2018 list.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: 18.0pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) </span></b><span style="font-size: 14.0pt; mso-bidi-font-weight: bold;">(some outstanding reissues
from Posies, Soul Asylum, Malo, et al this year, but if it wasn’t dominated by
new material, it isn’t eligible)<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->John
Coltrane, <i style="mso-bidi-font-style: normal;">Both Directions at Once: The
Lost Coltrane Album – </i>For once, a legendary archival work fully lives up to
its reputation. This is one of Coltrane’s most coherent, solid works, right up
there with <i style="mso-bidi-font-style: normal;">My Favorite Things </i>and <i style="mso-bidi-font-style: normal;">A Love Supreme</i>.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->St.
Vincent, <i style="mso-bidi-font-style: normal;">MassEducation – </i>A sparse
re-imagining of 2017’s <i style="mso-bidi-font-style: normal;">Masseduction, </i>featuring
Annie Clark’s voice and accompanying grand piano. A sad but beautiful work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Lera
Lynn, <i style="mso-bidi-font-style: normal;">Plays Well With Others – </i>A fine
selection of duos (John Paul White, Shovels & Rope) from one of
country-rock’s most intriguing women.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->The
Jayhawks, <i style="mso-bidi-font-style: normal;">Back Roads and Abandoned Motels
– </i>This is not any kind of rarities compilation, but an album of Jayhawks
recording songs that they originally wrote for other people.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->The
Kills, <i style="mso-bidi-font-style: normal;">Live at Electric Lady Studios – </i>Alison
is on fire in this set of live material from recent albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Mt.
Eerie, <i style="mso-bidi-font-style: normal;">(after) – </i>Live renditions in a
Dutch church of songs from <i style="mso-bidi-font-style: normal;">A Crow Looked
at Me </i>and <i style="mso-bidi-font-style: normal;">Now Only</i>.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Bangles/Three
O’Clock/Dream Syndicate/Rain Parade, <i style="mso-bidi-font-style: normal;">3x4
– </i>Probably the first good chronicle of the Paisley Underground, these
modern sessions from 2017-18 have the four bands going into the studio to
record each others’ 1980s hits.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Alt-J,
<i style="mso-bidi-font-style: normal;">Reduxer – </i>Normally, remix albums
don’t do a lot for me, but this mix of songs and artists make the album
exceptional, maybe even better than <i style="mso-bidi-font-style: normal;">Relaxer.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";"> </span></span><!--[endif]-->Guided
by Voices, <i style="mso-bidi-font-style: normal;">Ogre’s Trumpet – </i>The first
good non-bootleg chronicle of the current GbV with Bobby Bare Jr. Wonderful
choice of tracks.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Parlor Walls, <i style="mso-bidi-font-style: normal;">Live
at St. Vitus NYC, October 2018 – </i>A vibrant and exciting recording of a
relative newcomer.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Linda Thompson, <i style="mso-bidi-font-style: normal;">My
Mother Doesn’t Know I’m On the Stage – </i>In which Linda pulls together
friends like Martha Wainwright to perform some Edwardian-era Vaudeville
numbers.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Yoko Ono, <i style="mso-bidi-font-style: normal;">Warzone
– </i>Isn’t it lucky we have 85-year-old Yoko to reinterpret some of her older
protest songs for a Brexit and Trump era?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Luther Russell, <i style="mso-bidi-font-style: normal;">Selective
Memories – </i>More than just a best-of compilation, this features rare and
unreleased work from Russell’s sessions over the last 30 years.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Neil Young, <i style="mso-bidi-font-style: normal;">Songs
for Judy – </i>A double live album from 1976, at the height of Young’s acoustic
and Crazy Horse powers.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Paul Simon, <i style="mso-bidi-font-style: normal;">In
Blue Light – </i>An odd but intriguing collection of lesser-known Simon songs
reinterpreted in very eclectic ways.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]--><i style="mso-bidi-font-style: normal;">A Star is Born </i>OST
– This list usually avoids soundtracks, though projects like <i style="mso-bidi-font-style: normal;">Once </i>are exceptions. The original songs
here by Brad Cooper and Lady Gaga are too good not to mention.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Ry Cooder, <i style="mso-bidi-font-style: normal;">Prodigal
Son – </i>Cooder digs up old blues favorites and makes them scary.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Joan Baez, <i style="mso-bidi-font-style: normal;">Whistle
Down the Wind – </i>In what she says will be her last studio release, Baez
picks out some unique and wonderful songs that proves she still has an amazing
voice.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Car Seat Headrest, <i style="mso-bidi-font-style: normal;">Twin
Fantasy – </i>While we wait for the next album of Will Toledo originals, here’s
a complete re-recording of one of his older Bandcamp classics.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Dennis Quaid and The Sharks, <i style="mso-bidi-font-style: normal;">Out of the Box – </i>Sometimes movie stars shouldn’t attempt rockin’
covers. And sometimes it works pretty well. This is one of the latter
instances.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jason Isbell and the 400 Unit, <i style="mso-bidi-font-style: normal;">Live from the Ryman – </i>Hey, it’s not as scripted as <i style="mso-bidi-font-style: normal;">Springsteen on Broadway, </i>and the energy
level is high, though it does seem too picture-perfect.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Dirty Projectors<i style="mso-bidi-font-style: normal;">,
Live at Elsewhere, Nov. 18, 2018</i> – Some exceptional songs, focusing on new
material from <i style="mso-bidi-font-style: normal;">Lamp Lit Prose, </i>delivered
in rousing fashion.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Residents, <i style="mso-bidi-font-style: normal;">I
Am a Resident! – </i>What a concept, The Residents remix recordings of fans
covering Residents songs. Snakes eat themselves, and so do eyeballs.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lords of the New Church (live disc) – On occasion of
the re-release of the Lords album, a live set is also offered for the first
time.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jeph Jerman, <i style="mso-bidi-font-style: normal;">First
Second</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jeph Jerman, <i style="mso-bidi-font-style: normal;">Bray
Harp – </i>Two ambient compositions from the leader in naturalist sounds and
improvisational noise.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Peter Holsapple and Alex Chilton, <i style="mso-bidi-font-style: normal;">The Death of Rock – </i>The vocal “moderator” on this album can be
distracting, but the 1978 sessions bringing together a young Holsapple and
battle-tested Chilton are fascinating.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->John Wesley Harding, <i style="mso-bidi-font-style: normal;">Greatest Other People’s Hits – </i>One of the more unexpected and fun
releases from Record Store Day, this one has Harding dishing up odd covers.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Terra Naomi, <i style="mso-bidi-font-style: normal;">Secret
Songs – </i>This is not the full studio album of new material promised, but a
suite of demos and unreleased goodies featuring material from the last couple
years.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Coldplay, <i style="mso-bidi-font-style: normal;">Live in
Buenos Aires – </i>Make as much fun as you want, this one isn’t bad at all.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Permanent Green Light, <i style="mso-bidi-font-style: normal;">Hallucinations – </i>Michael Quercio’s post-Three O’Clock project,
brought together in one CD and released for the first time.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Big Star, <i style="mso-bidi-font-style: normal;">Live at
Lafayette’s – </i>A Big Star fanatic will say that this was an ideal set, and a
good example for why they were the band of the century. A lukewarm Big Star fan
will say that these guys were a very competent, yet very ordinary rock band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Maggie Roche, <i style="mso-bidi-font-style: normal;">Where
Do I Come From? Selected Songs – </i>This two-disc set is more than just a
best-of of Maggie’s work. There are unreleased solo songs, as well as rarities
from The Roches and Maggie and Suzzy Roche.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">34.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bruce Springsteen, <i style="mso-bidi-font-style: normal;">Springsteen
On Broadway – </i>Of course it’s essential, but it also feels as though Bruce
has relied too much on the epic romanticism passages from his memoir. Yes, <span style="mso-spacerun: yes;"> </span>this residency has been hard work, but <span style="mso-spacerun: yes;"> </span>there is little here about the formation of E
Street Band, and odd gaps in the stories chosen from his personal childhood.
Both the album and the Netflix film drag in places as a result.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">35.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bill Orcutt, <i style="mso-bidi-font-style: normal;">My
Friends When I’m Not There – </i>Orcutt released an LP re-release of a tape in
2018, as well as a compilation of singles, but this album is a completely new
live set. When you consider he also released an EP and a duo album with Chris
Corsano, it’s been quite a year for Bill.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">36.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Nellie McKay, <i style="mso-bidi-font-style: normal;">Sister
Orchid – </i>I think it’s cool McKay wanted to record an album of jazz
standards after recording an album of strange psychedelic throwbacks, but when
will we get new songs from Nellie?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">37.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Echo and the Bunnymen, <i style="mso-bidi-font-style: normal;">Stars, Ocean, Moon – </i>Kind of nice to hear orchestrated remixes of
the Bunnymen’s favorite songs, but there’s also a sense of midlife crisis here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">38.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Rage Against the Machine, <i style="mso-bidi-font-style: normal;">Live in LA 2000 – </i>A necessary and exciting document, but the Los
Angeles Democratic Convention of 2000 sure seems like a loooong time ago.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">39.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jorge Santana, <i style="mso-bidi-font-style: normal;">Love
the Way – </i>More than just a reissue or compilation, this is a suite of
unreleased and remixed material.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">40.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->VIbracathedral Orchestra, <i style="mso-bidi-font-style: normal;">Club Oto, 2018 – </i>Since the ensemble has stopped releasing new
material in the last couple years, the annual Club Oto outings are our one
chance each year to catch up with VCO.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<h2>
Singles and EPs <span style="font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->boygenius, s/t – Yes it’s overhyped, but the trio of
Julien Baker, Phoebe Bridgers, and Lucy Dacus have put out six songs that are
startlingly great.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Edith Makes a Paper Chain, <i style="mso-bidi-font-style: normal;">Hummingbird – </i>Sarah Hope proves herself not just a great lyricist,
but a fine studio wizard in manipulating noises and found sound.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lake Street Dive, <i style="mso-bidi-font-style: normal;">Freak
Yourself Out – </i>The 10” companion to <i style="mso-bidi-font-style: normal;">Free
Yourself Up, </i>this little EP is a milestone in LSD fun.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Lana Del Rey, <i style="mso-bidi-font-style: normal;">Venice
Bitch/Mariners Apartment Complex – </i>Two songs from the promised 2019 album <i style="mso-bidi-font-style: normal;">Norman Fucking Rockwell </i>show Lana
absolutely on top of her game.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Grouper, <i style="mso-bidi-font-style: normal;">Grid of
Points – </i>No, it’s not an album, it’s a 20-minute minimalist piano study,
one of Liz Harris’s finer works.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Esperanza Spalding, <i style="mso-bidi-font-style: normal;">12
Little Spells –</i> Even though this work is longer than supposed “albums” from
Grouper and Jenny Hval, Spalding explicitly calls this work an EP. A dozen
short pieces on the body, and the mind’s reaction to the body, make this a far
cry from the grandeur of Spalding’s <i style="mso-bidi-font-style: normal;">Emily’s
D+Evolution, </i>and it also shows she’s always growing and changing.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Azure Ray, <i style="mso-bidi-font-style: normal;">Waves
– </i>Maria and Orenda are back! My only gripe is that the flexi 7” release had
only two of the five songs available on the download. Physical first, streaming
last!<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Heather Maloney, <i style="mso-bidi-font-style: normal;">Just
Enough Sun – </i>This one has the feel of Lydia Loveless’s <i style="mso-bidi-font-style: normal;">Boy Crazy: </i>exceptional songs from Maloney’s 2017-18 tours that you
just might want to pick up in case they don’t find their way onto an album.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Jenny Hval, <i style="mso-bidi-font-style: normal;">The
Long Sleep – </i>This extended single is one of the most normal, melodic things
Hval has ever done, and absolutely delightful.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Nobody’s Girl, <i style="mso-bidi-font-style: normal;">Waterline
– </i>Three Kerrville folk-country veterans unite for a women’s power trio to
challenge the likes of I’m With Her, boygenius, and Pistol Annies.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Public Practice, <i style="mso-bidi-font-style: normal;">Distance
is a Mirror</i>– A Brooklyn supergroup formed from members of Wall and Beverly.
Fun stuff.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Chvrches, <i style="mso-bidi-font-style: normal;">Hansa
Session EP – </i>Five acoustic versions of tracks from <i style="mso-bidi-font-style: normal;">Love Is Dead, </i>very appealing in their delivery – and interesting to
hear an electronica-driven band go acoustic.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]--><span style="mso-spacerun: yes;"> </span>Alien She, <i style="mso-bidi-font-style: normal;">Feeler – </i>Dublin’s women’s punk
collective makes its first assault on America. We surrender!<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Belly, <i style="mso-bidi-font-style: normal;">Feel </i>–
A fine companion to the reunion album <i style="mso-bidi-font-style: normal;">Dove.
</i>You can never have too much Tanya Donelly.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">15.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Kevin Mitchell, <i style="mso-bidi-font-style: normal;">Gray
Crown – </i>It takes amazing guts to write a hip-hop EP about aging and
vulnerability, but then Mitchell has never been anything less than fearless.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">16.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->David Byrne, <i style="mso-bidi-font-style: normal;">“The
Best Live Show of All Time” – </i>A droll EP of the American Utopia tour, including
two Talking Heads tunes. Fun!<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">17.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Bill Orcutt, <i style="mso-bidi-font-style: normal;">Neu
Bros and Rural Beatles – </i>Almost an album in length, and indisputably weird.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">18.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Courtney Barnett, <i style="mso-bidi-font-style: normal;">City
Looks Pretty – </i>Maybe the coolest 12” single of Record Store Day. A fine
teaser to the new album.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">19.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Iron and Wine, <i style="mso-bidi-font-style: normal;">Weed
Garden – </i>A fine footnote to Sam Beam’s last album, actually some of the
best songs of that session.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">20.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Decemberists, <i style="mso-bidi-font-style: normal;">Traveling
On -- </i><span style="mso-spacerun: yes;"> </span>Meloy and company often work
best in EP format, and this is a nice epilogue to this year’s album.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">21.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Belle & Sebastian, <i style="mso-bidi-font-style: normal;">How to Solve Our Human Problems, Parts 2 and 3 – </i>It was a challenge
figuring out how to list these EPs, as the release of the trio split between
2017 and 2018. The concluding two discs were more Zen, bringing us to a deeper
understanding.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">22.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Waxahatchee, <i style="mso-bidi-font-style: normal;">Great
Thunder – </i>A simple minimalist re-recording of some of Katie Crutchfield’s
oldest songs as Waxahatchee. <o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">23.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Brian Eno and Kevin Shields, <i style="mso-bidi-font-style: normal;">The Weight of History – </i>Eno collaborates with My Bloody Valentine
members. Hope we get more releases from these sessions!<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">24.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Protomartyr, <i style="mso-bidi-font-style: normal;">Consolation
– </i>Sometimes the idea of a project sounds better than the project itself. An
alliance between Protomartyr and The Breeders should have clicked, but mostly
this EP was sorta OK, and the fault seemed to lie more with Joe than the Deal
sisters.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">25.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->First Aid Kit, <i style="mso-bidi-font-style: normal;">You
Are the Problem Here – </i>Not just an adjunct to the <i style="mso-bidi-font-style: normal;">Ruins </i>album, but a powerful single in its own right.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">26.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->The Mountain Goats, <i style="mso-bidi-font-style: normal;">Hex
of Infinite Binding – </i>An eclectic set of observations, but this is the only
new John Darnielle (not counting reissues) we got in 2018.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">27.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Kacey Musgraves, <i style="mso-bidi-font-style: normal;">High
Horse Remixes – </i>This isn’t just cool for being a RSD Black Friday 10”
record, but because one of the weaker cuts on her new album was turned into a
dance floor anthem. It works.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">28.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->John C. Spengler, <i style="mso-bidi-font-style: normal;">Workin’
On It – </i>Wry and fascinating songs of Colorado life.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">29.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Parlor Walls, <i style="mso-bidi-font-style: normal;">EXO
</i>– A band we all should pay more attention to.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">30.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i style="mso-bidi-font-style: normal;">100
Dougs</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">31.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Guided by Voices, <i style="mso-bidi-font-style: normal;">Wine
Cork Stonehenge – </i>The band has three solid 2019-2020 albums already in the
hopper, but these singles get demerited a bit for being $11-$13 retail for a
7-inch record. Pollard says, “If you don’t like it, don’t buy it,” but I think
more fans should just say no.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">32.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Rich Jones, <i style="mso-bidi-font-style: normal;">The
Shoulder You Lean On – </i>Inventive Chicago R&B/hip-hop with elements of
pop.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">33.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Ought, <i style="mso-bidi-font-style: normal;">Four
Desires – </i>Four cool remixes from the new Ought album, available only on
cassette!<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">34.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Flaming Lips, <i style="mso-bidi-font-style: normal;">The
Story of Yum-Yum – </i>Another crazy sci-fi fantasy from our Oklahoma crew,
timed to coincide with the release of a dedicated Dogfish Head Flaming Lips
brew.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">35.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Glands of External Secretion, <i style="mso-bidi-font-style: normal;">Backlit Colander – </i>Seymour Glass and Barbara Manning are usually
inexplicable when they get together as Glands, and this is no exception. But
the fact of their existence is enough.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]--><span style="mso-list: Ignore;">36.<span style="font: 7.0pt "Times New Roman";">
</span></span><!--[endif]-->Paul Sprawl, <i style="mso-bidi-font-style: normal;">Signs
of Life – </i>Strange guitar rumblings from deep in the Big Bend area of West
Texas.<o:p></o:p></div>
<div class="MsoBodyTextIndent">
<br /></div>
Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-38688300046058598072017-12-30T16:12:00.002-08:002017-12-30T16:12:49.660-08:00The List 2017<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"> </span><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> There was no
reason to think 2017 would be anything but a year of despair and malaise as the
nation and world settled into Trumptoons and post-Brexit breakdown.
Surprisingly, though, artists responded with some exceptional work. Despair was
in evidence, sure, but so was righteous anger and even a bit of joy. A majority
of the 180-odd albums listed here weren’t just listenable, they were memorable.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> This was the second year in a row of sparse
EP and special-album releases, though a sudden mad rush of singles and EPs
appeared post-Halloween for some inexplicable reason. Some special albums
veered close to reissues this year, such as Neil Young’s <i>Hitchhiker, </i>but the original rules apply: if a fancy anniversary
edition of <i>Sgt. Pepper </i>or <i>One Nation Underground </i>is released, it
simply doesn’t qualify as anything new. And the caveat about best-of-best still
applies: Close to a thousand mainstream and indie albums are released annually,
and this 180 or so (OK, 200 including “specials”) represent the ones worth
hearing. Sure, there are quality
gradients between the top ten and bottom 20, but anything that makes this list
is worth your perusal.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">DISQUALIFICATIONS: </span></b><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;">Just like Russia in the
Olympics, some won’t like it, and it ain’t PWR BTTM, though that band ranks low
simply for being overrated. Instead, it’s Queens of the Stone Age, because
there is overwhelming evidence of Josh Homme’s violence. Depending on his
contrition, he may rate a permanent DQ in the future, for now it’s just a
one-time DQ for the aptly-named <i>Villains.
</i>PWR BTTM retains an equivocal ranking because the evidence against the band
was spotty at best, even though their albums were banned and they were piled on
by everyone. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> Nods to dozens of musicians gone in 2017,
now it seems the ones who remain get special merits for sticking around.</span><b><span style="font-size: 14.0pt;"><o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span style="font-size: 16.0pt;">Regular Studio Albums, 2017<o:p></o:p></span></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Torres,
<i>Three Futures</i> – This might be the
first time my list has featured the same artist at #1 for more than one showing.
Torres (Mackenzie Scott) took first place for <i>Sprinter </i>in 2015, and she unexpectedly outdid herself this year.
Her style is becoming less guitar-centric and closer to that of St. Vincent. Even
though St. Vincent released an amazing album in 2017, there was a certain
mystical quality to <i>Three Futures </i> that gave Torres an unprecedented repeat
performance at #1.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]--> Mt. Eerie, <i>A
Crow Looked at Me – </i>Phil Elverum tackled the near-impossible task of processing
the grief involved in raising a toddler after the co-parent has died. Some
people found this album simply too depressing to confront. I think Elverum
raised hopeful signs of his wife signaling him from another world, and produced
an amazing album as a result.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Kevin
Mitchell and Lord Damage, <i>Hannibal’s at
the Gates – </i>You’ll hear any number of stories about Kendrick Lamar or Tyler
the Creator conjuring the ultimate political/confessional hip-hop hybrid, but
really, none can touch Colorado’s Mitchell and David Mack (Lord Damage). The
politics are both specific and universal, the literate talents immense, and
with guest appearances by Rosemary Lytle and Emily Strange, how can this be
anything but phenomenal?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Circuit
des Yeux, <i>Reaching for Indigo – </i>Haley
Fohr’s unusual baritone blues voice has reminded people of everyone from Nico
to Joan Armatrading in past albums, but she brings in jazz and orchestral
ensembles here that suggest Nina Simone on LSD. In 34 minutes, Fohr applies a
range of musical styles that is downright amazing. Still some suggestions of
Capt. Beefheart or Ry Cooder in her work, but much, much more.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Lana
Del Rey, <i>Lust for Life – </i>Haters are
simply irrelevant by now. This is Lana’s magnum opus, an analysis of 21<sup>st</sup>-century
Situationist representations.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Peter
Brotzmann and Heather Leigh, <i>Sex Tape </i>–
The duo’s 2016 tour was useful not only for bringing Brotzmann back into the
center of consciousness where he belongs, but for bringing the force of nature
known as Heather Leigh to a broader audience. And this album had more immediacy
than last year’s studio effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Filthy
Friends, <i>Invitation </i>– No better match
has been made in recent years than Sleater-Kinney’s Corin Tucker providing
front vocals for REM’s Peter Buck and his regular band of roustabouts. This is
one of those sparkling pop albums without a weak cut.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Protomartyr,
<i>Relatives in Descent – </i>Detroit
post-punk Dadaist intellectual pondering on a world gone mad, and you can dance
to it. What else do you want?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Waxahatchee,
<i>Out in the Storm – </i>Katie Crutchfield
grows more focused and passionate with every album, and her sister Alison joins
her on this outing, making it a superb Waxahatchee/PS Eliot hybrid of sorts.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Accidentals, <i>Odyssey
– </i>It’s so often we hear about teenage superheroes signing to a big label
only to crash and burn, that it’s nice to hear about the young geniuses of
Traverse City, MI signing to Sony Masterworks and kicking some major ass.
Sometimes fairy tales do come true.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jesca Hoop, <i>Memories
Are Now – </i>The innovative and unusual Hoop comes up with more elaborate
compositions than any she’s attempted, including in her duo album with Sam
Beam.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Courtney Barnett and Kurt Vile, <i>Lotta Sea Lice </i>– The only thing keeping this album out of the Top
10 was its brevity (OK, the nine tracks equal 44 minutes, but seem brief0, but
Barnett and Vile really make this collaboration work by keeping ambitions in
check. This is just a beautiful, aw-shucks, back porch whiskey-sippin’ wonder.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->St. Vincent, <i>Masseduction
– </i>Annie Clark’s further move into synth gives a feel of Xiu Xiu meets
Charli XCX, but she adds simple human elements to songs like “Happy Birthday
Johnny” that might just make this the finest St. Vincent album of all.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Craig Finn, <i>We
All Want the Same Things – </i>It took three solo albums for Finn to get to the
point where his solo work is more impressive and heartfelt than anything he
does with The Hold Steady.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Moses Sumney, <i>Aromanticism
– </i>It starts out with falsetto R&B like so many artists, but adds
elements of Seal or Moby electronica, folk music, and spoken-word poetry, until
you realize this debut album is quite amazing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Neil Young, <i>The
Visitor – </i>Those who thought last year’s <i>Peace
Trail </i>was plain-spoken will be pleased to see Neil take on not just Trump
himself, but those who think like Trump, including many of Neil’s biggest fans.
Powerful songs of social protest grace this album, which can have maudlin or
silly misfires from time to time, but that’s typical of any Neil album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Randy Newman, <i>Dark
Matter – </i>Yep, the master of irony and sardonic observation is back, and he
left the movie soundtracks at home. Sure, he didn’t include the song about
Trump’s penis, but we get a love song for Putin and a 7-minute debate about
science and religion, so of course it’s excellent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->U2, <i>Songs of
Experience – </i>Surprise! Bono comes up with more new ideas than the band’s
had since <i>Atomic Bomb </i>days a decade
ago. Some, like a higher range of singing and better rock/polyrhythm fusing,
work; others, like Autotune, vocoders, and megaphone, not as well. And if all
the descriptions of a dark angry world and the healing power of love sound a
little hollow after the revelations of Bono’s offshore accounts, well, that’s
nothing new for U2.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Rhiannon Giddens, <i>Freedom
Highway – </i>Because of her choice of material, much of it traditional, this
almost went into a “Specials” category, but at any rate, this is some powerful
stuff, a cut above her first album and anything she did with Carolina Chocolate
Drops. Giddens is one of the finest vocal talents and public intellectuals in
music today.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bjork, <i>Utopia – </i>Bjork
uses orchestration and her own direct language to emphasize joy at a new love,
while denouncing the social traps that hold us down. Her message and the
arrangements are best in the weirdest tracks, like “Body Memory” and “Tabula
Rasa,” though there are times when the more mainstream tracks sound like <i>Bambi-</i>era Disney soundtracks, which is
probably not what Bjork had in mind.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->LCD Soundsystem, <i>American
Dream – </i>Not only is it great to know the hiatus was temporary, but this
album has that striking quality that brings to mind Talking Heads’ <i>Speaking In Tongues. </i>One of the year’s
best car-driving albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lorde, <i>Melodrama
– </i>It’s good to know the New Zealand teen savior of pop took her time for
her next studio release, because this one is beautifully crafted.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Algiers, <i>The
Underside of Power -- </i> Algiers blasts
forth a unique mélange of punk-gospel-R&B gumbo, and this second album
represents a big leap in bearing witness and speaking truth to power.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bully, <i>Losing – </i>Nashville
has brought forth a power trio that combines 1990s elements of Pavement or
Nirvana, old-school ‘70s punk, and 1980s power-pop, in a compelling mix that is
distinctly 21<sup>st</sup> century.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ted Leo, <i>The
Hanged Man – </i>You’ll often hear that Ted Leo’s first work since his duo
effort with Aimee Mann, The Both, is a grim solo affair without The
Pharmacists, a long treatise on political and familial problems. What you may
not hear is that Leo has offered up some of his best pop riffs ever, and that
this album is an exciting testament to preserving hope in dark times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Julien Baker, <i>Turn
Out the Lights – </i>Baker was a mere 19 years old for her first bare-bones,
plaintive album. Now she returns with Memphis backup musicians, strong and
assured lyrics, and poetry that continues to set a high bar for
singer-songwriters.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Out Lines, <i>Conflats
– </i>James Graham of Twilight Sad teams up with Scottish newcomer Kathryn
Joseph to take bleak Glasgow despair to new heights? Lows?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The New Pornographers, <i>Whiteout Conditions – </i>Even if the band is heading more in
pop-synthy directions and Dan Bejar is absent, these songs are sparkling and
memorable, more so than the last <i>Brill
Bruisers </i>effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wolf Parade, <i>Cry
Cry Cry – </i>Some fans will just be glad to hear that Wolf Parade is back.
More important, the band is on a strident kick reminiscent of Joy Division, but
with a happier demeanor.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gord Downie, <i>Introduce
Yerself – </i>The final call from Tragically Hip’s lead singer, as important in
its own right as Bowie’s <i>Black Star. </i>23
songs are each dedicated to a specific person in his life, a way of saying
goodbye.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Flobots, <i>Noenemies
– </i>You can almost hear an audible sigh of relief that Jonny 5 and Brer
Rabbit are back to provide guidance in these dangerous times. As usual, the hip-hop
poetry is first-rate, the politics are direct, and the musical arrangements
break new ground.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cloud Nothings, <i>Life
Without Sound – </i>Cloud Nothings exist in a world where math-rock and
emotional indie work fuse, and this album features some of their finest
compositions to date.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kendrick Lamar, <i>Damn.
– </i>A hip-hop hero who stands apart for his ability to laugh at himself,
Lamar offers up wry observations on fame in this fascinating release, though it
doesn’t offer the breathtaking scope of <i>To
Pimp a Butterfly.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Halsey, <i>Lonesome
Fountain Kingdom </i>– Some people place Halsey in the silly-pop category
because of her dalliances with tedious people like Chainsmokers, but this album
is as impressive as her debut. Do not underestimate Halsey.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Daniele Luppi, Parquet Courts, and Karen O, <i>Milano – </i>It’s been six years since
Luppi’s <i>Rome </i>collaboration with
Dangermouse, and this time, he recruits Parquet Courts and Karen O of Yeah Yeah
Yeahs to perform a concept album on Milan in the 1980s. Sheer genius.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sylvan Esso, <i>What
Now – </i>A great leap forward from the first album, full of bravura and
enthusiasm, along with a bit of wisdom.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->37.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The World is a Beautiful Place and I Am No Longer
Afraid to Die, <i>Always Foreign – </i>This
band has gone from a complex twee format to something noticeably darker,
encapsulating the last half of their involved name. Moody music for moody
times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->38.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Weaves, <i>Wide Open
– </i>It was hard to figure out where Jasmyn Burke might take her Toronto
misfits after their wild and untamed first album. Some people hear Springsteen
elements, but I hear British 1970s pub rock of the Graham Parker variety, which
is damned strange for an African-American art-punk vocalist, and all sorts of
wonderful besides.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->39.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tori Amos, <i>Native
Invader – </i>A return to synth-heavy minimalism, and a family affair in the
recording studio, but excellent songs as always.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<b>Bonus Edition Handicap: </b>Unless you really want that Black Friday EP
in splattered vinyl, just get the extended edition and save yourself some money
– the extra songs are worth it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->40.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kesha, <i>Rainbow – </i>Successfully
extricating herself from Luke and crafting a country-influenced album at the
same time? High fives, Kesha.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jason Isbell, <i>The
Nashville Sound – </i>There may not be the anguished masterpieces from the
first two albums, but Isbell has put together a band that is at its height.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->42.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Feist, <i>Pleasure –
</i>Feist understands that her real strength lies in rhythmic minimalism, and
to hell with how popular it makes her. An uncompromising and beautiful work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->43.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Taylor Swift, <i>reputation
– </i>Swift has not flagged in her ability to craft a perfect pop tune, but
it’s painful to see her attribute any importance to the pop celebrity issues
that define the title of this album. If only she’d take the Michelle Obama
advice to just rise above, we’d be seeing better albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->44.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Grandaddy, <i>Last
Place – </i>It is so tragic to see Grandaddy return after such a long absence,
only to suffer the loss of Kevin Garcia. The songwriting of Jason Lytle is as
eclectic as ever. Maybe the band will be back in another form, but this stands
as a superb testament.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->45.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Father John Misty, <i>Pure
Comedy – </i>He still may elicit yawns or catcalls from some of his live
performances, but these songs were subtle and great, despite his affectations.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->46.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->SZA, <i>Ctrl – </i>Despite
her remarkable and often understated voice, I’m not as blown away by SZA as
many. A fine debut effort, but couldn’t put it in Top 10.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->47.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Surfer Blood, <i>Snowdonia
– </i>SB founder John Paul Pitts had to put up with a horrible amount of
tragedy in the past two years, making it even more amazing that this is a
testament to positivity, with a sound mixing Belle & Sebastian with TMBG.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->48.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gorillaz, <i>Humanz
– </i>Damon Albarn and friends are back with a dystopian nod to our times,
presented in typical cartoon fashion.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->49.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]--><b>DISQUALIFIED
(see above – but here’s where they would have ranked) </b>Queens of the Stone
Age, <i>Villains – </i>Josh Homme dredges up
Bowie and glam ghosts for this tour de force, and guess what? It works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->50.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Magnetic Fields, <i>50-Song
Memoir – </i>Seeing as how the 1999 box set <i>69
Love Songs </i>worked well enough to not only be the album of the year, but one
of the finest studio pop efforts of all time, why is this one sort of a
misfire? Maybe because it’s much more of a Stephin Merritt personal effort,
less of a group production of the band, and it was made with some prodding from
producers. Clever execution to be sure, but not the work that <i>69LS </i>was.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->51.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Laura Marling, <i>Semper
Femina – </i>In the grand parade of dissecting women’s intentions, Marling
wanted this one to be her concept masterpiece, but I’m not hearing the
diversity and simple masterly styles of <i>Eagle
</i>or <i>Short Movie. </i>A very worthy
work, nonetheless.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<b>Bonus Edition Handicap: </b>The double LP with live renditions of the
songs is cool, but not essential.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->52.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>How
Do You Spell Heaven? – </i>The best of the Pollard-related products this year,
spotlighting newer band members without shirking on the pop masterpieces.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->53.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tyler the Creator, <i>Scum
Fuck Flower Boy – </i>The real power of this one isn’t merely Tyler confronting
gender and LGBTQ issues in hip-hop, but also Tyler getting serious about a lot
of subjects after holding his tongue firmly in cheek in his post-Odd Future
years. Tyler’s also said he is done with rap and hip-hop, and is touring with a
full politically-informed band that sounds like Gil Scott Heron’s and Brian
Jackson’s old Midnight Band, so it will be interesting to see how these studio
songs evolve. A powerful album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->54.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Aimee Mann, <i>Mental
Illness – </i>One of Aimee’s most beautiful and confessionalist works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->55.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Eminem, <i>Revival –
</i>If nothing else, this deserves a listen for the appearance of “Walk On
Water,” and Eminem certainly gets points for politics and confessionalism.
Still, there’s that celebrity quality – Ed Sheeran? Really?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->56.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->At the Drive-In, <i>Interalia
– </i>Glad that all our Mars Volta and Sparta friends realized that these times
demand ATDI, as our superheroes have risen to the occasion, bullwhips in hand.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->57.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Joan of Arc, <i>He’s
Got the Whole This Land is Your Land in His Hands – </i>Tim Kinsella is best
when he’s being ridiculous rather than profound, and this album is a merry and
wicked tour de force.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->58.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->RV Zoo & the Sugar-Spun Elephant Band, <i>Guiding Star – </i>More people need to
realize how expertly Dave Arvizu is trying to bring back the spirit of Frank
Zappa or Fiery Furnaces. Fun and competent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->59.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->William Basinski, <i>A
Shadow in Time –</i>His finest work since <i>Disintegration
Loops</i>, and a worthy tribute to David Bowie.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->60.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Godspeed You! Black Emperor, <i>Luciferian Towers – </i>A single composition rather than multiple
symphonic pieces, and a worthy message of hope from a band known for its
apocalyptic tenor.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->61.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Arto Lindsay, <i>Cuidado
Madame – </i>When Lindsay headed DNA, his art-noise-rock was an acquired taste.
When he followed his tropicalia muse to form Ambitious Lovers, the band hit its
stride just at a time David Byrne was curating Brazilian pop, but still never
found a mass audience. This solo album is a nice combination of all his
threads, but it remains a specialized, albeit wonderful, taste.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->62.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sharon Jones and the Dap-Kings, <i>Soul of a Woman – </i>When recording sessions began for this posthumous
album, Jones had no idea she would be history by November 2016, though she had
been battling pancreatic cancer for months. This album is solid and varied,
with no indication from her vocals as to the struggles she was going through.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<b>Bonus Edition Handicap: </b>For those just catching up with Jones, you
can purchase her last three studio albums including this one, as a three-disc
set.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->63.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cut Copy, <i>Haiku
from Zero – </i>Australia’s dance experts take us on one of their more
exuberant outings.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->64.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Joan Shelley, s/t – Our Kentucky songbird gets some new
production help from Jeff Tweedy, though the overall effect is not as good as
her last studio outing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->65.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Deer Tick, <i>Volume
1</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->66.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Deer Tick, <i>Volume
2 – </i>John McCauley has this unfortunate tendency to jump from beautiful
acoustic numbers to drunken throwaways. Since these two studio albums were
billed as rowdy and quiet, respectively, one would assume that one of the two
volumes would be throwaway. Surprisingly, both are filled with some of Deer
Tick’s best work yet.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->67.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Margo Price, <i>All-American
Made – </i>I wasn’t quite convinced last year that Price was the savior of
country honky-tonk. For her second album, the quality of writing takes a big
leap, and it’s obvious she will be with us for a while.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->68.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Destroyer, <i>Ken – </i>Dan
Bejar is as literate and cryptic as ever. The heavy New Order bass lines give
the music a new kind of timbre, but the arrangements aren’t as interesting as
those on the last two albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->69.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Grizzly Bear, <i>Painted
Ruins – </i>There is an added beat among the ethereal productions, making this
a very cohesive and beautiful album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->70.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->K. Flay, <i>Everywhere
is Some Where – </i>K. Flay starts really playing with arrangements as she
shifts from hip-hop to more of a pop base, but in her new styles, she has to
compete more with the likes of Halsey or Lorde.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->71.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Fleet Foxes, <i>The
Crack-Up – </i>The Foxes knew that barbershop-quartet/CSNY styling had about
hit its limit. Am I the only one who was glad they went all ethereal and
weirdo-intellectual on us? Seriously, it may be a bit heady, but there’s good
stuff here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->72.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Beth Ditto, <i>Fake
Sugar – </i>The former lead singer of The Gossip performs the most powerful
work since that band’s <i>Music for Men, </i>and
sneaks in some Southern culture and scary bayou tales on the side.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->73.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The National, <i>Sleep
Well Beast – </i>Matt Berninger took a fun break with his duo EL VY, and it
shows, given that this is the loosest and most fascinating National album since
<i>High Violet.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->74.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Rainer Maria, s/t – What a treat to have Caithlin de
Marrais back with us again, sounding at her most powerful level in years.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->75.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tobin Sprout, <i>The
Universe and Me – </i>And that goes double for Tobin Sprout, former Guided by
Voices guitarist, who was back on tour with fine new songs and backing band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->76.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The CIientele, <i>Music
for the Age of Miracles – </i>The band’s intent to get a perfect early-psychedelic
sound may have led them unintentionally to sound like the first few Moody Blues
albums, but really, there’s nothing wrong with that at all.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->77.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Brian Eno, <i>Reflection
– </i>It was time for Eno to re-visit long-form ambience, and yes it sounds
like <i>Music for Airports, </i>but for
modern sensibility.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->78.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bill Orcutt, s/t – Bill Orcutt has gone back to an
electrified and conventionally-tuned guitar, resulting in an album normal
people could actually listen to. Of course with Orcutt, you still get the
hidden joke – the tracks bear the names of familiar standard tunes, but you’d
be hard-pressed to actually identify any of them as they are played.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->79.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Circus Devils, <i>Laughs
Last – </i>Robert Pollard is putting his GbV side project for weirdness out to
pasture, but leaves us with an album that is not quite as strange as Circus
Devils at their wildest, but more interesting than albums like <i>Escape.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->80.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Elf Power, <i>Twitching
In Time – </i>Yet another grand return by a 1990s band that has been sorely
missed, offering up clever tunes that are among the band’s best.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->81.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Slowdive, s/t – I always preferred the 1997-2010 Mojave
3 project of Rachel Goswell and Co. over the early-1990s shoegazer Slowdive
project, but it’s great to have the band reunited, with some lovely tunes
within.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->82.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Iron and Wine, <i>Beast
Epic – </i>Sam Beam offers some lovely bare-bones acoustic songs. Wonderful,
but not earth-shattering.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->83.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Xx, <i>I See You
– </i>It’s good to see Romy follow Jamie Xx’s lead in turning the band from an
ice-cold electronic palace to a trio that wants to have some occasional fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->84.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Mountain Goats, <i>Goths
– </i>I’ll always love any project that John Darnielle is part of, but both the
topics and arrangement in this one made me list it as among the lesser in the
MG canon.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->85.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->!!!, <i>Shake the
Shudder – </i>Seems like this band is always defining excellence in underground
dance-funk-rock, and not getting nearly the credit it deserves. Another fine
!!! album, what more need be said?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->86.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sparks, <i>Hippopotamus
– </i>It’s a pleasure to have Ron and Rusell Mael not simply continuing to make
music, but producing funny songs about aging.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->87.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Xiu Xiu, <i>Forget –
</i>Seems like Jamie had the slightest of intentions of giving this a more
commercial sound, but of course, it’s Xiu Xiu, so it’s still weird. Had a hard
time placing a finger on its center of gravity, though.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->88.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Street Eaters, <i>The
Envoy – </i>Megan March wins our respect for attempting a punk concept album,
and one based on Ursula K. LeGuin, at that. The only problem is that telling a
story took a little of Street Eaters’ exuberance away.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->89.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Eyvind Kang, <i>Plainlight
– </i>A more minimalist, orchestral and eclectic outing than some by this
master violinist, the Side 2 suite “Sanjaya the Skeptic” is not to be missed.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->90.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mavis Staples, <i>If
All I Was Was Black – </i>It’s great to see Staples go through such a prolific
period, but something about this lacks the sparkle of her last album. Is the
production by Jeff Tweedy a hindrance here? Tweedy also produced Joan Shelley’s
album this year, and both seem to be a bit lackluster.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->91.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Holly Macve, <i>Golden
Eagle – </i>If you’ve ever seen this British country-revivalist artist in one
of her solo outings, you’d swear she’s the reincarnation of Patsy Cline. This
is a fine debut effort, though Macve might want to consider how she balances
songs and arrangements for future outings.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->92.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]--><i> </i>Lau Nau, <i>Poseidon – </i>Finnish experimentalist Lau Nau may be an acquired
taste, but her newest efforts are complex and beautiful enough to expand her
audience base.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->93.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pile, <i>A Hairshirt
of Purpose – </i>In live performances, Pile is one of the most passionate and
dedicated bands one could hope for. I’m still waiting for a studio release to
capture that feeling, though this album certainly is worth a listen.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->94.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Priests, <i>Nothing
Feels Natural – </i>Judged by their early EPs, Priests were destined to be the
saviors of punk. This first full-length album is decent enough, but I’m not
hearing a radical remake of punk.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->95.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->PWR BTTM, <i>Pageant
– </i>Many people would take this album off their lists because of the sexual
harassment allegations that made the label pull the album from the shelves. I
wasn’t going to get involved in such an immediate pile-on, but neither would I
rank this very high. Before PWR BTTM took their dive, some reviewers were
calling the album a new definition of queer rock, power pop, or punk rock.
Nope. It’s just sort of average twee and dreamy pop.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->96.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Larry Campbell and Teresa Williams, <i>Contraband Love – </i>It seems as though
every six months, Third Man Records and other Americana labels are trying to
tell us about new saviors of old-timey country. This couple, who have played
with Levon Helm and Shawn Colvin among others, is the real deal.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->97.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Downtown Boys, <i>Cost
of Living – </i>It’s great to see Rhode Island’s finest punks get the attention
they deserve. The reason this album didn’t come up to the quality of <i>Full Communism </i>was due to the departure
of saxophonist Victoria Ruiz. But I have faith DBs won’t let us down.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->98.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ryan Adams, <i>Prisoner
– </i>Adams makes it look so easy, coming at us time and time again with a
release full of pop-country-rock goodness. A decent release, though not a
standout.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->99.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Alt-J, <i>Relaxer – </i>Alt-J
takes a lot of crap for being the overthinkers of hipster rock. Maybe some of
their tunes are a little too clever, but they tried this time around to throw
in unexpected folkie and electronic elements, and I give them credit for not
sitting still.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->100.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Deerhoof, <i>Mountain
Moves – </i>It’s clear Satomi wanted to make this the pop-breakthrough album
for Deerhoof, and it’s loaded with guest vocalists. This is certainly a favored
Deerhoof album for parties, but the route the band is taking could have
dangers. At least they’re not giving us the same sound over and over.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->101.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mogwai, <i>Every
Country’s Sun – </i>On first listen, this seemed incredibly majestic. But few
of the compositions stuck, unusual for Mogwai.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->102.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>August
by Cake – </i>At first glance, the idea of a double GbV album that features
other members of the band than Pollard seemed like a great idea, but once the
more traditional <i>How Do You Spell Heaven?
</i> album came out, it was clear that
this one was fun but not as essential.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->103.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Manchester Orchestra, <i>A Black Mile to the Surface – </i>Those who think of MO as middle-class
faux greatness might snicker to hear that Andy has crafted an album about
approaching middle age, but really, he doesn’t trip and fall. This is a very
decent album once you subtract a bit of melodrama.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->104.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Liars, <i>TCF</i> –
Maybe Karen O can feel some justification that Liars has been reduced to her
old boyfriend Angus, since he can’t seem to get along with anyone, but Angus is
capable of putting out a heartfelt and unusual album on his own, albeit under
the Liars label.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->105.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tim Darcy, <i>Saturday
Night – </i>Tim doesn’t quite achieve the strange greatness here that he achieves
as vocalist with Ought, or in the duo album he recorded last year with A.J.
Connell, but that Darcy quirkiness is everywhere on this unique album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->106.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Avey Tare, <i>Eucalyptus
– </i>Any member of Animal Collective is going to be a less strong element on
their own, but I like Avey’s solo efforts more than those of Panda Bear. Guests
like Susan Alcorn and Eyvind Kang really make this one memorable.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->107.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Haim, <i>Something
to Tell You – </i>This second album is a decent outing of Motown-influenced
pop, but the utter enthusiasm the Haim sisters showed us in their debut is
flagging a bit here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->108.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Japandroids, <i>Near
to the Wild Heart of Life – </i>Maybe it’s slightly cruel to call this duo
“dad-rock,” but they don’t sustain my interest as much as their fans insist
they should. Still have some nice tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->109.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kevin Morby, <i>City
Music – </i>This is my first introduction to Morby, and he strikes me as
descending from the kind of rock soloist composers who would make good solid
Top 10 albums in the 1970s and 1980s, but who never was given proper due a few
years later. I expect I’ll be hearing and liking a lot more of Morby’s music
soon.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->110.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Depeche Mode, <i>Spirit
– </i>I failed to take Depeche Mode seriously enough in the 1980s, but now that
the reunited band is getting tough and frank about its politics, I promise to
remedy that.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<b>Bonus Handicap Edition – </b>Yes, the fancier book edition is worth it,
but more for the packaging than the extra music.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->111.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Dirty Projectors, s/t – It would be nice to give David
Longstreth points for being painfully honest about his breakup, and the music
here is actually quite good, but there’s also such a thing as too much
self-disclosure.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->112.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Steve Earle, <i>So
You Wanna Be An Outlaw – </i>Many people rave about this as the return of
Earle’s country side, but frankly, this bears the feeling of a Waylon/Willie
type of outing, and I’ve always preferred the Treme side of Earle.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->113.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Arcade Fire, <i>Everything
Is Now – </i>To those who have given up on Arcade Fire due to the haughty
self-importance, I can tell you that Win and Regine have actually made this a
fun spoof on pop-dance culture and living through social media. The album is a
hoot, though there are no revelations we haven’t heard before.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->114.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Morrissey, <i>Low In
High School – </i>I had gotten fed up with Morrissey long ago, though I had to
admit to the excellence of his <i>World
Peace </i>album. Now, he’s gotten to be like Mark Kozelek and Sun Kil Moon,
where bad behavior in real life taints everything coming out of the studio.
Some worthy songs within, to be sure, and Morrissey understands global politics
more than most, but I feel like an enabler listening to Morrissey.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->115.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Alvarius B, <i>With
a Beaker on the Burner and an Otter in the Oven – </i>When Alan Bishop gets
together with Invisible Hands or Dwarfs of East Agouza, the magic that ensues
recalls Sun City Girls. And even his releases as Alvarius B can be monumental,
especially <i>Baroque Primitiva. </i>But
here he has released three individual LPs, or a double-CD set for the
budget-conscious, that mostly rely on the sort of laid-back cowboy tunes in Sun
City Girls’ <i>Jack’s Creek </i>– some are
brilliant, many just OK. Still, this gets special mention for being recorded
and mixed in Cairo after the coup. Take that, al-Sisi.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->116.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->BNQT, <i>Volume 1 – </i>This
certainly sounded inspired, a supergroup with members from Grandaddy, Franz
Ferdinand, Band of Horses, Midlake, and Travis. In reality, it’s a laid-back
jam session with a few zingers and many OK tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->117.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bardo Pond, <i>Under
the Pines – </i>Many people I otherwise trust are calling this their favorite
Bardo Pond album of all time. I’m not hearing it. The band sounds sort of
tired, with a few moments of greatness.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->118.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mark Lanegan, <i>Gargoyle
– </i>This has moments that sound as stark as Screaming Trees, but it can’t
match his best solo work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->119.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wire, <i>Silver/Lead
– </i>Many of the band’s songs approach the 1979-82 period of greatness, but
Wire is trying to be too prolific these days, coming out with annual studio
albums that require a bit of filler.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->120.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Julie Byrne, <i>Not
Even Happiness – </i>A nice debut for a folkie with a husky voice, but she also
faces some stiff competition from those with a wider lyrical palette, like
Julien Baker.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->121.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->A. Savage, <i>Thawing
Dawn – </i>Parquet Court’s lead singer tries his hand at cowboy music, with
cool results.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->122.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chad VanGaalen, <i>Light
Information – </i>Sometimes it’s hard to figure out what VanGaalen is up to
with his quirky folk-rock, but he’s developing a sense of rhythm and riff that
seems midway between Pavement and Neil Young in the Crazy Horse era.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->123.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Dan Auerbach, <i>Waiting
On a Song – </i>Definitely the best of his solo efforts, but still takes a back
seat to The Black Keys.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->124.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Feelies, <i>In
Between – </i>Some people worship each time Bill Million goes back into the
studio, but I find the whispered works of The Feelies to be a bit repetitive at
times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->125.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Robert Plant, <i>Carry
Fire – </i>There are a million reasons to remain annoyed at Robert Plant,
similar to those from his halcyon Zep days, but damn if this aging master
doesn’t continue to conjure unique new material to convince us otherwise.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->126.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Manotaur, <i>Channeling
the Wizard – </i>Denver’s resident lunatic Greg Hill creates one of his best
and funniest band projects to date. Catch Manotaur live.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->127.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Crystal Fairy, s/t – If Terri Gender Bender and the
gang from Mars Volta are involved in a common project, I’m always right there,
but this explores the heavy metal side of their work, so not nearly as
interesting as Le Butcherettes, Sparta, At the Drive In, etc.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->128.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Do Make Say Think, <i>Stubborn
Persistent Illusions – </i>It’s good to see this jazz-centric Godspeed You
spinoff back in business, though the work is not as adventurous as the early
2000s.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->129.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Six Organs of Admittance, <i>Burning Threshold – </i>Nice background presence, but doesn’t reach as
far as much of Ben Chasny’s work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->130.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ariel Pink, <i>Dedicated
to Bobby Jameson – </i>On first listen, I thought this might be Ariel Pink’s
best work, but on repeated listens many elements sounded derivative.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->131.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Zaimph, <i>Transverse
Presence – </i>Definitely some of Marcia Bassett’s scarier instrumental work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->132.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tennis, <i>Yours
Conditionally – </i>I should give them credit for giving studio efforts greater
variety and emotional depth, but Tennis still is mostly breathy beach mode.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->133.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ani DiFranco, <i>Binary
– </i>DiFranco is well aware she is now a mid-40s mom, trying to raise
political fire, and part of the problem here might be that she tries too hard
to expand from that reality.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->134.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Valerie June, <i>The
Order of Time – </i>June is a powerful musician, but still must escape the
boundaries of her folk-blues genre.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->135.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pere Ubu, <i>20
Years in a Montana Missile Silo – </i>Kudos to David Thomas for always trying
out new styles after more than 40 years of Ubu strangeness, but this 1- and
2-minute song structure mostly didn’t work for me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->136.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Beck, <i>Colors -- </i> Beck Hansen returns to straight-up pop with a
sassy summertime album, but who wants to be happy in 2017?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->137.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Blitzen Trapper, <i>Wild
and Reckless – </i>In theory, this might be the best-executed BT album ever,
but that’s part of the problem. This began life as a rock opera, so every
element is a little too well-defined, the lyrics too predictable. I long for
the days of Blitzen Trapper albums that were messy whirlwinds, like <i>Destroyer of the Void.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->138.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Prophets of Rage, s/t – Let’s give Morello and friends
credit for having the timing more or less right, and the politics and spirit in
the right place, but this supergroup anti-Trump effort seems more an exercise
in rhetoric than anything else.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->139.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wild Hares, <i>Dose
– </i>Sure, a Tracy/Michael collaboration might be silly at times, but “Grandma
Used to Sleep with Chuck Berry” is worth the price of admission on its own.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->140.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Alison Crutchfield – The lesser-heard half of the
Crutchfield sisters of Waxahatchee and PS Eliot fame tries her hand at a solo
record, a decent effort, but overwhelmed by the new Waxahatchee.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->141.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->David Rawlings, <i>Poor
David’s Almanac – </i>A decent traditionalist old-timey album, and another
chance to hear the increasingly rare presence of Gillian Welch, but not quite
as groundbreaking as his last album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->142.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cults, <i>Offering –
</i>Cults can give us either clever and beat-heavy pop a la Sleigh Bells, or
lighter ethereal pop. This one falls into the latter category.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->143.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The War on Drugs, <i>A
Deeper Understanding – </i>I have no doubt some will have Adam Granduciel in
their top ten or even at best album of the year, convinced that WoD is
redefining 70s-style arena rock for the 21<sup>st</sup> century. I still hear
mostly derivative compositions, good stuff, but hardly earth-shattering.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->144.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kevin Greenspon, <i>Forgot
Something – </i>An often overlooked electronic artist delivers some interesting
compositions.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->145.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jen Gloeckner, <i>VINE
– </i>A challenging, ethereal effort from a new singer-songwriter deserving of
attention.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->146.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Grant Sabin, <i>Juke
Joint Highball – </i>A Colorado blues master serves up some unexpected drink
mixes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->147.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Juliana Hatfield, <i>Pussycat
– </i>When people complain that such-and-such an artist is being ignored, I
always bring up Hatfield. Some albums like this are just so-so, but she has
offered up some of her best work in the last decade, and no one seems to pay
much attention.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->148.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Son Volt, <i>Notes
of Blue – </i>Sorry, Jay, but some Son Volt albums are truly revelatory, while
this one seemed like the obligatory set of new tunes to open out the 2017 tour.
Great live tour, though.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->149.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pissed Jeans, <i>Why
Love Now – </i>Something about this album pissed me off, excuse the pun. Maybe
it was the reliance on dated macho swagger in a year of sex-abuse revelations.
At any rate, a misfire by a band I like.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->150.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Eilen Jewell, <i>Down-Hearted
Blues – </i>This had enough little-known blues standards in the mix to almost
qualify as a “special” album a la Van Morrison’s <i>Punches, </i>but in either event, Jewell can pick appropriate tunes to
emphasize her many talents.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->151.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Blondie, <i>Pollinator
– </i>I suppose we should appreciate the fact that Debbie Harry is still
recording in her 70s, but the material on this album mostly sounded
predictable.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->152.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Flaming Lips, <i>Oczy
Mlody – </i>On the one hand, I’m glad Wayne took a break from concept albums,
with just a simple album of interesting songs. On the other hand, it was hard
to find the center of gravity here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->153.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Imagine Dragons, <i>Evolve
– </i>For a corporate pop band, ID comes out with consistently interesting
product, particularly as their percussion evolves. You can laugh if you want
to, but notice I’ve placed them higher than Shins, Spoon, etc.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->154.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Shins, <i>Heartworms
– </i>No, I’m not biased against James Mercer because he can be so haughty. I
just didn’t find that much of interest here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->155.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Justin T. Earle, <i>Kids
in the Street – </i>Give Justin credit for always trying to make his music
fresh with various concepts or templates. Unfortunately, his songwriting just
isn’t quite as unique as other members of the great Earle dynasty (which
reminds me, we haven’t heard from Stacey Earle or Emily Earle of late).<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->156.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Foo Fighters, <i>Concrete
and Gold – </i>Dave Grohl is such a great chronicler and historian, it’s a
shame most Foo Fighters albums are more or less interchangeable.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->157.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Spoon, <i>Hot
Thoughts – </i>When I saw Spoon in 2015, many people told me they thought Britt
Daniels had gotten a little stale in his songwriting in recent years. I
defended him unto the death. Then the new album came out and I concluded they
were more or less right.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->158.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Harry Styles, s/t – I’ll grant the one interesting
member of 1 Direction his place in the list because of his love of so many rock
styles. Note that none of his former band mates’ solo works are here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->159.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Clap Your Hands Say Yeah, <i>Tourist – </i>It’s important to recognize that Alec continues to try to
make worthy music again, after taking Clap Your Hands to a tedious low around
the third album. Still a ways to move up, but his songs remain worth hearing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->160.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Pains of Being Pure at Heart, <i>Echo of Pleasure – </i>For their last album, I recommended Kip share
more of the singing duties, since his bandmates pulled off more effective
songs. Pains went in the opposite direction.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->161.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gyda Valdysdottir, <i>Epicycle
– </i>The co-founder of mum offers up a cryptic and beautiful solo experimental
album, but it’s not for the uninitiated.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->162.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mynabirds, <i>Be
Here Now – </i>Laura Burhenn’s efforts to be as chameleon-like as Beck are
catching up with her. There are some cool arrangements here, but it is
difficult to figure out where the Mynabirds project wants to go.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->163.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Banditos, <i>Visionland
– </i>A lot of the Americana reviewers and music promoters were touting this
Alabama shit-kicker band as a brave new combo. For the debut album, it’s a
thriller when Mary Beth Richardson sings, but otherwise just sort of OK.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->164.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Residents, <i>Ghost
of Hope – </i>This was actually a perfect concept album for the incoming Trump
era, but The Residents’ eclecticism is getting harder to decipher all the time.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->165.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sheryl Crow, <i>Be
Myself – </i>Let’s give Sheryl credit for following her country-music muse.
Let’s also recognize it doesn’t move the football all that far.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->166.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Foxygen, <i>Hang – </i>Damn,
if these guys weren’t the Jeff Tweedy-backed “it” band of 2014-15, and damn if
they can’t integrate a lot of Motown and pop influences, but damn, if it
doesn’t end up somewhere a bit tedious akin to Two-Door Cinema Club.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->167.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Todd Rundgren, <i>White
Knight – </i>Many folks were ready to give this high marks, as Rundgren was
moving back into original material. I’ve really enjoyed his recent live
outings, but didn’t find a whole lot of interesting trends here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->168.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Miley Cyrus, <i>Younger
Now – </i>In theory, I’m glad Miley is willing to re-visit her country roots.
In practice, Kesha gave us a much better “pop diva goes country” album this
year.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->169.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Barenaked Ladies, <i>Fake
Nudes – </i>These guys get credit for mere longevity, though they can trip up
on their Canadian sincerity at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->170.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Orchestral Manoeuvres in the Dark, <i>The Punishment of Luxury – </i>It’s hard to bring back that particular
1980s electronica sound, but at least the reunited band has better material
than its final couple late-1980s albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->171.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wolf Eyes, <i>Undertow
– </i>Fun to be sure, and fine to see the masters of noise continue to find new
fans, but a lot of Wolf Eyes albums tend to sound alike after a while.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->172.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Conor Oberst, <i>Salutations
– </i>This is sort of like that Manchester Orchestra dual album of a few years
back – Oberst tries different interpretations of the songs from last year’s <i>Ruminations. </i>This would have been cool
as the bonus disc to the former, but as a separate album….<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->173.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chris Hillman, <i>Every
Day – </i>It is duly noted when a largely neglected Byrd/Burrito/SHF member
comes back to the studio, though…. Duly noted.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->174.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Killers, <i>Wonderful
Wonderful – </i>We’ve been through a lot of nonsense with Brandon Flowers, but
damned if he doesn’t try to convince us he’s sincere. And some of the songs
here allow you to almost believe it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->175.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Green Day, <i>Revolution
Radio – </i>Give the band credit for giving the people what they want, and
packaging revolution to make it safe for the masses. At least Billie Joe hasn’t
become a Trumpster.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->176.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Phoenix, <i>Ti Amo –
</i>Phoenix goes back and forth from power-pop near-greatness to dance-floor
silliness. This is mostly in the latter category.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->177.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Macklemore, <i>Gemini
– </i>Even in collaboration with Ryan, Macklemore was spreading a little thin,
so now we get the first solo work, and well, no.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->178.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Maroon 5, <i>Red
Pill Blues – </i>There are actually some very cool tunes within – it’s too bad
the band has this insurmountable problem called Adam Levine.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: 18.0pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) <o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Woody
Guthrie, <i>The Tribute Concerts, 1968 and
1970 – </i>The original recordings, split between Columbia and Warner Brothers,
were worth getting more for the star-studded musician list than for the sound
quality (still quite good) or the coherence of presentation, but Bear Family
Records has done a stellar job of repackaging this with two hard-cover books
and a full life-long tribute to Woody. Just wow.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Husker
Du, <i>Savage Young Du – </i>The only factor
taking this a notch down from the top (besides the excellence of Guthrie) is
the fact that very early pre-<i>Zen Arcade </i>Husker
Du belongs to that rough-cut hardcore era of the early 1980s. I’m more of a
post-<i>New Day Rising </i>kind of guy.
Still, with 69 early tracks, most never released in any form, this is a
mind-blower.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Various
Artists and Ornette Coleman, <i>Celebrate
Ornette! – </i>What a joyous and rich box set of a Prospect Park live tribute
to honor the king of the outer limits.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->King
Gizzard and the Lizard Wizard – <i>Polygondwanaland/Sketches
of Brunswick East/Murder of the Universe/Flying Microtonal Banana – </i>Usually
when a band releases two studio works in a single year, they’ll get two
separate listings above, as with Deer Tick and Guided by Voices. But these
Melbourne-based polyrhythmic lunatics have turned their effort into more of a
project, releasing an album every 60 days or so. Exhausting and delightful,
though King Gizzard hovers dangerously close to becoming a jam band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Helium,
<i>Ends With And – </i>Mary Timony is
finally getting 21<sup>st</sup>-century credit for her own solo work, and her
1990s work with Helium. This is the ultimate collection of rarities.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Julia
Holter, <i>In the Same Room – </i>This “live
in studio” set launches a new series from Domino Records, and Holter was a
great choice to begin it. This has enough new material to almost qualify in the
“regulars” section, but this way Julia Holter can be at #6, and she always
deserves high standing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Offa
Rex, <i>Queen of Hearts – </i>The
Decemberists and Olivia Chaney collaborating on traditional folk tunes and
labor ballads? How great an idea is that? Even those that find Colin Melloy
annoying are bound to like this.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Beach
House, <i>B-Sides and Rarities – </i>Beach
House can be such an ethereal duo, it was anyone’s guess whether this would
prove substantive, but guess what? It does.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Sleater-Kinney,
<i>Live in Paris – </i>Leave it to our
favorite grown-up riot grrls to package this thing to resemble a 1990s bootleg.
Great material emphasizing S-K’s reunion tracks, but also some older favorites.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Various Artists, <i>Cover
Stories: Brandi Carlile – </i>A tenth-anniversary tribute to Carlile’s <i>The Story, </i>and a worthy benefit for the
refugee organization War Child. Of course this album has covers from people
like Dolly Parton and Adele, but the fact that Torres, Secret Sisters, Margo
Price, and Pearl Jam are here gives you an indication of how broad Carlile’s
reach really is.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Radiohead, <i>OKNOTOK
(OK Computer 1997-2017) – </i>There is enough unreleased material and B-side tracks
to make this much more than an expanded reissue album, and more of a tribute to
Radiohead of a certain era.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Neil Young, <i>Hitchhiker
– </i>Some exceptional mid-1970s interpretations of everything from
“Campaigner” to “Cortez the Killer.” But where is the promised solo acoustic
version of “Fontainebleau”? Its absence may have lowered this a point or two.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Replacements, <i>For
Sale: Live at Maxwell’s 1986 – </i>True Mats fans no doubt have this one in
some bootleg form or another, but the professional packaging just enhances the
quality of the material.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Nathaniel Ratlieff and the Night Sweats, <i>Live at Red Rocks – </i>I’m not all that up
on party bands, but hey, they’re Colorado natives, and it’s sort of like a 21<sup>st</sup>-century
version of J. Geils’ <i>Full House. </i>But
with Red Rocks.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Various Artists, <i>Hardly
Art, Hardly Released – </i>A brilliant little cassette-only offering from Sub
Pop, with a special Protomartyr track and all kinds of other goodies.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Game Theory, <i>Supercalifragile
– </i>Scott’s long-awaited GT album from the vaults. Not the very best, but very
good.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Angel Olsen, <i>Phases
</i>– The lo-fi studio numbers where she continues to channel Wanda Jackson and
Patsy Cline are interesting enough, but the 2016 outtake ‘Special’ is alone
worth the price of admission.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gipsy Moon, <i>Songs
of Olde, Vol. 1 – </i>This Nederland, CO traditionalist band is really quite
remarkable, picking wildly unexpected treasures from past decades, including a
definitive version of Duke Ellington’s ‘Caravan,’ and a truly scary version of
‘Darling Clementine.’<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Circuit des Yeux, <i>Reaching
for Indigo Live at Rough Trade, Nov. 15, 2017 – </i>When an artist tours an
album played-straight-through so soon after its release, does a live document
of its existence matter? In this case, yes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Priests, <i>Early
Recordings – </i>Since the first proper album wasn’t all it could be, Tough
Love Records was nice enough to release the first two unobtainable EPs in one
handy package.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Van Morrison, <i>Roll
with the Punches – </i>Our favorite crank has been quite prolific in the last
15 months, releasing a suite of new music last December, this blues album in
October, and a jazz/standards album in December. The blues numbers here are
worth the listen; the standards in <i>Versatile
</i>much less so, which is why it’s on the bottom of the Specials list.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Roscoe Mitchell, <i>Bells
for the South Side – </i>A two-disc live set from 2015, released by ECM to
celebrate AACM’s 50<sup>th</sup> anniversary, and to show that Mitchell has
lost none of his innovation.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Andrew Jackson Jihad, <i>Live at Bowery Ballroom, Nov. 7, 2017 – </i>Can it really be ten years
since the release of <i>People That Can Eat
People</i>? I’m still thinking of AJJ as the young whippersnappers, which shows
how ancient I am. Anyway, we get the album played through in entirety, and
various beloved nonsense from their thrilling career.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Judy Collins and Steve Stills, <i>Everybody Knows – </i>A nice idea to bring back the “Suite: Judy Blue
Eyes” players, though the selection of material wasn’t as adventurous as, say,
Shawn Colvin and Steve Earle. Not a 50-year-revival of an old flame as much as
two old friends getting together to have fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->New Order, <i>NOM17
– </i>Let’s not get into specifics of whether these songs are “real” without
Peter Hook. They’re just good.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Weird Al Yankovic, <i>Squeeze
Box: The Complete Box – </i>Many critics have lamented, with some degree of
truth, that the appearance of this 15-disc set seems to mark the death of
satire as a social art form. To be honest, Weird Al’s odd parodies of pop music
across the decades carried only mild interest to me, but it’s impressive to see
it brought together in one place, and sad to think that parodies may no longer
be a part of comedy – if comedy itself survives the Age of Offense.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jim James, <i>Tribute
to 2 – </i>Some folks no doubt will roll their eyes at the very notion of My
Morning Jacket’s frontman covering Sonny & Cher, The Beach Boys, etc., but
it’s a lot more palatable than Van Morrison’s worn-out jazz covers.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cage the Elephant, <i>Unpeeled
– </i>Some might consider this a “best-of” album and thus disqualified, but
this is more of an innovative and generous reinterpretation album of some of
CtE’s best works. More interesting than you might imagine.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chad VanGaalen, <i>Live
at Rough Trade Dec. 6, 2017 – </i>This actually makes his latest studio work
more palatable, and is a fun set besides.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Animal Collective, <i>Live
at Brooklyn Steel, May 25, 2017 – </i>Anyone who remains unconvinced of AC’s
recent vocal-intensive, Beach Boys on LSD style, should take a listen to this
hour-long set featuring recent studio works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Marcia Bassett/Samara Lubelski, <i>Live in NYC – </i>Slightly more droney than their first collaborative
live album, but a must for Bassett or Lubelski fans.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pile, <i>Live at
Sunnyvale Fest, April 7, 2017</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pile, <i>Live at
Market Hotel, Dec. 9, 2017 – </i>You say that <i>Hairshirt of Purpose </i>didn’t quite take you to the Zen feeling of a
Pile love-fest? Try these live sets on for size.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sufjan Stevens, <i>The
Greatest Gift – </i>This is billed as a “mixtape,” more of a <i>Carrie & Lowell </i>reinterpretation,
but given that Stevens has already given us a live version of C&L, the purpose
of this album is a bit unclear.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Harry Pussy, <i>A
Real New England Fuck-Up – </i>Well of course it’s a chaotic mess, but with a
radio show and live set documenting the 1996 near-meltdown period, true HP fans
will want this one.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Laura Marling, <i>Live
from York Munster – </i>I’m cheating a bit, since this was originally released
nearly ten years ago in very limited quantities, but this double-LP live set
with orchestral backing got a reissue on Record Store Day, so I’m including it
here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->37.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Titus Andronicus, <i>Live
at Market Hotel, Dec. 14, 2017 – </i>A rougher and more expansive career
overview than 2016’s official live album, this one features chunks from <i>The Monitor </i>and <i>Most Lamentable Tragedy. </i>(Note: Patrick Stickles’ extended opening
monologue about how stage diving and body surfing does not show respect to
others, should be an indication that the entire mosh culture of 1981-86
hardcore punk would not survive in a #MeToo era. Heck, some might say hardcore
was inherently reactionary. And they might be right.)<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->38.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bardo Pond, <i>Live
at Knockdown Center, April 1, 2017 – </i>Even though Isobel seems a bit off at
times, some of the renditions of <i>Under
the Pines </i>tracks are better than studio equivalents.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->39.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Neil Campbell, <i>Live
at Horse Hospital – </i>Like much of Campbell’s work of the last five years,
this noisemaker just oozes with joy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->40.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ben Gibbard, <i>Bandwagonesque
– </i>It’s not often a well-known musician chooses to cover an entire album of
another artist. Interesting, but the really cool thing is the attention Gibbard
gives to Teenage Fanclub.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Waxahatchee, <i>Live
at Warsaw BK – </i>A little rough around the edges, but a great Kate-and-Alison
set of recent and older Waxahatchee material.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->42.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cloud Nothings, <i>Live
at Webster Hall </i>– There’s a lot of Cloud Nothings live material out there,
but this includes tracks from the excellent new <i>Life Without Sound </i>studio album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->43.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Van Morrison, <i>Versatile
– </i>Ideally, Van could have added a few of the bluesier standards to his
blues album and gotten a better single disc, because most of the renditions of
standards herein are superfluous.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<h2>
Singles and EPs <span style="font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Various Artists, <i>7
Inches for Planned Parenthood – </i>Worthy songs for a worthy cause, though the
contribution level may be steep for some, and comedians are placed in the same
bucket as musicians – nice for cross-fertilization, not so nice if you want to
focus on the music.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Spirettes, s/t – Well what the hell did you <i>think </i>was going to happen when Kate
Perdoni (Katey Sleeveless) of Eros & The Eschaton joined forces with Kellie
Palmblad and Emily Gould? Some things are just self-evident and magnificent.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kamasi Washington, <i>Harmony
of Difference – </i>It’s unique enough for a jazz artist to release an EP
(except for the re-issued 1950s 10” records), but Washington went overboard in
producing a 30-minute six-part suite, including color miniatures of his
sister’s paintings at the Whitney Museum, all as a follow-up to the 2015
massive box set <i>The Epic. </i>Guess this
is mini-epic! Well-played indeed.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sleigh Bells, <i>Kid
Krushchev – </i>An unusual, thought-provoking quieter mini-LP from the
beats-crazy duo.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Belle & Sebastian, <i>Human Problems – </i>Not sure how to list this, as Part 1 of 3 EPs
arrived Dec. 8, with the other two slated for 2018. I guess naming them twice
won’t hurt. The twee Glasgow wunderkinds grow old gracefully.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Xiu Xiu and ®, <i>Cover
ZZ Top – </i>Maybe the best surprise of the year was discovering how well Jamie
could cover Los Barbudos.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Filthy Friends, <i>Any
Kind of Crowd/Editions of You – </i>The A-side was a great introduction to a
new and righteous supergroup, but hearing Corin Tucker cover Roxy Music on the
B-side set this apart from the debut album.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Fleet Foxes, <i>The
Electric Lady Sessions – </i>This 10” record didn’t make the meaning of <i>The Crack-up </i>any clearer, but the live
tracks certainly were exquisitely recorded.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->L7, <i>Dispatch from
Mar-a-Lago </i> -- After 18 years of
silence, we get the anti-Trump manifesto “Dispatch from Mar-A-Lago” in the
fourth quarter to round out a gruesome 2017.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wye Oak, <i>Wave is
Not the Water/Spiral – </i>I’ll be honest, I was never fully convinced of the
wisdom of Jenn Wasner morphing from guitar goddess to synthesizer mystic. This
is the first single that has truly integrated those two aspects.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Preoccupations, s/t EP – It’s not clear whether this
was recorded right after the Canadian band changed its name from Viet Cong, or
whether its initial release was summer 2017, or in a limited edition before the
2016 self-titled album. At any rate, a nice little addition to the canon.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Vibracathedral Orchestra, <i>Total Inertia – </i>A new live addition to the VCO library, and a 10”
record to boot!<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mountain Goats, <i>Marsh
Witch Visions – </i>The alleged Ozzy Osbourne theme of this EP doesn’t really
matter, it’s just new unadorned works by John Darnielle.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jason Isbell, <i>Live
from Welcome to 1979 – </i>One of the coolest Record Store Day releases, a
suite of straight-up covers from The Nashville Sound.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Anohni, <i>Paradise
– </i>Outtakes and additions from 2016’s Anohni album, and it’s clear the
former Antony Hegardy wants to put politics and social activism out front.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Frightened Rabbit, <i>Recorded
Songs </i>– It’s about time the Scottish masters of sad stepped back from the
well-produced studio albums and offered up some rough-cut works.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bernice, <i>Puff – </i>A
fascinating Canadian newcomer (or relative to U.S. ears), with intriguing
sounds.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Dazies/Courters, <i>Seen
a Ghost – </i>A fun new split EP from two power-pop snarlers.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Animal Collective, <i>Meeting
of the Waters – </i>Recorded in Brazil, and maybe a little too heavy on the
green naturalism, but more interesting than the band’s studio EP.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lydia Loveless, <i>Live
from Documentary ‘Who is Lydia Loveless?’ – </i>To be honest, it’s a lot better
value to pick up the reissued and expanded <i>Boy
Crazy </i>EP on vinyl (not listed here because it’s all been released before),
than to pay $30 for five songs and a DVD. Mostly of interest to completeists.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Heather Maloney, ‘Wild as a Birdsong’ – I have a
feeling this will be included in a February 2018 EP, but this lathe-cut 45 rpm
is just a fun little souvenir from an utterly amazing singer/songwriter.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Animal Collective, <i>The
Painter – </i>More of the vocal exercises that characterized last year’s album,
but overshadowed by the Brazil EP.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Coldplay, <i>Kaleidoscope
– </i>Unlike many annoyed critics, I think Chris Martin still has some
interesting ideas to offer. Not a critical release, but OK.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->David Bowie, <i>No
Plan – </i>An early 2017 EP that collected the loose ends from <i>Blackstar.</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Fucked Up, <i>Year
of the Snake – </i>Another fun entry in the Chinese zodiac series, though I
admit to getting a little tired of the growly delivery.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>Just
to Show You</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>Space
Gun</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal; font-variant-east-asian: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>Cash
Rivers – </i>Nice to see the singles releases continue, though the
country-music jokes in the second single were not something I wanted to
continue into an album-length domain.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
29. <span style="font-family: "Cambria Math", serif;">Japandroids, ‘Near to the
Wild Heart of Life’ – I find Japandroids mildly interesting, but I wanted to
list this single separately from the album because of the excellent cover of
Talking Heads’ ‘Love Goes to Building On FIre' on the B-side.</span></div>
Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-49270440348667751002016-12-31T08:15:00.001-08:002017-01-03T09:51:16.169-08:00The List 2016 - Loring Wirbel<h1 style="text-indent: .5in;">
The
List – 2016 – Loring Wirbel<o:p></o:p></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"> </span><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> The stars
were uncomfortably aligned to make sure that the year with the most losses of
artists was also a year filled with hate, rage, doom, and the realization that
the world is not moving slowly to a better place – quite the reverse. It’s not
mere hyperbole to wonder if this is the last such list I’ll be putting out.
From 2016’s opening days with Bowie, to the sadness in the last Cohen album,
many of the best releases this year were defined by grief and angst, appropriately
so. Thankfully, the year’s best album from Esperanza Spalding displayed moments
of happy, and newcomer bands like Yak, Spray Paint, and Car Seat Headrest gave
us hope that there might be more years in which to enjoy music. There was no
intent in 2016 to put the saddest songs on top, but we have to play the cards
we are dealt.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> It should be no surprise in a year like
this that musicians have become explicitly political, but when that trend
covers everyone from Beyonce to Drive-By Truckers to J. Cole to Cheap Perfume,
you know that they speak for a wide artistic community that will not back down.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> Oh, this trend to add a late-1970s disco
sound? If you’re Chairlift and can do it subtly, maybe it’s OK, but the Local
Natives or Two-Door Cinema Club overkill? All of you can stop, now. Maybe we’ve
moved on slightly from the “Disco sucks” era, but not that far.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> Not as many EPs and special albums this
year. Lots of reissues, but a special album must contain enough new material to
be considered a release in its own right. Please remember that close to a
thousand mainstream and indie albums are released annually, and this 150 or so
represent the ones worth hearing. Sure,
there are quality gradients between the top ten and bottom 20, but anything
that makes this list is worth your perusal.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> Last year we made a special award to the
forward-looking team at Waywords and Meansigns for its efforts to bring James
Joyce’s <i>Finnegan’s Wake </i>to music. The
group issued a second reading/singing of the novel in February, so in 2016 we
award them the top special album of the year. If you’ve ever loved or have been confused by
James Joyce, you can’t miss this.</span><b><span style="font-size: 14.0pt;"> <o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-size: 14.0pt;"> </span></b><span style="font-size: 14.0pt;">Almost pointless to list farewells this time out, what
with close to 50 major musicians leaving us. If you survived 2016, good on ya.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span style="font-size: 16.0pt;">Regular Studio Albums, 2016<o:p></o:p></span></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Esperanza
Spalding, <i>Emily’s D-Evolution</i> – So
many releases this year are grim examinations of suicide, apocalypse, or both.
Spalding’s dystopian sci-fi album might have bleak undertones, but it’s
delivered in bouncy, complex, frenetic bursts that suggest Zappa or Return to
Forever. Spalding’s lyricism is only eclipsed by her compositional excellence,
or is it the other way around? Nice to be able to call an album close to
perfect.<br />
<b>Bonus Edition Handicap: </b>The vinyl is
pretty, but get the CD deluxe edition with the most tracks. You’ll want to
savor every minute.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Nick
Cave and the Bad Seeds, <i>The Skeleton Tree
– </i>After careful consideration of the Tragic Three (with Bowie and Cohen),
the Bowie arrangements often stand out, but the cohesiveness of compositions
pushes Cave to the top. An agonizing tale of grief following the death of
Cave’s son, and a work that will last as definitive.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->David
Bowie, <i>Blackstar – </i>Not just a final
album, but one that reaches for a bit of jazz experimentation (let’s not forget
Bowie’s work with Lester Bowie and other jazz greats). The fact that the
release date was two days before his death reinforces the strange Phil Ochs <i>Rehearsals for Retirement </i>feeling. A
perfect exit stage left for the Thin White Duke.<br />
<b>Bonus Edition Handicap: </b>The diecut
vinyl packages were so durned pretty, you’ll want one for posterity.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Beyonce,
<i>Lemonade – </i>With each succeeding
album, Beyonce transitions from discrete pop tunes to literary-visual works
more appropriate for Story Project. <i>Lemonade
</i>takes us out of the self-obsession of a diva, beginning with a story of
betrayal and trust in a specific couple, but ending with visions of empowerment
for women in general and Black women in particular.<br />
<b>Bonus Edition Handicap: </b>All physical
copies of this album come with a DVD, but you want to make sure to actually
watch it, as the visual stories go way beyond similar 2016 DVD efforts by
Tindersticks and The Wedding Present.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Case
Lang Veirs, <i>s/t – </i>This could easily
have been a tossed-off collaboration among three great divas. Instead, Neko
Case, kd lang, and Laura Veirs offer us well-crafted and memorable pop songs.
We can give Laura’s husband Tucker Martine some minor credit for the fine
production, but this is primarily the product of three brilliant women whose
talents merge perfectly.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Car
Seat Headrest, <i>Teens of Denial – </i>I
really don’t care how many people think that angsty teen (now 23) Will Toledo
was given a big stage for the first time – they said that about Conor Oberst in
early Bright Eyes days, as well. Toledo has come to the table with a fine feast
of new tunes, and the band has matured to the point where live shows become
exciting, electric demonstrations of indy at its finest.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Neil
Young, <i>Peace Trail – </i>Reviews were lukewarm,
and the politically sincere lyrics can get clunky on occasion, but this
stripped-down acoustic-electric work with Jim Keltner is a mashup of <i>Living With War, Trans, Everybody Knows This
is Nowhere, </i>and <i>On The Beach. </i>I
love Willie Nelson’s sons, but this work moves well beyond Neil’s recent work
with Promise of the Real.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Leonard
Cohen, <i>You Want It Darker – </i>We can
all be grateful to Leonard’s son Andy for making sure these final poems
received proper arrangements, and that they were shepherded to a release before
Leonard died. Some are exquisitely arranged with musicians like violinist David
Davidson, and even if a few (like the title track) are over the top, this
stands as one of Cohen’s finest works. Some might say it’s his best of the 21<sup>st</sup>
century – I think it should be considered the end of a modern trilogy,
concluding <i>Old Ideas </i>and <i>Popular Problems. </i>An exquisite last
encore.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->J
Cole, <i>4 Your Eyez Only – </i>What a grand
leap from <i>2014 Forest Hills Drive!</i> Cole has created a concept album written to
the child of a friend, a young person bearing witness to the death of a father.
What could be unbearably depressing is made easier to swallow through fine
trumpets, woodwinds, and strings.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cate LeBon, <i>Crab
Day – </i>Some day, people will realize that the miraculous Welsh innovator is
giving us the women’s interpretation of Captain Beefheart for the 21<sup>st</sup>
century. Until then, existing LeBon fans will just have to keep their lamps
trimmed and burning.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Martha Wainwright, <i>Goodnight
City – </i>Every Wainwright album is a wonder for smoky jazz with sexy vocals.
But Martha outdoes herself here, conjuring everyone from Kate Bush to Natalie
Prass. 12 stunning tracks with nary a weak cut. Maybe that’s why Martha is my
favorite Wainwright, with all due respect to her brother Rufus and father
Loudon.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Anohni, <i>Hopelessness
– </i>The artist formerly known as Anthony Hegarty offers the first studio work
since redefining herself sexually. A turn to more dance excitement might have
been anticipated, but Anohni’s radical political sincerity and uncompromising
message was a surprise. Given the campaigns she has undertaken worldwide since
the album was released, expect Anohni to be on the front lines of many
political and cultural battles in the scary days to come.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Frank Ocean, <i>Blonde/Endless
– </i>The array of styles and lyrical directions are as broad as fans hoped for
in the “Boys Don’t Cry” days, but what is amazing is that Ocean has addressed
the new streaming universe without entering dimensions of denial the way Kanye
West did. Instead, Ocean practices both/and in his pop-up stores and promised
physical versions of this impressive album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cheap Perfume, <i>Nailed
It – </i>Brash feminist lyrics? Check. Bratty 21<sup>st</sup>-century attitude
without a mention of punkers past? Check. Chant-alongs with a sense of humor?
Check. Some bands like Beach Slang can spend too much time wishing they were in
1977. Cheap Perfume is too busy redefining punk for the Trump era, with no
looking back.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tindersticks, <i>The
Waiting Room – </i>Stuart Staples and company celebrate their 25<sup>th</sup>
anniversary with an impressive tour de force, reaching for wider styles and
moods than they have in a decade.<br />
<b>Bonus Edition Handicap: </b>The DVD with
art videos of all the tracks is worth it, maybe more so than what The Wedding
Present attempted with <i>Going Going. </i>Some
fine music videos.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Spray Paint, <i>Feel
the Clamps – </i>I came late to this party. Spray Paint, a brilliant Austin
band, mixes the dissonance of the No New York movement of the late 1970s with
the tension of mid-1990s Trumans Water, and the singalong chanting of Parquet
Courts. This is their sixth album in three years. A knockout.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Van Morrison, <i>Keep
Me Singing – </i>Given Van’s recent withdrawal to small supper clubs in Ireland
where blues covers are the norm, this collection of stellar original
compositions was hardly expected. Songs like “Tiburon” are as strong as any Van
has offered in 50 years.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Xanthe Alexis, <i>Time
of War – </i>As half of the eclectic gypsy duo Hopeful Heroines, Alexis could
craft simmering, slightly scary songs filled with time-signature changes and
unusual surprises. For her first solo work, she opts for minimal production and
a focus on vocal styles and straightforward statements. Of course it works, we
shouldn’t expect less.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Parquet Courts, <i>Human
Performance – </i>Continuing with the winning style that has kept them in the
forefront of indy innovation, but adding just a touch of 1966-era garage band
music, our pals ensure the fun never stops.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Regina Spektor, <i>Remember
Us to Life – </i>There are cynics who have grown tired of our Russian chanteuse
who claim that from the opening chords of “Bleeding Heart,” Spektor is getting
predictable. I consider this such an improvement from her <i>Cheap Seats </i>album, I’m willing to put it on the top of the Spektor
canon.<br />
<b>Bonus Edition Handicap: </b>Get the
extended album. The last four “bonus” songs are among the best, it’s puzzling
why they weren’t a standard part of the album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sam Beam & Jesca Hoop, <i>Love Letter for Fire – </i>Given Jesca’s history with Dirty Projectors,
it was obvious this would not be a typical Iron & Wine album. What wasn’t
obvious was how beautifully the two iconoclasts would merge their talents on
unusual and unforgettable love songs.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Solange, <i>A Seat
at the Table – </i>This is quite the year, to be graced by knock-out works from
two Knowles sisters. Solange relies more on fragments and shorter vignettes
than her older sister Beyonce, but many of the songs hold together better than
those on Beyonce’s <i>Lemonade. </i>Since
these songs deal with social movements and sexual politics, suddenly both
Knowles sisters have been thrust into the political vanguard, something few
would have guessed.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Angel Olsen, <i>My
Woman – </i>Olsen’s most moving and varied recording yet, at times sounding
like a Phil Spector girl-group of the early 1960s, at times like a shaman.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lucy Dacus, <i>No
Burden – </i>Suggestions of Sharon Van Etten or Laura Marling, but with a
stronger, guttier guitar and a clean, honest sound.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Okkervil River, <i>Away
– </i>This is really a Will Sheff solo album, which is perfectly OK, as it is
remarkable, stuffed with unusual arrangements.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Jayhawks, <i>Paging
Mr. Proust – </i>Not just a return to form, but an exceptional new album. Gary
Louris brings in Peter Buck and Tucker Martine for production, to make each
track shine.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Shearwater, <i>Jet
Plane and Oxbow – </i>Meiburg combines the best of Shearwater’s more recent
rocking delivery with the seafaring mysticism of its earlier albums.
Transcendent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bettie Serveert, <i>Damaged
Good – </i>It’s a damned shame there is only a Benelux release for this album,
the equal to Bettie’s finer works like <i>Log
22. </i> Carol’s voice assumes many
identities, and Peter’s guitar arrangements have a minimal urban quality to
them. Bettie has struggled to keep its U.S. and European audiences since the
mid-1990s, which seems unfair for a band so consistently competent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Conor Oberst, <i>Ruminations
– </i>Billed as his first true solo album, which seems a misnomer given the
status of his Mystic Valley Band albums, this one may be his most quiet and
focused work. Miraculous at times, but also frightening in both its sadness and
its honesty.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Dwarfs of East Agouza, <i>Bes – </i>The latest Alan Bishop/Sun City Girls project is Cairo-based,
sort of a spinoff of Invisible Hands with extra participation from Sam Shalabi.
There is more of a hint of Turkish dubs with some Byrds “Eight Miles High”
thrown in.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->P.J. Harvey, <i>The
Hope Six Demolition Project – </i>A mysterious and unsettling album as Harvey
goes around the world to chronicle both despair and hope.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bon Iver, <i>22, A
Million </i>– Justin Vernon guarantees his relevance by being damned near
incomprehensible, a trip-hop work of numerology and puzzles.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Frightened Rabbit, <i>Painting
of a Panic Attack – </i>More great somber Scottish melancholia from Scott and
the boys.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Quilt, <i>Plaza – </i>The
Boston foursome go beyond psychedelia to offer some lush musical landscapes,
with new wrinkles revealed on repeated listens.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Drive-By Truckers, <i>American
Band – </i>Patterson Hood purges the ghost of former Trucker Jason Isbell once
and for all, by crafting a stunning political treatise on police violence and
the new populism, all wedded to beautiful tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lydia Loveless, <i>Real
– </i>Apparently, our queen of tragic country-punk has suffered some of her
worst tragedies of late, which makes for great material, though this album
doesn’t click quite as much as <i>Somewhere
Else. </i>Still, it’s a classic.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->37.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Alicia Keys, <i>Here
– </i>Another political/cultural composition in the manner of the Knowles
sisters or Kendrick Lamar. This one ranks slightly lower because Keys, for all
her audaciousness on stage, pulls punches ever so slightly in the studio.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->38.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Savages, <i>Adore
Life – </i>When a radical, situationist British women’s band becomes more
self-reflective and positivist, we should give them credit. Credit.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->39.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Borbetomagus, <i>The
Eastcote Studio Sessions – </i>At a time when not enough artists are keeping
the flames alive for excruciating noise, the Borbetomagus collective continues
to believe in saxophone terrorism.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->40.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lake Street Dive, <i>Side
Pony – </i>Rachael Price and friends have evolved from 1940s nostalgia to
re-imagined Motown for the 21<sup>st</sup> century. Their songwriting and
arrangements live up to that promise and then some.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Joy Formidable, <i>Hitch
– </i>There are whispers among longtime fans that Ritzy somehow is going soft,
making this album more substantive than crunchy. As usual, fans are wrong, as
this is the best JF album of all.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->42.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lady Gaga, <i>Joanne
– </i>What is true for Joy Formidable is equally true for the Divine Miss G.
Some fans think her efforts to craft a straightahead rock album constitute a
misfire. She dials down the dance floor pyrotechnics, but delivers a solid set
of pop tunes as a result.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->43.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Kills, <i>Ash
and Ice – </i>It wasn’t certain for a while The Kills were still a duo, what
with all of Alison Mosshart’s side projects. Oh yeah. They’re very much alive.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->44.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jenny Hval, <i>Blood
Bitch – </i>After last year’s feminist art-bratty <i>Apocalypse, Girl </i>, Jenny returns with an ethereal and mystical
concept album. A fierce and diverse talent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->45.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Radiohead, <i>A
Moon-Shaped Pool – </i>Thom Yorke detractors need to admit that there are some
very exceptional compositions on this album. Radiohead fans need to admit that
despite the grandiosity of the packaging, the band is not at its cusp of 10 or
15 years ago.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->46.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chairlift, <i>Moth –
</i>A few misguided fools out there think that Caroline Polachek and Patrick
Wimberly were better when they were singing simple songs in Boulder about handstands
and strawberries. Polachek has become such an arranger and electronic
manipulator, she has turned <i>Moth </i>into
a tour de force, particularly in the song “Romeo.” But one wouldn’t want to
drift too much closer to disco….<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->47.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Wedding Present, <i>Going Going – </i>It seems as though David Gedge, after a year of
wandering the U.S., was aiming for majesty melded with traditional Wedding
Present stridency, both in the 70 minutes of moody compositions and the video
presentations accompanying the music, but in so doing, WP added instrumental
washes some might find superfluous. Still very much worth it.<br />
<b>Bonus Edition Handicap: </b>Even if it’s
grandiose packaging, the 2LP + 7” single + CD + DVD is the definitive version
to get.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->48.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jack DeJohnette, <i>In
Movement – </i>The most exciting jazz set the legendary ECM label has released
in recent years, in which DeJohnette is joined by John Coltrane’s son Ravi on
saxophone, and Matthew Garrison on bass. Nothing short of thrilling.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->49.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Blood Orange, <i>Freetown
Sound – </i>One of the few anticipated R&B/hip-hop albums of 2016 to more
than live up to its billing, full of layers and exciting sounds.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->50.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Eros and the Eschaton, <i>The Weight of Matter – </i>Shoegazer music has been desperately short
of flagbearers in recent years, so we’re lucky that Katie Sleeveless and
company have picked up that banner and run with it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->51.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->A.J. Connell & Tim Darcy, <i>Too Significant to Ignore – </i>One of Toronto’s oddest electronic
musicians teams up with Ought lead singer Tim Darcy for strange and droll
musical observations appropriate for your next situationist party.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->52.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Warpaint, <i>Heads
Up – </i>Some fans were disappointed that the LA women’s quartet was making a
move toward the dance floor, but this album bears every sign that it was a
smart move.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->53.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Maria Taylor, <i>In
the Next Life – </i>The Alabama songstress who is half of the former duo Azure
Ray proves that anguish and depression are not necessary for exquisite songwriting.
She’s married with children, living in connubial bliss, yet kicks out songs
that gnaw at your heart.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->54.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Weaves, <i>s/t – </i>Toronto’s
Weaves is often called out as an Alabama Shakes copy, due in part to the
overweening presence of Jasmyn Burke, but the band actually owes more to
complex art-punk bands like Pink Section, X-Ray Spex, and Romeo Void. Lots of
weird fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->55.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->OctaGrape, <i>Aura
Obelisk – </i>A double album released on the cusp of 2015 and 2016, it features
major helpings of Glen Galloway’s wonderful screams, while offering a little
more mainstream production than OG’s previous work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->56.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mavis Staples, <i>High
Note – </i>This might have made the “specials” album for its abundance of cover
songs, but Mavis would rather have it considered simply a mainstream big-fun
album, and it certainly succeeds in that dimension.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->57.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mothers, <i>When You
Walk a Long Distance You Are Tired – </i>Kristine Leschper certainly has the
art-school sensibility about her, which makes her songs interesting, but also
carries a little bit of pretension which the band tries very hard to dispel. Still,
a nice debut effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->58.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Danny Brown, <i>Atrocity
Exhibition – </i>Danny’s yowly, cartoon voice is an acquired taste, but the
guest appearances of Kendrick Lamar and Earl Sweatshirt shows he’s trying to
accomplish a lot in this sprawling hip-hop piece that functions as a slightly
happier suite of street vignettes than Sweatshirt’s gloomier works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->59.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Paul Simon, <i>Stranger
to Stranger – </i>Simon may be talking of hanging it up, but songs like
“Wristband” prove he’s still relevant and packs a great sense of humor.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->60.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Deep Sea Diver, <i>Secrets
– </i>Jessica Dobson is usually given a quick nod for her session work with
Beck and The Shins, but rarely for her own band, which comes to full maturity
after two EPs.<br />
<b>Bonus Edition Handicap: </b>The
double-LP edition has an extra EP that heightens the experience.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->61.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->ESP Ohio, <i>Starting
Point of the Royal Cyclopean – </i>Odd that Robert Pollard’s duo work with Doug
Gillard sounds more like a Guided by Voices record, while the GbV release
sounds more like a Pollard solo work (which in fact it is). In any event, both
albums have the outstanding pop singles you’d expect, in this case “Weakened by
a Logical Mind” more than the two proper singles.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->62.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Dressy Bessy, <i>King-Sized
– </i>Tammy Ealom has brought the band back together in cynical, snarly
adulthood with plenty of slashing guitars and a more jaded sensibility.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->63.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Goat, <i>Requiem – </i>Goat
fans tend to be very rabid, and I can appreciate the musical depth and
diversity of the neo-hippie orchestral ensemble. It’s good music to fall back
on in reverie or at parties, though nothing in “deep listening” categories to
make it a Top Ten experience.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->64.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lucinda Williams, <i>Ghosts
of Highway 20 </i>– While many albums ended up ahead of this one, it is quite
impressive that Williams has released two sprawling, double-disc studio albums
in a row, and both of them contain some of the best songs of her career.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->65.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Swans, <i>The
Glowing Man – </i>This is Michael Gira’s departure album for the latest
incarnation of Swans, a two-disc mega-event. The only problem is, the last four
albums from Swans have been two-disc mega-events, and we reach the point of
exhaustion.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->66.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kristin Hersh, <i>Wyatt
at the Coyote Palace – </i>Hersh has become sort of a female Robert Pollard, in
that releases under her name or that of Throwing Muses become
indistinguishable, all confessional and raw. This album is a particularly dense
and sad affair, detailing the dissolution of her marriage, a topic and mood
that is typical of 2016.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->67.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Head and The Heart, <i>Signs of Light – </i>Of all the alt-Americana bands out there right
now, H&H and Dawes stand at the front of the line, because their crisp pop
sensibilities overwhelm the likes of Avett Brothers, Band of Horses, or
Lumineers. This album expands into rhythmic pop that leaves their previous work
behind.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->68.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sad13, <i>Slugger – </i>Sadie
Dupuis is taking a brief hiatus from Speedy Ortiz, but left us with an EP of
Speedy and a solo album, full of her characteristic guitar licks. Her vocal similarities to Liz Phair and Carol
Van Dyjk (Bettie Serveert) are even more evident in a solo work, and the album
as a whole is tons of fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->69.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Brian Eno, <i>The
Ship – </i>While this was billed as a return to form, resembling the earliest
vocal-heavy Eno albums, it actually resembled <i>Another Green World </i>stylistically, but with longer songs. Still a
worthy addition to his vast archive of work.<br />
<b>Bonus Edition Handicap: </b>Get the
deluxe vinyl. It’s Eno.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->70.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bat for Lashes, <i>The
Bride – </i>While this is more mainstream than much of Natasha Khan’s work, she
deserves credit for not revisiting her standard weirdness album after album,
instead going for a concept album about a marriage gone horribly wrong.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->71.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ariana Grande, <i>Dangerous
Woman -- </i>Even taking into account
that her songwriting and arranging is a group project, Grande has an innate
sense of what makes a great pop song. And with 15 substantial tracks, this
album errs on the side of excess, yet without clutter.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->72.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Glass Animals, <i>How
to Be a Human Being – </i>This British neo-R&B band uses sounds in a manner
similar to Yeasayer, melding them with psychedelic vignettes on human
archetypes. An intriguing concept album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->73.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->White Lung, <i>Paradise
– </i>Another fine effort from the neo-new-wave White Lung, though it mystifies
me why so many consider this Top Ten material, as WL seem more 70s-derivative
than trodding new territory.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->74.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Dead C, <i>Trouble
– </i>A four-side sprawling noise composition from the improvisational
champions of New Zealand, though their hour-long live set from NYC was more
fascinating this year than this unusual studio effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->75.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Marissa Nadler, <i>Strangers
– </i>I’ve been a proponent for the ethereal-voiced folkie since she was an underground
favorite of Eclipse Records, though the songs here did not grab me as much as
her last two studio albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->76.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->A Tribe Called Quest, <i>We Got It From Here… Thank You 4 Your Service – </i>A marvelous eulogy
to Phife Dawg, but his absence is also part of the problem. Q-Tip and Ali
Shaheed Muhammad make valiant efforts to remain politically relevant, but the
results sometimes sound too minimal, unless guests are present.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->77.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Little Green Cars, <i>Ephemera
– </i>Dublin’s answer to Chvrches has released a second album as compelling and
occasionally heartbreaking as their first. When Faye O’Rourke breaks into
“Easier Day”….. sigh.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->78.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Deerhoof, <i>The
Magic – </i>This was the minimal “recorded in the New Mexico desert” album for
Deerhoof, so it should have been high up, but the reality didn’t stick with me
as long as the good idea.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->79.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Eric Bachmann, <i>s/t
– </i>Gee, how did this get so low? Nice to get a straightforward
direct-hitting album from Eric after a long hiatus since the last Crooked
Fingers outing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->80.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Fursaxa, <i>Immured
– </i>It’s wonderful to hear from the ethereal Tara Burke, since it’s been a
long time since a Fursaxa experiment has shown up. She hasn’t wavered during
the silence.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->81.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Not for Pussies, <i>Under
the Sun – </i>The Kidds layer beautiful melodies with strong statements on
behalf of the refugee. A moving effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->82.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Yak, <i>Alas
Salvation – </i>Seen as one of the new punk-power-pop promises of the UK, Yak
is intriguing, but still needs to expand their sound.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->83.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wire, <i>Nocturnal
Koreans – </i>Wire has been releasing a series of albums lately that mean to
challenge their 1977-79 heyday. This one is quieter, moodier and shorter than
most modern Wire – in fact, almost an EP.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->84.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Guided by Voices, <i>Please
Be Honest</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->85.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Robert Pollard, <i>Of
Course You Are – </i>Odd that on the eve of launching a new Guided by Voices
with Bobby Bare Jr. (and eventually Doug Gillard), Pollard released what are
two solo albums, and called one a GbV album. Oh well, what are labels? Good pop
songs in both cases.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->86.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Iggy Pop, <i>Post-Pop
Depression – </i>Teaming up with Josh Homme was the smartest idea Iggy has had
in a while. Not only are the songs good, but Iggy intimated this might be his
last will and testament. The problem is, there were so many albums this year
that really were last wills, this suffers as a result. Probably should have
been in Top 30.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->87.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Zaimph, <i>Between
the Infinite and the Finite – </i>Marcia Bassett is back again, with eerie and
stark electronic landscapes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->88.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Phantogram, <i>Three
– </i>Yet another ode to the departed in 2016, this is a eulogy to Sarah
Barthel’s sister, and a powerful one at that.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->89.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Algiers, <i>s/t – </i>An
unusual punk-gospel album, quite unlike anything being crafted by anyone these
days. A one-shot novelty? Maybe not.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->90.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sturgill Simpson, <i>A
Sailor’s Guide to Earth – </i>I have to admit to not entirely getting the
Simpson craze, as his initial psychedelic country album didn’t seem all that
different from the “outlaw” albums of the 1970s. But now that he gives us a
concept album of ocean-going imagery, maybe I’ll warm up to what Simpson is
doing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->91.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Nada Surf, <i>You
Know Who You Are – </i>The band has gotten immensely better with the addition
of Doug Gillard on guitar, but Matthew Caws seems to reach to try and achieve
the lyricism he had in the late 1990s.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->92.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Hinds, <i>Leave Me
Alone – </i>An utterly charming trio of sassy teenage girls from Madrid, serving
as Spain’s answer to The Runaways.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->93.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sarah Jarosz, <i>Undercurrent
– </i>There is an intimacy in this album that is initially more compelling than
her last <i>Build Me Up From Bones </i>album,
but the new one also is missing a certain diversity in arrangement present in
her last couple releases. Still, any day with Sarah is a good day.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->94.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Kanye West, <i>The
Life of Pablo – </i>Brilliant in places, and uneven, partially the result of
there being several streaming versions of this album. West is dwelling at the
edge of madness, which allows him to come out with some fascinating tracks, but
also makes his work fragmented and subject to shattering.<br />
<b>Bonus Edition Handicap: </b>Just because
West said this will never come out on CD or LP, one should try to hunt down the
double LP bootleg on clear vinyl, if only to flip a middle finger at Mr. West.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->95.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Comet is Coming, <i>Channel the Spirits – </i>A British electronica band gets serious about
jazz riffs! Praise be!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->96.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lapsley, <i>Long Way
Home – </i>The next British blue-eyed soul wonder, Lapsley takes off from a
vector not unlike Duffy, but puts more body in the deep-throated soul.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->97.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Margo Price, <i>Midwest
Farmer’s Daughter – </i>I really appreciate Price’s ability to craft a perfect
country tune, but when supporters call her the woman who can save country
music, I wonder how many of them have heard Lydia Loveless.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->98.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Radio Dept., <i>Running
Out of Love – </i>The Swedish duo seemed to attract more attention with 2010’s
“Clinging to a Scheme” than this long-overdue follow-up, which seems both fair,
since this is more ethereal shoegaze electronica, but also unfair, as its
sadness and politics seems to fit the current era to a T.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->99.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sleigh Bells, <i>Jessica
Rabbit – </i>In one sense, this is a distillation and a best-of all Sleigh
Bells sounds that have gone on before. In another sense, the band almost sounds
TOO normal.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->100.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Dawes,
<i>We’re All Gonna Die – </i>There are many
Dawes detractors out there, and yeah, sometimes the band can veer into
Killers-style self-parody, but Taylor Goldsmith has enough good ideas to make
the band always interesting.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->101.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Beth
Orton, <i>Kidsticks – </i>There’s a lot of
excitement out there that Beth has returned to the partial-electronica sound of
mid-1990s albums like <i>Trailer Park. </i> It’s a great return to form, though sometimes
you wonder if the form fits the times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->102.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Davendra
Banhart, <i>Ape in Pink Marble – </i>Plenty
of worthy tunes, though Banhart seems to have fallen into a formula of X songs
sung in Spanish, X dance tunes, etc.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->103.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Justin
Peter Kinkel-Schuster, <i>Constant Stranger
– </i>If you ever wondered whether good solo Southern-influenced songwriters
were still around (outside obvious ones like Jason Isbell), here’s your answer.
K-S is off to a great start.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->104.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Run
the Jewels, <i>3 </i>– Maybe their best
full-length outing to date, but I continually feel that there is less to RtJ
than meets the eye and ear.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->105.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Claypool
Lennon Delirium, <i>The Monolith of Phobos –
</i>In which Les Claypool and Sean Lennon get together for some raucous psychedelic
fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->106.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->School
of Seven Bells, <i>SVIIB – </i>Alejandra
Deheza assembled a beautiful eulogy to her cohort Ben Curtis after he died of
lymphoma. Hard to know how to rank this, but a beautiful, sad work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->107.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Thee
Oh Sees, <i>A Weird Exits</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->108.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Thee
Oh Sees, <i>An Odd Entrances – </i>I like
the crisper version of Thee Oh Sees myself, and this pair of albums is more in
the fuzzier psychedelia dimension, but nevertheless, I still prefer this studio
pair to the double-live album the band also released in 2016. You have to
admire their prolific pace, at any rate.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->109.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Frank
Moore, <i>Another Colorado Morning – </i>Some
direct, beautiful acoustic songs from Colorado’s warm-hearted Irish tenor.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->110.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Pixies,
<i>Head Carrier – </i>You already know why
Frank Black should annoy you, but this album is actually a lot of fun, just
like <i>Indy Cindy </i>was before it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->111.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Lambchop,
<i>FLOTUS – </i>You never know what you’re
going to get with Kurt and his cohorts, but who would have guessed electronica?
An intriguing and utterly different Lambchop album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->112.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Animal
Collective, <i>Painting With – </i>Many
people were disappointed with an album that sounded like a Beach Boys parody. I
appreciate Animal Collective’s ability to laugh at themselves. A silly and
enjoyable work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->113.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Yeasayer,
<i>Goodbye and Amen – </i>Not a farewell
album, but another album chock full of found sounds and cool tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->114.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->The
Monkees, <i>Good Times! – </i>With so many
famous indy-era songwriters penning tunes for the three surviving Monkees, I
expected this album to be more memorable than it was. Still, hearing new studio
work from Dolenz, Nesmith, and Tork was a gas.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->115.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->John
Doe, <i>The Westerner – </i>New John Doe work
is always a cause for celebration, though he seems to fall into a
self-replicating cycle of the lone rockabilly cowboy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->116.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->The
Struts, <i>Everybody Wants – </i>This is an
expanded U.S. release for an album that came out in the UK in 2015. The Struts
want to revive the era of mid-70s glam rock, and have got the sassiness down to
a T, though sometimes it doesn’t feel like they want to go anywhere new.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->117.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Lucius,
<i>Good Grief – </i>Lucius is the type of
pop act where you either get it and love them, or think their posturing is a
little too obvious. I veer toward the latter view, but think they’re still up
to interesting efforts.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->118.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Hamilton
Leithauser and Rostam, <i>I Had a Dream That
You Were Mine – </i>There are people who firmly believe that Leithauser has
moved on to his best work since leaving The Walkmen and becoming a solo act. I
couldn’t say I heard that in his first solo work. Here he collaborates with
electronic musician Rostam, and many folks have it in their Top 20. It’s a good
album, but I’m not fully convinced.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->119.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Jason
Alarm, <i>Piling It On – </i>Hints of many
other sounds from the “new emo” world, but these folks get bonus points for
being from my home town of Grand Ledge. So there.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->120.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Explosions
in the Sky, <i>The Wilderness – </i>Maybe I
ought to give this one another try, since it’s the favorite EitS album for many
people. Maybe I’m burned out on all-instrumental majestic rock of the Godspeed
variety.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->121.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Wilco,
<i>Shmilco – </i>Wilco should be lauded for
releasing such an easygoing yet innovative album, but ultimately, few of the
songs stick in your head.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->122.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Garbage,
<i>Strange Little Birds – </i>Shirley Manson
deserves a better ranking for trying to make the reunited Garbage grow. The
music is unsettling, which is what Manson does best.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->123.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Teenage
Fanclub, <i>Home </i>– Softer and more
introspective than the Teenage Fanclub of the 1990s, but very cool. The
harmonies can bring to mid Jayhawks at times, though Norman Blake’s lyricism
can sometimes be a bit twee.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->124.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->American
Football, <i>LP2 – </i>Tim Kinsella’s
brother Mike has reunited the band he first put together in 1998, and it’s as
if no time has passed since the debut album was released.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->125.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Beach
Slang, <i>A Loud Bash of Teenage Feeling – </i>This
band would be a lot more convincing with its brand of revivalist punk if it
wasn’t always referencing 1977. The year is 2016, let’s make the punk fit the
times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->126.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Eleanor
Friedberger, <i>New Vision – </i>With each
solo album, Eleanor of Fiery Furnaces dives deeper into reinventing 1970s West
Coast rock. She does it competently, but I’m not sure of her purpose or intent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->127.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Pretenders,
<i>Alone – </i>These days, there’s not that
much difference between a Pretenders album and a Chrissie Hynde album, but
Chrissie really does manage to write relevant new tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->128.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->The
Pop Group, <i>Honeymoon on Mars – </i>Not a
bad second outing for the reunited radical dance-punk Pop Group of the 1980s,
but I get a bit tired of the anti-capitalist posturing when The Pop Group
releases most of their material in overpriced double albums and box sets.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->129.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Jim
James, <i>Eternally Even – </i>I don’t
begrudge James for a shift to trance-dance. My Morning Jacket used to do the
same. But this one seemed to lack a
center of gravity – some excellent use of woodwinds and down-tempo tunes, but
still….<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->130.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Esme
Patterson, <i>We Were Wild – </i>A former
lead singer for Paper Bird offers a more eclectic and rocking mix on her third
solo outing, and it’s about time people outside fellow singer-songwriters pay
attention.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->131.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Bob
Mould, <i>Patch the Sky – </i>Many longtime
Mould fans will cry foul. I like the album, the songs are often inspired, but
it didn’t hold me long.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->132.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Preoccupations,
<i>s/t – </i>The band formerly known as Viet
Cong changed their name due to inappropriate politically-correct pressure. I
would have ignored this album as a result, but the new band actually is more
interesting than Viet Cong, with a sound something like Interpol.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->133.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Bonnie
Raitt, <i>Dig In Deep – </i>It seems unfair
that The Rolling Stones can record blues covers and receive accolades (check
the Specials section), while Bonnie records her usual fine mix of bluesy covers
and originals and gets largely ignored. This is another great Raitt album, but competition
is tough this year.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->134.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Error
Message, <i>Rooby – </i>Glen Galaxy/Galloway
of OctaGrape and Trumans Water fame tries some strange electronic noise with
Dylan Nyoukis and others assisting. Of course it’s great.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->135.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Paper
Bird, <i>s/t – </i>This is the band’s first
album since losing Esme Patterson, and the reconstituted group remains
interesting and odd in all the right ways.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->136.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Chance
the Rapper, <i>Coloring Book – </i>Chance
Bennett should be credited for trying to give 21<sup>st</sup>-century hip-hop
more precision in delivery and more musical depth. The only problem is, in
trying to leave street vignettes, Chance sometimes goes for lyrics that are
sort of ethereal-vague.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->137.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Black
Mountain, <i>IV – </i>An interesting
addition to the band’s deep psychedelic catalog, though I had trouble finding a
point of entry.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->138.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Midwest
Soul Xchange, <i>New American Century – </i>This
is one of those success stories where a couple Wisconsin buskers get together
and self-produce an album that turns out to be very decent folk-rock. Now if
only others would listen…<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->139.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Avett
Brothers, <i>True Sadness – </i>Even if
Avetts are the band everyone loves to hate for the over-infectious singalong
styles, there are actually some decent songs of varying tempo and melody here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->140.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Modern
Baseball, <i>Holy Ghost – </i>Many people
swear by MB as the saviors of modern indy-punk, but I find their music merely
pleasant and nice to party with, like a lite version of NRBQ.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->141.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Andrew
Bird, <i>Are You Serious? – </i>Andrew
Bird’s live shows have lost none of their unexpected fire, but somehow his
studio efforts of late haven’t carried the weight.<br />
<b>Bonus Edition Handicap: </b>The two-disc
version is decent enough, but this year’s songs didn’t pack a lot of punch to
begin with.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->142.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Field
Music, <i>Commontime – </i>I find this
band’s work to be interesting in a Glass Animals sort of way, but I wasn’t finding
a lot to remember.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->143.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->BadBadNotGood,
<i>IV – </i>A lot of people think this
Canadian quartet represents the future of jazz. The mash-ups with hip-hop are
interesting, but it seems that BBNG are bringing back the less interesting
aspects of jazz-fusion.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->144.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Sun
Kil Moon & Jesu, <i>s/t – </i>This was
actually a cool duo, but I’m getting a little burned out on Mark Kozelek.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->145.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->John
Paul White, <i>Beulah – </i>The nice thing
to report is that the other half of The Civil Wars has taken his time to craft
some very nice Southern folk-rock songs here. The problem is that he still
seems to be blaming his former partner Joy Williams for everything that went
wrong with the duo. Face it John, you were the asshole. Your songs would be a
lot better if you’d come to that realization.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->146.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Local
Natives, <i>Sunlit Youth – </i>Everyone
thought that the band’s second album was a huge letdown from the debut (which
sounded like early Talking Heads). Now, for the third album, we realize the
band was trying to transition to an electronic sound recalling Yeasayer or Glass
Animals. That’s all well and good, but others do it better. Still fun and worth
hearing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->147.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Band
of Horses, <i>Why Are You OK? </i>– I always
want to give Band of Horses extra chances, since their last album really was
quite good after a time spent in mediocrity. This time out, the band tries to
sound like Grandaddy, and for BoH, it doesn’t work so well.<o:p></o:p><br />
148. Wet - <i>Don't You -- </i>An interesting moody dance effort from a new band that is on everyone's "it" list. Still needs to coalesce a bit.</div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->149.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Macklemore
& Ryan Lewis, <i>This Unruly Mess I’ve
Made – </i>The duo sort of boasted of the disappointment they’d provide, and in
a few cases, there were suggestions of genius, but only a few.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->150.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Ages
and Ages, <i>Something to Ruin – </i>Intriguing
in places, and I’m really trying to like this Portland band more than I do.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->151.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Jimmy
Eat World, <i>Integrity Blues – </i>A few
fine songs this time around, though Jimmy always sounds a little too sincere.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->152.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Cheap
Trick, <i>Bang Zoom Crazy Hello – </i>Yes,
Cheap Trick is still doing it without Bun E. Carlos, and sounding just like the
old Cheap Trick, but without a lot of the former inspiration.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->153.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Violent
Femmes, <i>We Can Do Anything – </i>Gordon’s
got a real Fugs or Holy Modal Rounders sound going, but it’s trying too hard to
maintain novelty.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->154.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->The
1975, <i>I Like It When… -- </i>In a live
setting, Matthew Healy’s overblown histrionics are such fun (if excruciating)
to watch, we could almost like The 1975 for the novelty, but in the studio,
they overlay tracks with so much unnecessary sounds, it’s like bringing up the
worst of progressive arena rock from the year 1975.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->155.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->The
Lumineers, <i>Cleopatra – </i>Some Americana
fans would suggest I not include Lumineers as a matter of principle, but there
were some intriguing tracks here, far better than the hey-ho stuff. Then again,
the band members are such assholes…<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->156.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Tortoise,
<i>The Catastrophist – </i>I am very sad to
report that the first Tortoise album in several years had very little to recommend
it. I include it in this list for completeness, and because I love the band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->157.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Two-Door
Cinema Club, <i>Gameshow – </i>The tunes
here are bouncy and infectious, but TDCC made the mistake of moving solidly
into a late-1970s disco sound. Some can pull such things off subtly, but this
largely does not work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .25in;">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: 18.0pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) <o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Waywords
and Meansigns, <i>Musicians Sing James
Joyce’s ‘Finnegan’s Wake,’ Round 2 – </i>What can you say when Neil Campbell,
Mike Watt, and many of their friends provide dozens of hours of reading/singing
the inscrutable ‘Finnegan’s Wake’ aloud? Plus, there are two complete volumes
online for free download – that’s close to 40 hours of crazy-ass Joyce! Visit <a href="http://www.waywordsandmeansigns.com/">www.waywordsandmeansigns.com</a> <o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Shearwater,
<i>Plays David Bowie’s ‘Lodger’ – </i>Of all
the Bowie tributes out there, this one has staying power. Meiburg and the band
offer a tight, passionate rendition of the last and least known of Bowie’s
Berlin Trilogy of albums. Both Meiburg and Stu Staples of Tindersticks called <i>Lodger </i> their favorite Bowie album during 2016. Maybe
they’re on to something.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Kendrick
Lamar, <i>untitled unmastered – </i>Listening
to these fascinating outtakes brings to mind Lou Reed’s old saying about “My
shit is worth your diamonds.” You realize Lamar’s <i>To Pimp a Butterfly </i>was no fluke after discovering how good these
sessions sound.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Kate
Bush, <i>Before the Dawn – </i>Does Bush’s
newfound love for Theresa May mean she’s part of the landed gentry? Maybe. Is
this compilation from the 2014 Hammersmith shows overblown at times? Probably.
But this stunning live set includes the full “Ninth Wave” from 1985, which
means it has already proven its worth.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Various
Artists, <i>Code Red: An International
Compilation to Benefit the ACLU – </i>Bravo to Asheville artists and Verses
Records for being early in recognizing the constant struggle musicians will
have to undergo as we enter the Dark Ages of Trump.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->The
Rolling Stones, <i>Blue and Lonesome – </i>Mick
learned from his session work with Muddy Waters and Howlin’ Wolf that when your
credibility is at stake, you can always rely on the blues. These covers are the
most interesting and honest thing the Stones have done in years.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Various
Artists, <i>Day of the Dead – </i>Putting
Matt Berninger in charge of a five-disc Grateful Dead tribute isn’t nearly as
ill-suited a task as it sounds. Many great moments, particularly in the
adventurous Disc 3.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Kenny
White, <i>First Glance/Long List of Priors –
</i>This one gets treated in the Specials section because White, pianist for
Cheryl Wheeler, Mavis Staples, and other questionable types, went the opposite
route from a Kickstarter campaign. He sold demos of his latest studio effort on
tour, raising money to put out the proper <i>Long
List. </i>The effect is the opposite from a musician who releases demo tapes
after the fact. We can follow 13 songs being born, and they are 13 stellar pop
tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;"> </span><!--[endif]-->Barbara
Manning, <i>Live at Union Hall, July 3, 2016
– </i>Yes, you heard right, Barbara Manning has taken a break from being a high
school teacher, forest ranger, and Long Beach resident to give an acoustic
review of her work both as a solo artist, and with San Francisco Seals and
Glands of External Secretion. Here’s hoping this is more than a one-off.
Barbara has been missed.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Chris Corsano and Bill Orcutt, <i>Live at Various/Various Live – </i>If you’ve heard these two precise
but maniacal noise-icians collaborate on <i>The
Raw and The Cooked, </i>you know how much you need to hear this album.
Guaranteed to frighten just about anyone.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Various Artists, <i>Say
Yes! A Tribute to Elliott Smith – </i>This is actually the second (at least)
tribute album for Smith, but features younger artists (as well as old favorites
like Lou Barlow and Juliana Hatfield) and unusual arrangements. <o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Downtown Boys, <i>Live
at Market Hotel, NYC, June 24, 2016 – </i>The date was more than four months
from the election, but this performance was prescient of the arrival of the
Trump era. Stunning saxophone and incendiary lyrics. Rhode Island’s Downtown
Boys (a predominantly women-led band) will be one of the first artists to be
sent to the camps, the U.S.’s own equivalent to Pussy Riot.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->P.S. Eliot, <i>Live
at Market Hotel, September 15, 2016</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->P.S. Eliot, <i>2007-2011
– </i>Katie and Allison Crutchfield haven’t played too much together since
Katie founded Waxahatchee in 2012. But a handful of live dates in the fall
launched the retrospective of their work. The live performance, capped by the
stunning “Tennessee,” defines P.S. Eliot. More reunion tour dates, please!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Heather Leigh and Peter Brotzman, <i>Ears Are Filled with Wonder </i> – Is it Brotzman who gives grounding to
Heather Leigh, or the other way around? In either event, this is both brave and
direct, providing an accessible path to two musicians who often explore the
outer limits.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Neil Young, <i>Earth
– </i>Neil’s claim that this was going to be some sort of unique soundtrack of
animal cries fused with classic Neil Young tunes didn’t exactly work out that
way. What this is, is a decent recap of live sets with Promise of the Real,
Young’s new band featuring Willie Nelson’s sons. And that’s fine as it stands,
though we need to kill the wolf howls.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mogwai, <i>Atomic – </i>A
soundtrack to a BBC special on the beginning of the atomic age, this is Mogwai
at its scoring best, creating an eerie backdrop to Hiroshima and Nagasaki.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Patti Smith, <i>Horses
Live at Electric Lady Studios, Aug. 25, 2015 – </i>Exactly what it purports to
be, this was recorded for the 40<sup>th</sup> anniversary of <i>Horses, </i>featuring all the spoken-word
poetry from the liner notes as well as the songs. Excellent arrangements and
delivery.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->J. Cole, <i>Forest
Hills Drive: Live – </i>Slightly overshadowed by his strong new studio work in
late 2016, this live set of the 2014 album is worth hearing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Steve Gunn and Angel Olsen, <i>Live at Pickathon 2014 – </i>Not a collaboration but a split LP, with
two excellent sets from two very different but complementary artists.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Joan of Arc, <i>Live
at Knitting Factory October 7, 2016 – </i>A preview of the upcoming <i>He’s Got the Whole This Land is Your Land in
His Hands </i>album, this set finds Tim Kinsella in a very loose and jovial
mood, a fascinating live set, with visual artist Melina Ausikaitis providing
some intriguing vocals.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jack White, <i>Acoustic
Recordings 1998-2016 – </i>Not just an obligatory down-tempo mixing of White’s
work, but unreleased White Stripes and solo recordings with plenty of gems
contained in two discs.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Shawn Colvin and Steve Earle, <i>Colvin and Earle – </i>This is a bit reminiscent of the Lucy Kaplansky/Richard
Shindell Pine Hill Project, in that two folkies get together to belt out covers
of some of their favorite esoteric Top 40 songs. More than a novelty, downright
fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Dead C, <i>Live
at First Unitarian Church of Brooklyn, Sept. 20, 2016 – </i>Maybe it was the
acoustics of the sanctuary (is that the term for Unitarians?), but this
recording seemed more dramatic and layered-melodic than their recent <i>Trouble </i>studio album. More reminiscent
of <i>Armed Courage, </i>but really a unique
work in its own right.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Jeph Jerman, <i>Exploded
View – </i>The founder of Hands To and Blowhole gives an intimate performance
at Estudio Sonor, thanks to a grant from Foundation for Contemporary Art.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wye Oak, <i>Tween – </i>An
unusual and captivating collection of outtakes from the period between the
albums <i>Civilian </i>and <i>Shriek, </i>celebrating the best of the
moody-guitar and electronica periods of the Baltimore duo.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Body/Head, <i>No
Waves (Live at Big Ear) – </i>I still have to be totally convinced of the Kim
Gordon and Bill Nace project, but this is a cool live capture of their
particular improv sound.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gillian Welch, <i>Boots
No. 1: The Official Revival Bootleg – </i>Since Welch has been keeping mostly
quiet these days, except for work with her partner David Rawlings, it’s nice to
know this is going to be the first of several compilations – except how many
can Welch’s work sustain? I’d be most interested in hearing outtakes from her
strange and majestic <i>Time, the Revelator </i>album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Titus Andronicus, <i>S+@Dium
Rock: Five Nights at the Opera – </i>For a band that can swing from Civil War
re-enactments in song to full-blown punk-rock operas with hints of Springsteen,
Titus Andronicus can kick out a straight-up, no-frills rocker of a live album<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Lambchop, <i>Live at
Hopscotch Festival, Raleigh, NC, Sept. 8, 2016 – </i>Kurt Wagner previews the
music from the <i>FLOTUS </i>with a
stripped-down trio featuring the bad jokes of pianist Tony Crow. A fun set.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Ought, <i>Live at
Rough Trade, NYC, May 8, 2016 – </i>With Tim Darcy busy with solo work and duo
project with A.J. Connell, fans should be happy for any Ought they can get
these days, and this is a tight and well-recorded set.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bill Callahan, <i>Apocalypse
Soundtrack – </i>This Black Friday Record Store Day release had a DVD of the
documentary movie of Callahan’s “Apocalypse” tour, and an LP of very long
outtake songs from that album. Both elements are essential in their own way.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Tom Carter and Loren Connors, <i>untitled – </i>Two half-hour performances of a duo incorporating two of
the finest experimental guitarists on the planet.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Cate Le Bon, <i>Live
at Islington Assembly Hall, Dec. 14, 2016 – </i>For those that have never seen
the Welsh witch, or just don’t get what <i>Crab
Day </i>was even about, here’s a fascinating and easy to absorb holiday show
from the 21<sup>st</sup> century’s greatest Cate (apologies to Bush fans,
but….)<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Norah Jones, <i>Day
Breaks – </i>Another of Jones’ eclectic collections of covers, this one
featuring the rarely-covered Neil Young song “Don’t Be Denied.”<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Gang of Four, <i>Live
in the Moment – </i>A nice cross-section of what the 21<sup>st</sup> century
reconstituted Gang of Four is all about.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->37.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bob Dylan, <i>The
Real Royal Albert Hall Concert1966/The 1966 Live Recordings – </i>Decisions,
decisions. The double-disc of “real”
Albert Hall (the 1998 release being Manchester, UK), or the 36-disc set of all
live shows in 1966? That last one might be for insane completeists, granted,
but 1966 was the year Dylan really pissed off everyone. And it was the time 50 years
ago that was really far more important than the years that followed.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->38.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mexrissey, <i>No
Manchester -- </i> Mexico’s notorious
Morrissey cover band sings your favorite Moz and Smiths songs – in Spanish, of
course.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->39.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bob Mould, <i>Live
from Studio X – </i>A nice recap of much of Mould’s work over the last decade.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->40.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Spray Paint, <i>Live
at Union Pool, June 10, 2016 – </i>This might not be the absolute best bootleg
Spray Paint, but fans will want to grab everything the Austin oddballs put out,
legit or otherwise.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sunburned Hand of the Man, <i>Live at Union Pool, March 24, 2016</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->42.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Sunburned Hand of the Man, <i>Live at Three-Lobed Festival, March 26, 2016 – </i>Ye gods, if
Sunburned Hand of the Man have reunited and are soon to grace us with scads of
recordings of pure noise and nonsense again, there might be the slightest
chance we will survive the next few years.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->43.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Shearwater, <i>Live
at Mercury Lounge, Feb. 6, 2016</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->44.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Shearwater, <i>Plays
Lodger at Rough Trade, March 15, 2016 – </i>Two fine sets from Meiburg’s merry
band, the first encapsulating work from <i>Jet
Plane and Oxbow </i>and other recent albums, the Rough Trade set offering a
live version of their studio effort to cover David Bowie’s <i>Lodger.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->45.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Microphones, <i>Early
Tapes, 2006-2008 – </i>Phil Elverum’s <i>Odds
& Sods </i>equivalent, though mostly “odds” in this case.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->46.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Alt-J, <i>Live at
Red Rocks – </i>A beautiful and overpriced LP/CD/DVD set from Record Store Day,
this one is just a little too perfectly mixed and sequenced, squelching some of
the spontaneity of Red Rocks.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->47.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Thee Oh Sees, <i>Live
in San Francisco – </i>This double album is exquisitely packaged, with a good
choice of tracks, but the recordings opt for the band’s favorite fuzz-out
sound, which is not just lo-fi, but downright smeared out. An album that is
much better in theory than practice.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->48.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Xiu Xiu, <i>Plays
the Music of Twin Peaks – </i>Another “better in theory” release, who better
than Xiu Xiu to bring us back to the days of Laura Palmer? Except that most of
it is just sort of ethereal yawn.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->49.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bob Dylan, <i>Fallen
Angels – </i>When he released his first album of Tin Pan Alley covers, people
would say, “Well, OK, it’s Bob.” But a second album? Some of the renditions are
cool, but….<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->50.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Bruce Springsteen, <i>Chapter
and Verse – </i>This is sort of a bait and switch. There was to be a new studio
album in 2016, but Bruce’s autobiography pushed that out. This should be
considered a companion to the book, mostly a best-of collection except for a
few pre-1972 songs from Bruce’s New Jersey days. <o:p></o:p></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<h2>
Singles and EPs <span style="font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Pussy Riot, “Straight Outta Vagina” – Really, for 2016,
was there ever any doubt?<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Nice as Fuck, <i>s/t
– </i>Jenny Lewis’s newest riot-grrl punk project, just plain fun.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Loudon Wainwright, “I Had a Dream” – As the year of
Trump evolved, this song became less ridiculous and more prescient every single
day.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Wilkinson James, <i>Abandon
– </i>Liz Wilkinson and A.J. Scheiber hit much more focused targets in this
lush and often heartbreaking EP, than in their debut full-length album. Liz
will inevitably sing one line that describes something in your youth you’d
rather bury away.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Accidentals, <i>Parking
Lot – </i>If you’re not already aware of the Traverse City, MI trio that
conquered half the world before graduating high school, here’s a great place to
start.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Califone, <i>Insect
Courage</i> – A quiet, almost folkie brief set from Tim Rutili and the Chicago
collective.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Random Detour, <i>s/t
</i> – Barb Doyle turns from folk to
brash keyboard-driven rock with her partner Warren Ryd. Auspicious beginnings.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->You Never Were, <i>Propeller
– </i>Led by Catie Rauhala, YNW manages to be both ethereal and punk at once,
with a certain sense of dread in the midst of happy and plenty.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Carly Rae Jepsen, <i>Emotion
Side B – </i>Don’t laugh. Carly may not have the range of some divas, but she
has a perfect grasp of pop sensibilities.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Susan Cowsill and Mark Lindsay, <i>Love Is Strange – </i>OK, the Cowsills queen and the lead singer of
Paul Revere and the Raiders get together to sing eclectic 1960s songs about
eclectic love. Any questions?<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Brandi Carlile, <i>Live
at KCRW – </i>A nice RSD 12” session in white vinyl for your listening
pleasure.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Casper and the Cookies, <i>Mezzanine – </i>About time the pranksters from Athens, GA showed up
again.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->The Feelies, <i>Uncovered
– </i>Another RSD covers set, this one preparing us for a proper new Feelies
release in 2017.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Weathered, <i>Alternative
Translation – </i>It’s funny how many newer bands are not ashamed to
characterize themselves as “the new emo,” but this Minnesota band does itself a
disservice by saying that. Weathered is impossible to describe and fascinating.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Speedy Ortiz, <i>Foiled
Again – </i>With Sadie Dupuis off doing her new Sad13 thing, it’s hard to know
if the outtakes from <i>Foil Deer </i>represent
a refresher during a drought, or may end up being the real death of Speedy
Ortiz.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Waxahatchee, <i>Early
Recordings – </i>A brief collection of songs from the Crutchfield canon,
representing a brief time between 2011 and 2012 when there was no longer a PS
Eliot and only the hint of a Waxahatchee to come.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->William Elliott Whitmore and Esme Patterson, <i>Play Each Other’s Songs – </i>Two worthy
artists get a split single on Bloodshot. Whenever Esme’s involved in something,
you know it will be good.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Beck, <i>Wow! – </i>Beck,
like Ryan Adams, sort of failed to get that promised 2016 full-length out, but
left us with a cute single.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Low, <i>Not a Word –
</i>An interesting single to tide us over until Alan and Mimi hit us up again.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->ESP Ohio, “Lithuanian Bombshells”<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->ESP Ohio, “Royal Cyclopean” – Personally, I would have
made “Weakened by a Logical Mind” the ESP Ohio 7” single of choice, but what do
I know?<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Blonde Redhead, <i>Peel
Sessions – </i>An interesting RSD single from 2000, but like so many Blonde
Redhead archival tunes these days, ridiculously overpriced.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Article 15, <i>Born
Into War – </i>An angry punk EP perfect for Trump times.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Mumford and Sons, “There Will Be Time” – As often as
people rant on about how much they hate Mumford, I continue to find work of
theirs worth having.<o:p></o:p></div>
<br />
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal; font-variant-numeric: normal; line-height: normal;">
</span><!--[endif]-->Phantogram, “You Don’t Get Me High Any More” – Outtakes
from the 3 album, but worth it for the single artwork.<o:p></o:p></div>
Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-61419203190154554002015-12-31T09:02:00.000-08:002016-01-03T13:37:00.064-08:00The List 2015 - Loring Wirbel<h1 style="text-indent: .5in;">
<o:p></o:p></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"> </span><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> The last few
lists have pointed out the dominant role women have played in pushing the edge
of 21<sup>st</sup>-century music, but in 2015, solo women or women-dominated
bands owned such a chunk of the best music, it almost seemed as though men were
missing in action. The masses may pay the most attention to Adele, but the best
women’s music of the year featured lyrics and arrangements with plenty of
untried ideas. Here’s hoping this trend continues – though men, it’s time to
get back on your game.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> Listeners with roots in any of the last
five or six decades found plenty to like this year, as it seems that every band
that ever existed attempted a reunion in 2015. New releases from familiar names
were everywhere, some treading water, some innovative as hell. And remastered
sets of very interesting music from the likes of Coltrane, Dylan, and The Pop
Group could be found everywhere, it seems.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> The rules for special albums are the same
as always, though as with last year, it was hard to draw a line. Special live
and archival material in that category must consist of primarily new material.
The latest two Led Zeppelin re-releases were not included, like the first five,
because these were remastered albums, and the bonus material consisted of
studio takes of the same songs. Still, hats off to Jimmy Page for the effort. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> Please
remember that close to a thousand mainstream and indie albums are released
annually, and this 150 or so represent the ones worth hearing. Sure, there are quality gradients between the
top ten and bottom 20, but anything that makes this list is worth your perusal.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"> We’re going to provide a special award to
the forward-looking team at Waywords and Meansigns for its efforts to bring
James Joyce’s <i>Finnegan’s Wake </i>to
music. The group already has released a first volume of readings from
experimental musicians at waywordsandmeansigns.com, available for free
downloads, and 2016’s releases will include the irrepressible Neil Campbell. If
you’ve ever loved or been confused by James Joyce, you can’t miss this.</span><b><span style="font-size: 14.0pt;"> <o:p></o:p></span></b></div>
<div class="MsoNormal">
<b><span style="font-size: 14.0pt;"> </span></b><span style="font-size: 14.0pt;">Farewell to Scott, Lemmy, Chris, B.B., Gary, Carey,
A.J., Andy, Lesley, Daevid, Phil, Cilla….<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span style="font-size: 16.0pt;">Regular Studio Albums, 2015<o:p></o:p></span></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Torres,
<i>Sprinter</i> – Sometimes an album shoots
to the top for personal, inexplicable reasons. Mackenzie Scott, aka Torres,
writes fine songs in her own right, and the engineering on her second album
plays the kind of precise decibel games that King Crimson used to love. But
something about this album pushed all the intuitive buttons – was it her
surreal, cryptic lyrics? The bravery to look for hope in a grim landscape?
Whatever, it worked for me, it may not for you, but this one even overshot
Courtney Barnett to take the title.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Courtney
Barnett, <i>Sometimes I Sit and Think, and Sometimes
I Just Sit </i>– Believe the hype. This diminutive Australian cyclone delivers
Dylanesque lyrics at impossible speed, has a crack and rockin’ band, and
displays the kind of dry, detached humor that few are even able to show when
they’re 50. All the songs on this album will be on continuous rotation.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Ought,
<i>Sun Coming Down </i>– Oddly enough, this
Montreal band held the same third-place spot last year with their debut album.
Some might interpret this as treading water. In reality, Ought captured the
early Talking Heads sound perfectly, and avoided the sophomore slump common to
other Heads sound-alikes like Tapes n Tapes and Clap Your Hands Say Yeah!
Remarkable lyrics, remarkable stage presence, remarkable band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Kendrick
Lamar, <i>To Pimp a Butterfly – </i>Lamar
largely reaches his complex and challenging goal of compressing Black History
Month in the story of a particular family. Expansive, exhausting, and
brilliant. The arrangements by Kamasi Washington make it particularly gripping.
Go for the double vinyl with the expanded liner notes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Sleater-Kinney,
<i>No Cities to Love – </i>The bosses are
back. The rest of us can go home now.<br />
<b>Bonus Edition Handicap: </b>The
white-vinyl box edition not only contains extra songs, but is a thing of great
beauty. How can you NOT want it?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Hop
Along, <i>Painted Shut – </i>Frances Quinlan
is an innovator in both lyrics and arrangements whose talents are finally being
recognized. This is several steps beyond
the last Hop Along.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Joan
Shelley, <i>Over and E ven </i>– Is the Kentucky angel a
cross between Gillian Welch and Diane Cluck, or simply the ghost of Kate Wolf?
Haunting, simple, quiet works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Veruca
Salt, <i>Ghost Notes – </i>Given all the
reunions from 1970s, 1980s, and 1990s dominating the music scene, this seemed
to be the most unlikely of smashing successes. And yet it is.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Yarn/Wire
and Pete Swanson, <i>Eliminated Artist – </i>An
experimental classical chamber quartet gets together with America’s electronic
bad boy, with expected results.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Alabama Shakes, <i>Sound
and Color – </i>Between this album and her solo <i>Thunderbitch</i> album, Brittany Howard has enough wild ideas bursting
out all over to exhaust any observer.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Belle and Sebastian, <i>Girls in Peacetime Want to Dance – </i>Skeptics call it the B&S
disco album, but this work is full of ponderous and dark tunes to terrorize the
dance floor.<br />
<b>Bonus Edition Handicap: </b>The four-LP
box set may be a little overstuffed, but is a beautiful and stunning thing to
behold.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->New Order, <i>Music
Complete – </i>Bernard Sumner and compatriots can have the last laugh on the
embittered Peter Hook. This is the best New Order album in at least 20 years.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Joanna Newsom, <i>Divers
– </i>Slightly more palatable and radio-friendly than <i>Have One On Me, </i>Newsom still refuses to make compromises in her
efforts to make some of the most complex pop in existence.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Father John Misty, <i>I
Love You, Honey Bear – </i>As much as I love live Father John, and think his
ode to true love and marriage is fine, I can’t agree with those who call this
album of the year or even a Top Ten. It’s too normal.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Speedy Ortiz, <i>Foil
Deer – </i>It must be frustrating for Sadie Dupuis and bandmates. They were on
every newcomer list for 2014, then released their most cohesive work in 2015,
only to have most so-called fans ignore it. A fine effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Waxahatchee, <i>Ivy
Splitt – </i>Katie Crutchfield has been on a straight track to greatness
through each succeeding Waxahatchee album. A finely crafted and almost
frightening album.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Modest Mouse, <i>Strangers
to Ourselves – </i>If Isaac Brock had really flubbed in MM’s return to the
limelight (not really a reunion, or was it?), the relative snubbing this album
received might make sense. But this was a solid Modest Mouse album with
interesting lyrics and arrangements, and little filler. Odd that it was
forgotten by many.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Passenger Peru, <i>Light
Places – </i>The second album from this innovative Brooklyn duo covers
everything from Future of the Left to Pink Floyd. Music that never stops being
interesting….<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Destroyer, <i>Poison
Season – </i>One would think that after a dozen albums, Dan Bejar would be
known more for the majesty of Destroyer than for being the spacey dude in The
New Pornographers. This album takes precision composition to new heights,
almost sounding like a psychedelic Nelson Riddle Orchestra at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Florence + The Machine, <i>How Big, How Blue, How Beautiful – </i>Somehow, Florence has managed to
retain the diva histrionics of her powerful voice, while at the same time
pulling back, playing reserved, and trying new things. If you love the big,
larger-than-life voice, Florence consistently treads new ground more than
someone like Adele.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<b>Bonus Edition Handicap: </b>Florence has a reputation for always giving
surprisingly solid outtakes in her multi-disc deluxe versions of releases, and
this album is no exception.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ryn Weaver, <i>The
Fool – </i>Seeing as how Weaver created a small YouTube sensation in 2014 with
“OctaHate,” it’s odd that most critics greeted her debut album with a shrug.
Most songs here seem consistent and fascinating, more so than Internet pop
insta-stars like Halsey or Charli XCX.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Julia Holter, <i>Have
You in My Wilderness – </i>Holter is first and foremost an experimental artist,
but she chose to make an album of passionate, personal songs that are normal
enough to please just about anyone. This one will break your heart, but also
fits solidly in the Holter pantheon.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Jason Isbell, <i>Something
More Than Fine – </i>Arguably better than last year’s album, even though Isbell
tries to add more tales of love and lasting redemption. Some of the finest
songwriting one will find today.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Grimes, <i>Art
Angels – </i>Claire Boucher was under a lot of pressure to make this album not
only her best yet, but impressive enough to justify the partially self-generated
hype. It worked. Her voice may be as squeaky as Carly Rae Jepsen, but her
studio talents for arranging and mixing make her the bubble-pop princess.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Laura Marling, <i>Short
Movie – </i>Seeing as how <i>Once I Was An
Eagle </i>gained a #1 ranking two years ago, the fact that Marling scrapped her
first attempt at a follow-up album, went on a long road trip, and came up with
this minimalist mini-masterpiece, might suggest a misfire due to the
comparative low ranking here. But if she would have tried to remake the <i>Eagle </i>album with its complex rhythms and
arrangements, the ranking might have been lower still. This is actually a
damned fine album, precisely because it is simple and short.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Le Butcherettes, <i>A
Raw Youth </i>– The only reason this doesn’t rank as high as last year’s <i>Cry is for the Flies </i>is that the last
Butcherettes album was a wild art-punk masterpiece, and this one strives for
slightly more new-wave normal. Teri Gender Bender of Butcherettes wants to be
the next Joan Jett, and there ain’t nothing wrong with that.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Heather Leigh Murray, <i>I, Abused Animal – </i>Heather, former member of Charalambides and
curator of Volcanic Tongue, usually dwells on the outskirts of experimental
music with her work in steel guitar and percussion. This is an album of
quasi-normal voice, both a capella and accompanied, delivered in the same
strident and jarring fashion as Circuit des Yeux.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Low, <i>Ones and
Sixes – </i>A return to a quiet dark place after the slightly upbeat <i>C’mon C’mon, </i>Low gives us a suite of
amazing compositions like “No Comprende.”<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Kate Pierson, <i>Guitars
and Microphones – </i>Given her decades of work as the bubbly persona in the
B-52s, we could have expected a sparkly pop effort for her first solo album and
not been disappointed. But every song here offers more substance than might
have been expected. Solid, rocking, and even serious at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Dave Rawlings Machine, <i>Nashville Obsolete – </i>Rawlings (with Gillian Welch in the
background) gives us a heady album of long, complex songs that come off like a
21<sup>st</sup>-century version of Dylan’s <i>Blonde
on Blonde. </i>Of course that’s a good thing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Circuit des Yeux, <i>In
Plain Speech – </i>Haley Fohr has been building on her transcendental droning
music and blues-like wail for five albums now, and has reached a point where
normal humans may find this music fascinating. Fohr, as CdY, has always been
fascinating. She just needed people to catch up to the very unusual work she is
doing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Sufjan Stevens, <i>Carrie
and Lowell – </i>A very heartfelt ode to Stevens’ mom and step-dad, this
carries a lot more weight than some of his projects like BQE. Still, the
unrelenting acoustic sadness of this album gave it a single consciousness that
prevented it from making the top 20.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Richard Thompson, <i>Still
– </i>Thanks to Jeff Tweedy and to Thompson’s own sense of gravity, this album
is the grand master’s best work in a decade or more. <o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Wilco, <i>Star Wars
– </i>The most exuberant and free-wheeling Wilco album in a long time gave this
one unique power, though <i>Magnet</i>’s
claim that this is album of the year seems hard to justify. Seems more like a
nice jam session between friends.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Jamie Xx, <i>In
Colour – </i>Speaking of exuberant, who would ever have expected the founder of
Xx to offer up anything so lively, danceable, and silly? An ode to the endless
party.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Titus Andronicus, <i>The
Most Lamentable Tragedy – </i>The most interesting aspect of this isn’t so much
that it’s a double-disc punk rock-opera, but that it brings in sonic elements
more akin to Springsteen and Thin Lizzy than punk. Still, it all works in that
sloppily majestic Titus Andronicus style.<o:p></o:p><br />
37.<span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="text-indent: -0.25in;">Gwenno,
</span><i style="text-indent: -0.25in;">Y Dydd Olaf – </i><span style="text-indent: -0.25in;">Sci-fi dystopias in
English tend to be tense and somewhat frenetic affairs, ranging from Bowie to
Janelle Monae. Former Pipette Gwenno Saunders opts instead for an ethereal
cautionary tale about cultural blanding and robotic response, sung in Welsh and
Cornish and executed in a dreamy style somewhere between Stereolab and Trailer
Trash Tracys. Fascinating, but the language barrier isn’t as daunting as
getting serious politics delivered via dream-pop.</span><br />
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<b>Bonus Edition Handicap: </b>The
40-minute bonus CD, <i>Y Dydd Ychwanegol, </i>is
livelier than the album itself, and hence is far from an afterthought.<o:p></o:p></div>
</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->38.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Kamasi Washington, <i>Epic
– </i>Impressive but almost coma-inducing in its sheer scope. Don’t let that
scare you off, much fine musicianship within. Still, in my youth I loved things
writ large, now I think a little minimalism is fine.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->39.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Circus Devils, <i>Stomping
Grounds – </i>I often don’t count Circus Devils albums as part of Robert
Pollard-related products, because they all are so individual and weird. This
one is neither as strange as the two Circus Devils released in late 2013, or as
boring as <i>Escape </i>released in late
2014, but a savage rocker.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
40.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Lou Barlow, <i>Brace
the Wave – </i>A work of unusual and direct substance from the founder of
Sebadoh and Folk Implosion. Even folks who have believed in Barlow for a long
time may be startled as to how deep this goes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Tom Carter, <i>Long
Time Underground – </i>Dozens of musicians have weighed in with benefit tracks
to help Carter recover from his induced coma of 2012, but Carter himself has
never addressed the topic. This two-disc set is a chronicle of life in another
state of being. The guitar playing is as beautiful as his <i>Four Infernal Rivers </i>project with Pat Murano, yet the subject is as
serious as watching yourself die.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Pop Group, <i>Citizen
Zombie – </i>OK, let’s admit The Pop Group has played up to commercialism in
the two slow years in which it re-formed, and cashed in on the band’s 1979-81
popularity. Still, this studio album of new material has great moments of
rhythm and politics.<br />
<b>Bonus Edition Handicap: </b>The remix
tracks in the CD box are nothing special, but the patches and buttons and
stickers and junk are to die for.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->43.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->FFS, <i>s/t – </i>Who
would have believed that a collaboration of Franz Ferdinand and Sparks would
work? The energy is thanks to the Mael brothers of Sparks, who will act like
adolescents even in retirement age. Way to go, weirdos!<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->44.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Lana Del Rey, <i>Honeymoon
– </i>Many weren’t sure how to approach this album, but it’s a film noir look
at a 1960s Hollywood that must exist in its own opium fever dream. Give Lana
credit for never really repeating herself, even if it’s hard to understand her
vision at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->45.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Natalie Prass, <i>s/t
– </i>Prass took a risk by recording her first album with a chamber jazz band
recalling some of the earlier Randy Newman works. It takes some getting used
to, but it really works. Is this a one-shot deal, or will Prass stick to this
style?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->46.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Car Seat Headrest, <i>Teens
of Style – </i>Fans want to crown Will Toledo as the next Guided by Voices or
the next Casiotones for the Painfully Alone. He’s occasionally a bit
adolescent, but his work has quite a future to it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->47.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Patty Griffin, <i>Servant
of Love – </i>Rumors that this would be an all-gospel album left fans a little
hesitant, but that isn’t true at all. This is a strange and beautiful album
unlike any other Griffin release, with jazz and Middle Eastern influences and
some gripping lyrics.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->48.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Dodos, <i>Individ – </i>Dodos
have finally gotten past the death of member Chris Reimer, and come up with an
exuberant and empowered album after a period of darkness. Good for them.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->49<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Field Mouse, <i>Hold
Still Life – </i>An underappreciated and complex Philadelphia band that expands
its vision with each outing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
50<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Amy Kohn, <i>Plexilusso
– </i>Perhaps Kohn’s most luxuriant and rich experimental work to date.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->51<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Earl Sweatshirt, <i>I
Don’t Like Shit, I Don’t Go Outside – </i>The title says it all, the most
unrelenting depressing hip-hop album of this or any decade. Brutal but
majestic.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->52<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->The Weepies, <i>Sirens
– </i>For those who find some Weepies albums too saccharine, rest assured this
was recorded in the aftermath of Deb Talan’s Stage 3 breast cancer. A bitter
but powerful album, exemplified by “Does Not Bear Repeating.” Except it does.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->53<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Vibracathedral Orchestra, <i>Rec Blast Motorbike – </i>A more upbeat set than the Café Oto
recordings or the Krayon release (reviewed in specials), this is the VCO album
you haul out for people who just might not otherwise get VCO.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->54<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Dar Williams, <i>Emerald
– </i>Hey, so what if she has to release albums through Kickstarter? Dar has
not lost an ounce of integrity or style, and this one carries as much weight as
any of her work of the last decade.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->55<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Rhiannon Giddens, <i>Tomorrow
Is My Turn – </i>Apologies for this low ranking for the lead singer of Carolina
Chocolate Drops, though her associated EP ranks much higher. Both releases are
filled with unusual takes on traditional and modern works. Giddens is a
stunning solo talent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->56<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Halsey, <i>Badlands
– </i>This may seem a middling ranking for a woman taking the world by storm,
but it really is quite good for a debut effort. Lots of attitude, lots of
snarl, now she just has to build the songwriting up.<br />
<b>Bonus Edition Handicap: </b>The 16-song
version is essential, if only for the cover of Johnny Cash’s “I Walk the Line.”<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->57<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Shopping, <i>Why
Choose? – </i>This Australian trio wants to bring back the 1979-80 style of
Pink Section, The Slits, and Bush Tetras, and the band largely succeeds, albeit
with the politics subdued a little bit.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->58<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Shilpa Ray, <i>Last
Year’s Savage – </i>Shilpa Ray has dropped her Happy Hookers, but continues to
make very innovative pop with artsy celebrity name-dropping.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->59<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Julien Baker, <i>Sprained
Ankle – </i>Direct, beautiful folk-rock tunes. I can’t place as high as Joan
Shelley et al, though, because Julien sometimes jumps from ethereal to whiney.<br />
60.<span style="font-size: 7pt; font-stretch: normal;"> </span>Joy Williams, <i>Venus
– </i>In the post-Civil Wars era, Joy has elected to stretch and move beyond
her country-folk. Her effort mostly succeeds.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->61<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Wire, <i>s/t – </i>Wire
has attempted reunions several times, but this particular album offers more
keepers than those by Gang of Four et al.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->62<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Beach House, <i>Depression
Cherry – </i>I keep going back and forth as to whether the expanded BH style of
this album, or the return-to-roots of its <i>Thank
Your Lucky Stars </i>companion, constitutes the better 2015 release. For now,
this one leads, that might change next week.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->63<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Cage the Elephant, <i>Tell
Me I’m Pretty – </i>America’s finest young contrarians work with Dan Auerbach
to refine their free-form craziness into something snarly and fine, recalling
Black Keys, Spoon, Zombies and Monkees at various times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->64<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Ricked Wicky, <i>King
Heavy Metal – </i>Everyone has their own favorite annual Robert Pollard release
that stands high above the others. This one was mine, couldn’t tell you why.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->65<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Built to Spill, <i>Untethered
Moon – </i>Good to have Doug Martsch and the band back, and this seemed a solid
effort, though without the riff grasp of some recent BtS works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->66<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Protomartyr, <i>Agent
Intellect – </i>Joe Casey may have a limited range and flat delivery, but
Protomartyr is like a rough-cut early Interpol, which can be a very good thing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->67<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Vanessa Carlton, <i>Liberman
– </i>The piano pop princess often is dismissed as a lightweight, but this
album has some real substance.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<b>Bonus Edition Handicap: </b>Usually, a second CD with acoustic demos
and outtakes of the studio songs is sort of boring. In this case, it gives you
insights into Carlton’s songwriting process.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->68<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->!!!, <i>As If – </i>Not
as diverse and hard-hitting as the last album <i>Thr!!!er, </i>but a fine and hilarious dance album from NYC’s most
effervescent underground dance band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->69<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Chvrches, <i>Every
Open Eye – </i>An admirable effort to grow sonically while keeping the music
home grown and DIY. Maybe no song grabbed me like “The Mother We Share,” but
still a worthy effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->70<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Beach House, <i>Thank
Your Lucky Stars – </i>A grittier, more back to the roots album than <i>Depression Cherry, </i>but still a fine
work.<o:p></o:p><br />
71.<span style="font-size: 7pt; font-stretch: normal;"> </span>Jessica Pratt, <i>On
Your Own Love Again – </i>Pratt has an odd style, a slight British accent and
singing inflection a la Vashti Bunyan, but one which becomes familiar after
repeated listens.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->72<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->My Morning Jacket, <i>Waterfall
</i>– A complex, rich countrified album from Jim James and friends, it only
ended up being low due to heavy competition.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->73<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Beirut, <i>No No No
– </i>Zach Condon intended to make a long, somewhat depressing and complex
album, but trashed it out to release this short and happy, rhythm-heavy album.
It will be nice to hear those alternative tapes some day, but for now, this was
just the right Beirut for its time.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->74<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Jenny Hval, <i>Apocalypse,
Girl – </i>The experimental raunch artist gives us some strong
Peaches-Meets-Laurie-Anderson vignettes. Great fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->75<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Battles, <i>La Di Da
Di – </i>An exceptional collection of EDM-style songs, except using real
instruments.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->76<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Holly Herndon, <i>Platform
– </i>Herndon is another hero in women’s experimental electronica, but in this
case relies more on Pro Tools than some of the skronky competition.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->77<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Pile, <i>You’re
Better Than That – </i>One of the most exuberant new post-punk bands. The live
shows, as represented in the specials section, capture the energy better than
this particular album, but it’s a keeper nonetheless.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->78<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Imagine Dragons, <i>Smoke
+ Mirrors – </i>Seriously. As much as these good Mormon boys may be maligned,
an Imagine Dragons album is always a spectacle of rhythm and syncopated sound.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<b>Bonus Edition Handicap: </b>Yes, the long version. The remix stretches
are worth it.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->79<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Six Organs of Admittance, <i>Hexadic</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
80.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Six Organs of Admittance, <i>Hexadic II – </i>Still haven’t quite figured out what Ben Chasny’s new
mathematical message is, but I do know this is a nice pair of experimental
pieces.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->81.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Mumford and Sons, <i>Wilder
Mind – </i>While their mere appearance on this list may annoy some M&S
haters, Marcus Mumford knows how to arrange interesting pop tunes, and expand
on them in a live venue. Their turn to electric music deserves neither brownie
points nor demerit points, but is simply a chance to try other genres. Decent
enough in its own right.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->82.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Viet Cong, <i>s/t – </i>This
Canadian band wins demerits for changing the band name (to what?) after some
concert organizer at Oberlin College whined about being offended. Lesson One:
Pay no attention to college students taking offense, they’re friggin’ babies.
Besides that, Viet Cong had a lot of pre-release hype, but the sound was a bit
too ethereal and unformed for me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->83.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Tyler the Creator, <i>Cherry
Bomb – </i>Tyler wishes he was the greatest legacy of Odd Future, but his
bombast isn’t as effective as Earl Sweatshirt’s relentless downer mood. This
album is funny in places, but also wears thin at times.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->84.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Sun Kil Moon, <i>Universal
Themes – </i>Part of me wants to give Mark Kozelek credit for possibly
inventing a new musical form with this album, the tracks of which are unlike
anything else around today. The other half of me is tired of Kozelek being a
grumpy, whiny baby in public.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->85.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Brandi Carlile, <i>The
Firewatcher’s Daughter – </i>A highly effective, back-to-the-roots DIY album
for Carlile, a leap ahead of her dalliance with orchestras.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->86.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->CocoRosie, <i>Heartache
City – </i>Actually fascinating, maybe the best CocoRosie album in odd ways. A
dark work about killers and strange friends, recalling Roald Dahl and Edward
Gorey. No pop hits here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->87.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Public Image Ltd., <i>What
the World Needs Now </i>– Based on his TV commercials for margarine, we could
expect Johnny Rotten to have no pride left, but Lydon actually writes some
decent tunes of social critique with adequate musical backup from his band.
This is hardly Sex Pistols or 1980s-era PiL, but then again, what reunion has
equaled the original this decade?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->88.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Deerhunter, <i>Fading
Frontier – </i>I really do like this album better than any Bradford Cox project
since <i>Microcastles, </i>and it’s a very
exuberant and happy album. But Cox is still a bit overrated overall.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->89.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Frank Turner, <i>Positive
Songs for Negative People – </i>Frank Turner has created an interesting space
as a successor to Billy Bragg, with a hint of Springsteen thrown in. The
politics are rarely as biting, but Turner certainly seems to have a good time.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
90<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Vulnicura
– </i>I wanted to like this much more than I did, both because of Bjork’s
experiments with orchestration, and because of her willingness to put her heart
on her sleeve when her marriage fell apart. But the album was never as interesting
as its prospects suggested, though many of the remixes were fascinating.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->91.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Thunderbitch, <i>s/t
– </i>The secret solo album of Brittany Howard of Alabama Shakes is a rowdy
juke-joint affair in the manner of Lord Sutch and His Heavy Friends. It’s not
even as experimental as the Shakes themselves, but rollicking fun for parties.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->92.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Tame Impala, <i>Currents
– </i>There are really fun songs on this album, and Kevin Parker has a great
ability to craft a concept album. But I don’t want to give Parker more to feed
his ego than others already have. This is about where this album belongs.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->93.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Blur, <i>The Magic
Whip – </i>Yet another great reunion in 2015, this one is probably among the
top three Blur albums, a well-seasoned work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->94.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Peter Buck, <i>Warzone
Earth – </i>The third vinyl-only solo release from the former REM guitarist,
this one features cameos from the likes of Jeff Tweedy, Krist Novoselic, and
Chris Slusarcenko. This is the best of the three but rough-cut stuff, with
Buck’s vocals sounding like Tom Waits, and the songs resembling a juke-joint
collection.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->95.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Hot Chip, <i>Why
Make Sense? – </i>A good suite of new songs from Hot Chip, but in the
mostly-instrumental dance category, they get hammered by the likes of Battles.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->96.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->SOAK, <i>Before We
Forget How to Dream – </i>Bridie Monds-Watson is Ireland’s newest teen
songwriting sensation, and she writes some remarkable songs, but she surrounds
herself in gauzy atmospherics that keep the work from being as strong as it
could be.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->97.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Death Cab for Cutie, <i>Kintsugi – </i>Many fans feared for what this album might sound like
with Chris Walla’s departure, but Walla still had a hand in this, and it is an
enjoyable Death Cab album, if not among the band’s top three.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->98.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Heartless Bastards, <i>Restless
Ones – </i>Some of Wenner’s most heartfelt works with her band, a surprisingly
strong effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->99.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->EL VY, <i>Return to
the Moon – </i>It’s hard to know what people were expecting from a
collaboration of Matt Berninger of The National and Brent Knopf of Menomena,
but I was expecting more party than profundity, and that’s exactly what’s here.
A fun time and a great laugh, with no intention of being a masterpiece.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->100<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Coldplay, <i>Head
Full of Dreams – </i>Poor Chris Martin gets grief for virtually anything he
tries these days. This one sort of makes up for last year’s <i>Ghost Stories, </i>by being Coldplay’s
liveliest effort since <i>Viva La Vida.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->101<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Joe Jackson, <i>Fast
Forward – </i>An intriguing concept album, realized as a multicity collection
of four EPs. Great to have Jackson back offering new pop tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->102.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The World is a Beautiful Place and I Am No Longer
Afraid to Die, <i>Harmlessness – </i>These
guys veer between being a successor to Death Cab for Cutie, and wanting to
evoke classical myth images. The lyrics can be pretentious from time to time,
but in this long and involved album, the band establishes itself as a force to
watch.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->103.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Mountain Goats, <i>Beat
the Champ – </i>I’m usually bound to like anything John Darnielle offers up,
but a concept album about professional wrestling just threw me for a TKO.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->104.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Heather Leigh Murray, <i>Nightingale </i>– In contrast to her vocals album, this is an
instrumental album of harsh steel guitar, ideal for Heather’s existing fans,
but tough for neophytes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->105.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Panda Bear, <i>Meets
the Grim Reaper – </i>An exotic and swirling work by Animal Collective’s Panda
Bear, this probably deserved a much higher ranking, though it just didn’t grab
me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->106.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Annette Conlon, <i>Life,
Death and the Spaces Between – </i>A handful of critics understood that, in the
realm of sincere country music, Conlon beats Ashley Monroe hands down. The old
“diamond in the rough” observation, but I’d rather have rough edges than
Autotune.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->107.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Godspeed You Black Emperor, <i>Asunder, Sweet and Other Distress – </i>We all should be overjoyed at
the return of Godspeed, but somehow this album seemed lackluster.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->108.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Gang of Four, <i>What
Happens Next – </i>The addition of Alison Mosshart does wonders for this
reunion, giving Go4 more of the feel of the band in 1979-80, with even a hint
of the strident politics.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->109.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Phil and Dave Alvin, <i>Lost Time – </i>It certainly is great to hear the Alvin Brothers get
together again to play originals and covers with a tight and strident band.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->110.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Best Coast, <i>California
Nights – </i>Best Coast has become more or less a Beth Cosentino solo effort,
and that’s just fine. These are pop songs worthy of the early-60s girl-group
styles.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->111.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Idea Fire Company, <i>Lost
at Sea – </i>A minimalist IFCO album, centered on the hypnotic piano of Karla
Borecky.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->112.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Neil Young, <i>The
Monsanto Years – </i>Much as I like Neil getting political and appreciate his
choice of targets, this seemed like a one-dimensional rant – though a good one.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->113.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Carter Tutti Void, <i>f
(x) – </i>Chris Carter and Cosey Fanni Tutti of Throbbing Gristle fame join
with Nikki Void for some stimulating and hypnotic noise.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->114.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Blessed Feathers, <i>There
Will Be No Sad Tomorrows – </i>A beautiful effort resembling many different
types of groups.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->115.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Kathryn Calder, <i>s/t
– </i>Calder of New Pornographers has written some great material with
Immaculate Machines, but her solo works seem to be full of ethereal auras that
are hard to grab. Her live performances deliver much more of what she’s aiming
at.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->116.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Rickie Lee Jones, <i>The
Other Side of Desire – </i>Jones has finally found some peace and happiness
living in New Orleans. Her new work is interesting, with a voice not unlike
Blossom Dearie’s, and a style of Big Easy jazz-rag.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->117.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Dead Weather, <i>Dodge
and Burn – </i>Some of the roughest and most feral work from Jack White and
Alison Mosshart, though it doesn’t always translate to the DW’s best work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->118.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]--> The
Decemberists, <i>What a Beautiful World, What
a Terrible World – </i>The Decemberists seem to veer between overwrought works
(<i>The Hazards of Love) </i>and powerful,
perfectly-paced works (<i>The King is Dead).
</i>Unfortunately, it was time for one of the lesser-focused albums. Exception
– something about “The Wrong Year” haunts my dreams.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->119.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Jucifer, <i>District
of Dystopia – </i>Amber Valentine should be respected for being metal’s
political historian, offering up concept albums on France, Russia, and
barbarian kings. This time the duo turn their critical eyes to the atrocities
of the U.S. government. Since Jucifer play and sing in howls, it’s hard for
many to get the point they’re making, but here’s proper credit for adding to
the archives.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->120.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Mercury Rev, <i>The
Light In You – </i>We may never return to the days of early Mercury Rev
cleverness, but this new reunion album is better than some of the band’s
over-emo works of the early 2000s. Still, there’s too much synthesizer and
floaty tenor, recalling <i>Deserter’s Songs </i>(not
the band’s best work by a long shot).<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->121<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Ricked Wicky, <i>I
Sell the Circus</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->122.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Robert Pollard, <i>Faulty
Superheroes</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->123.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ricked Wicky, <i>Swimmer
to a Liquid Armchair – </i>The remaining three Robert Pollard albums of 2015
didn’t hold my interest as much as Circus Devils and the second Ricked Wicky,
but hey, they’re still worthy.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->124.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Wolf Eyes, <i>I Am a
Problem: Mind in Pieces – </i>Wolf Eyes’ move to the quasi-mainstream via Jack
White’s Third Man Records started off interesting, but then moved to the type
of fuzz favored by Ty Segall and friends. I like the American Tapes underground
Wolf Eyes.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->125.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Steve Earle, <i>Terraplane
– </i>A nice and raucous blues effort by Steve, fun to listen to, nothing
startling.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->126.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Mark Knopfler, <i>Tracker
– </i>Knopfler is crafting songs with the grace of “Sultans of Swing,” making
this a beautiful album, but he doesn’t have the ability to reach into new
territory like fellow senior statesman Richard Thompson. Still, an album worth
hearing.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->127.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Lithuania, <i>Hardcore
Friends – </i>This Philadelphia punk-slop trio has that well-meaning tenor of
teenage angst and sincerity that characterized early grunge-punk. Adorable in
its own way.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->128.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Dawes, <i>All Your
Favorite Bands</i> – When you set out emulating the Eagles/Jackson Browne
sound, some of your albums can be groundbreaking, others merely pleasant. This
Dawes album is in the pleasant category.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->129.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Pope, <i>Fiction – </i>Another
burst of impressive post-punk music from a worthy newcomer.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->130.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]--> Will Butler, <i>Policy – </i>A decent set of rocking songs
from the other Butler brother of Arcade Fire.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->131.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ashley Monroe, <i>The
Blade – </i>Many critics called this their favorite country album of 2015, but
I wonder if it was the involvement of Vince Gill and Jack White that swayed
them. Monroe is actually a decent songwriter, but the arrangements and autotune
are pure Nashville pop. Better to seek out Lydia Loveless or Annette Conlon for
your country integrity.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->132.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Albert Hammond Jr., <i>Momentary
Masters – </i>A lively and intriguing set of tunes from the Strokes member.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->133.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Libertines, <i>Anthems
for Doomed Youth – </i>When you strip away Pete Doherty’s drugged antics and
shameless self-promotion, Libertines really are a good band. A fine set of
tunes here, though nothing that sticks too long.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->134.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Zombies, <i>Still
Got That Hunger – </i>Yes, it’s THAT Zombies, but I think a lot of people were
expecting new baroque stylings in the manner of <i>Odyssey and Oracle. </i>This bears a closer resemblance to Rod Argent’s
1970s band, Argent, and hence is less interesting, though not half-bad.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->135<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Of Monsters and Men, <i>Beneath the Skin – </i>Not a bad follow-up for this Iceland band,
though nothing as notable as “Little Talks.”<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->136.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Juliana Hatfield, <i>Whatever
My Love – </i>Juliana is back with a band and a party attitude, which may seem
lightweight, but is certainly fun in its own right.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->137.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Session Americana, <i>Pack
Up the Circus – </i>Anais Mitchell produces and plays backup in the latest
album by this gnarly supergroup of Americana session musicians. Great fun.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->138.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Sunn O))), <i>Kannon
– </i>Almost a classical composition of metal noise. An acquired taste, but a
fine work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->139.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Joe Pug, <i>Windfall
– </i>What with the big portrait picture and the smooth engineering, this had
the look of Pug’s breakthrough effort, but I like the songs better on some of
his earlier albums.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->140.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Bad Plus and Joshua Redman, <i>s/t – </i>This has the makings of a great jazz collaboration, but it
seems as though BP and Redman were pulling punches to be more mainstream. They
needed to take more risks.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->141.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Madonna, <i>Rebel
Heart – </i>In some ways, this is Madonna’s best work since <i>Ray of Light, </i>but Madonna still insists
on using sexual and tough-bitch imagery that she should have outgrown a couple
decades ago.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->142.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Oh Sees, <i>Mutilator
Defeated at Last – </i>The Oh Sees’ best work takes place when they are most
like anime or manga. This one is loaded with cartoon fun, but reinforces my
belief that Oh Sees are interesting but also overrated.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->143.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Muse, <i>Drones – </i>Cheers
to Muse for offering up two explicitly political concept albums in a row, and
for concentrating on the ethics of armed drones in this one. The problem with
Muse is that everything is larger than life and a little too corny in its
hyperbolic style, like a classic 1970s arena band with light show.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->144.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Passion Pit, <i>Kindred
– </i>I’ll give Michael Angelakos credit for putting his heart on his sleeve
and making a very personal concept album about the problems of family. It still
doesn’t make PP music all that interesting.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->145.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Adele, <i>25 – </i>It
may not be fair that Adele gets demerits for her fans being so maniacally
adoring, but she also deserves a little chiding on her own for making
essentially the same album over and over. If you must reach for a diva, reach
for Florence or Beyonce.<br />
<b>Bonus Edition Handicap: </b>An Adele fan
is going to want the 16-track edition, no doubt, though that doesn’t imply
greater variety.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->146<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Grace Potter, <i>Midnight
– </i>This is Grace’s first album without The Nocturnals in a little while, and
has some good blues and rock originals on it. I really enjoy her work, but she
seems lost in a 1970s hard-rock image of what a female vocalist should do.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->147.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Dilly Dally, <i>Sore
– </i>A post-punk album that caught many critics’ eyes, decent but not
monumental.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->148.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Trans Charger Metropolis, <i>Haunted House Birds – </i>An unusual noise-infested pop work that
recalls early Guided by Voices or Joseph Airport.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->149.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Flying Saucer Attack, <i>Instrumentals 2015 – </i>Great to have FSA back, though this seemed
like a modernist muzak effort.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->150.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Pond, <i>Man, It
Feels Like Space – </i>The Australian comic-rockers can be as much fun as
Spinal Tap, but this seemed like an effort to emulate Jeff the Brotherhood.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->151.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Sleaford Mods, <i>Key
Markets – </i>While these guys make me laugh with their sarcastic hip-hop take
on consumer life, they are worse than The Pop Group in taking advantage of all
they parody. Sleaford Mods albums and singles are overpriced and minimal, and
one can almost hear them laughing behind our backs.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->152.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Carly Rae Jepsen, <i>E-MO-TION
</i>– I understand why serious music fans liked the arrangements here, but
Carly’s thin vocals were cause for the lower ranking here.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->153.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Todd Rundgren, <i>Global
– </i>New Rundgren songs are a cause for celebration, though these tunes were
meant to exploit his “disco at the end of time” live show, and are interesting
but odd.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->154.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Blitzen Trapper, <i>All
Across This Land – </i>Eric Earley is commonly called “Portland’s Tom Petty”
these days, and he’s trying to move Blitzen Trapper from its former weirdness
to a pure Americana vision. That’s OK, but these songs aren’t nearly as
interesting as those from the 2010-era Blitzen Trapper.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->155.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Silversun Pickups, <i>Better
Nature – </i>I always want to hope this band will live up to being the hope of
Southern California, repeating the mystery of “It’s Nice to Know You Work
Alone.” But the last two albums have been more like predictable 1980s-era hard
rock.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->156.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Selecter, <i>Subculture
– </i>The Selecter was my favorite band of the early 1980s ska era, and it’s
wonderful to have Pauline back. Unfortunately, few of the new tunes could reach
the brash style of their earlier work.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->157.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Electric Light Orchestra, <i>Alone in the Universe – </i>I’m glad someone’s keeping their sci-fi
visions alive, but in Jeff Lynne’s case, he seems like a crotchety old man
awaiting the aliens.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->158.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Purity Ring, <i>Another
Eternity – </i>Megan and Corin offer up some interesting electronic-duo sounds,
but with none of the oomph of a Phantogram – or even a Beach House.<i><o:p></o:p></i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->159.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Twin Peaks, <i>Wild
Onion – </i>This band is always touted as the next big thing in teen
angst-psych-punk. It comes through as such in some of their singles, but when
they get to the longer formats, Twin Peaks doesn’t get that far.<i><o:p></o:p></i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->160.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Justin Townes Earle, <i>Absent Fathers – </i>I want so much to like J.T. Earle more than I do.
It seemed his duo concept albums of mothers and fathers were the perfect change
to experiment with lyricism, but the songs still seemed sort of pedestrian to
me.<i><o:p></o:p></i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->161.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Great Lake Swimmers, <i>Forest of Arms – </i>This Canadian folk band is another one with
capabilities of great works in them, but this release largely went flat. Still
worth hearing a few of the songs.<i><o:p></o:p></i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->162.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Mynabirds, <i>Lovers
Know – </i>Laura Burhenn is a complete chameleon, utterly changing Mynabirds’
direction for each album. That’s perfectly OK if the material warrants it, but
I’m still waiting for a work that meets the piano-driven folk rock of
Mynabirds’ first album.<i><o:p></o:p></i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->163.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Kacey Musgraves, <i>Pageant
Material – </i>Musgraves painted herself as a comical country rebel in 2013’s <i>Same Trailer, Different Park, </i>but I’m
still not getting the joke behind most of these new songs.<i><o:p></o:p></i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->164.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Sleeping with Sirens, <i>Madness – </i>This hard-rock supergroup moved from Orlando to Grand
Rapids, which sort of characterizes in miniature the breadth of their music.<i><o:p></o:p></i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->165.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Vaccines, <i>English
Graffiti – </i>If this British power-pop band can put on a live show that
characterizes Art Brut, why does its work in the studio fall flat?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->166.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ellie Goulding, <i>Delirium
– </i>Goulding always carried content under the Autotune, but here she gives
herself up entirely to the electronic dance floor. Either she is being remade
by others, or she has opted for a future in some gauzy EDM existence, but in either
case, it seems like a wrong turn to me.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->167.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Glen Hansard, <i>Didn’t
He Ramble – </i>This was the 25<sup>th</sup> anniversary of The Frames, with an
excellent retrospective album released this year. Meanwhile, Hansard followed
up a mediocre album and EP with another mediocre album. Hansard needs either a
band or Marketa Irglova to keep him interesting.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->168.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Matt and Kim, <i>New
Glow – </i>Many thought Matt and Kim were a novelty bouncy-pop duo to begin
with, but they kept chugging along, winning more fans all the time. This time,
they bring in EDM dance elements, but the real problem is, the songwriting just
isn’t keeping up with their ambitions.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->169.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Mini-Mansions, <i>Great
Pretenders – </i>Is the title supposed to be ironic? Because these folks were
going to be the ones that stuck around the L.A. area and kept their indy-punk
integrity. But slowly but surely, members began wearing suits and acting like
dandies. And the music had most of the life sucked out.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->170.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Miley Cyrus and Flaming Lips, <i>Dead Petz – </i>The maddening thing is that this collaboration could
have been great if Wayne had held Miley’s feet to the fire and said, “I know
you are capable of some great lyrics that match up to this crazy concept.” But
he didn’t, and this album mostly ended up being an exercise in nonsense.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: 18.0pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) <o:p></o:p></span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Laurie
Anderson, <i>Heart of a Dog – </i>Given the
excitement at Cannes and the Oscars over Laurie’s new film, it’s odd that
critics have virtually ignored the soundtrack album, since this may rank as
Laurie’s best audio release of all. Musings on the death of her husband Lou
Reed and her dog Lolabelle morph into meditations on why our stories, even
those we tell ourselves, are carefully edited to remove the saddest parts.
Powerful beyond words.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Ryan
Adams, <i>1989 – </i>By all rights, Adams’
effort to cover Taylor Swift’s entire <i>1989
</i>shouldn’t have worked. And yet it does, tremendously. The big hits like
“Blank Space” are changed significantly, while lesser songs like “Wildest
Dreams” become Adams’ own.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Continental
Drifters, <i>Drifted – </i>It may be 15
years too late, but people are discovering that the New Orleans collaboration
of Vicki Peterson, Susan Cowsill, Peter Holsapple, et. al. was a 1990s miracle.
Most miracles aren’t recognized until sanctified. This is the sanctification,
featuring two discs of outtakes and covers, such as Vicki and Susan singing
“When You Dance, I Can Really Love.”<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->John
Coltrane, <i>A Love Supreme, The Complete
Masters – </i>Lots of musical milestones hit their 50<sup>th</sup> this year,
but Coltrane’s masterpiece may be the most important. A lovingly crafted
document.<br />
<b>Bonus Edition Handicap: </b>If you’re
going to snare the master, go for the book and third disc with the Mondial Jazz
Festival live set.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Various
Artists, <i>Remembering Mountains: The Music
of Karen Dalton – </i>This album was remarkable just to exist, but the curators
pulled together amazing renditions from women artists as diverse as Diane
Cluck, Lucinda Williams, Julia Holter, Sharon Van Etten, Patty Griffin, Marissa
Nadler, and on and on. Better than could ever be imagined.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Parquet
Courts, <i>Live at Third Man Records – </i>Jack
White has recorded some great sessions at Third Man with the likes of Divine
Fits and Ashley Monroe, but the Parquet Courts album is one of those classic
all-time live sets that rank with J. Geils’ <i>Full
House. </i>A no-holds-barred house rocker.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Various
Artists, <i>Bloodshot Records’ Six-Pack to
Go: Drinking Songs for the Working Class – </i>You’d want this simply for the
beer six-pack packaging, but the 12 artists within (14 in the Chicago version)
offer up fine drinking songs, most notably Deer Tick’s cover of The Pogues’ “If
I Should Fall from Grace with God,” and Elizabeth Cook’s cover of The Dead
Kennedys’ “Too Drunk to Fuck.”<br />
<b>Bonus Edition Handicap: </b>Of course
you want the edition with seven 45-rpm records instead of six, because then you
get songs from Devil in a Woodpile and Tijuana Hercules. How could you do
without that?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Zaimph
and Yek Koo, <i>L’Interieur de la Vue – </i>Marcia
Bassett fans are going to pick up anything labeled Zaimph anyway, but if you
don’t know about Helga Fassonaki, who records under the name Yek Koo, well,
you’d just better get educated.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal;"> </span><!--[endif]-->Joan
Shelley, <i>Live at Union Pool Feb. 12, 2015
– </i>If you still need an introduction, this intimate live set collects some
of the best songs from <i>Electric Ursa </i>and
<i>Over and Even.</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Deerhoof, <i>Fever
121614 Live in Japan – </i>Live albums are not that popular among indy and
experimental artists, so it’s nice that Deerhoof made the decision to create a
classic, with incredible gatefold packaging and an insane set list.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The B-52s, <i>Live
in Boston 8-24-1979 – </i>Maybe not as primal as those black and white YouTube
videos from 1978, this still captures the band on the verge of the first album
release, opening for Talking Heads. “Rock Lobster” and “Dance This Mess Around”
are featured, need we say more?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Nellie McKay, <i>My
Weekly Reader – </i>Nellie’s most recent studio efforts have been sort of odd
(in a bad way), so it’s nice to see her get together with Dweezil Zappa to
craft an album of strange nostalgic covers of works by Small Faces, The Cyrkle,
Mothers of Invention. Wondrous stuff.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Elisa Ambrogio, <i>Three
Live Sets – </i>Ambrogio has become much more melodic since her Magik Markers
days, and is able to put forth a fine power-pop set, as well as improv with her
partner Ben Chasny.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Kathryn Calder, <i>Live
at Mercury Lounge, Sept. 11, 2015</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Destroyer, <i>Live
at Webster Hall, Oct. 4, 2015</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Neko Case, <i>Live
at the Lexington, London, Nov. 30, 2015 – </i>How odd that three members of The
New Pornographers toured solo in the fall of 2015 and presented fantastic sets.
Kathryn gets top listing because of the quiet simplicity of her work. Dan Bejar
with Destroyer shows how precise and complex his work is when performed live.
Neko goes for a simple and acoustic presentation with Eric Bachmann, part of a
career retrospective to introduce a new boxed set. All are excellent snapshots
of Pornographers on their own.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Various Artists, <i>New
York, NY: Ork Records, Complete Singles – </i>OK, this puppy will set you back
well over $100, but it contains 45 rpm records of all those late 70s legends
like Television, Cheetah Chrome, Richard Hell, Alex Chilton, The dBs….. a
16-record masterpiece.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bill Orcutt and Jacob Felix Heule, <i>Colonial Donuts – </i>In which Orcutt and his neighbor record tracks
almost resembling blues songs with identifiable melodies. Maybe Orcutt’s
slipping, or maybe he simply wants to be understood by someone else on the
planet.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Pine Hill Project, <i>Tomorrow You’re Going – </i>Two legends of folk, Lucy Kaplansky and
Richard Shindell, record an album of eclectic folk covers. My favorite is the
Dave Carter cover, no surprise. You’re bound to fall in love with at least a
few.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Guided by Voices, <i>Suitcase
4: Captain Kangaroo Won the War – </i>After four suitcase sets, we’re finally
scraping the bottom, as there are many alternative takes of existing songs in
this box set. But there are also many unreleased gems, proving once again that
there is no such thing as hearing every GbV song ever recorded. Kudos for the
packaged magnifying glass.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Xiu Xiu and Merzbow, <i>MerXiu </i>– Long after the wild explosion of Xiu Xiu work in 2013-14,
we get a collaboration between Japanese noise artist Merzbow and the mighty Xiu
Xiu. Well, what do you <i>think </i>it’s
going to sound like?<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Iris Dement, <i>The
Trackless Woods – </i>It fits Iris’s consciousness perfectly that she would set
the Russian poet Anna Akhmatova’s works to music. A difficult but rewarding
listen, but nothing that’s going to get Iris a wider fan base.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Waxahatchee, <i>Live
at Music Hall, April 9, 2015 – </i>Katie Crutchfield with full band gives a
glimpse at how she evolved from single artist to a legitimate rock-driven band.
The vocals are muffled at times, but the percussion is crisp and consistent.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bob Dylan, <i>Cutting
Edge 1965-66 – </i>Appropriate to hear all these outtakes on the 50<sup>th</sup>
anniversary of Dylan’s most dangerous and prolific period. Most folks can be
satisfied with the two-CD set. Solid fans will want the 6-CD set. But the 18-CD
version? Purely for the obsessed.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Sir Richard Bishop and Bill Orcutt, <i>Road Stories -- </i> A fine collaborative effort from two masters
of the weird.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Beirut, <i>Live at
Bell House, Sept. 10, 2015 – </i>Zach Condon proves that leaving behind studio
masters that cover complex depression, in favor of simple exuberance, is not
such a bad idea (though most songs in this set are earlier ones, only a few
from <i>No No No).</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Protomartyr, <i>Live
at Ad Hoc Car Wash, Oct. 17, 2015 – </i>Joe’s fervor is at peak in this short
but tight set.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Alabama Shakes, <i>Live
at Mountain Jam, June 7, 2015 – </i>A long and varied set with a good
compendium from the two albums. A nice alternative to the inflated prices you’d
pay for Alabama Shakes tickets these days.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Cloud Nothings and Wavves, <i>No Life for Me – </i>Uneven in places, but an interesting mix of two
distinct bands. Best sought after in red vinyl.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Vitamin String Quartet, <i>Play Modest Mouse’s ‘Moon and Antarctica’ – </i>VSQ occasionally can be
a bit mainstream, but Modest Mouse’s tough arrangements demand an edgy string
quartet style, making this one of the better VSQ releases.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Yo La Tengo, <i>Stuff
Like That There – </i>An eclectic collection of covers from the band that
excels in eclectic.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Lake Street Dive, <i>Live
at Mountain Jam, June 7, 2015 – </i>A long and strident set from Rachael Price
and cohorts, featuring many songs not often played.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Jackie-O Motherfucker, <i>Smiles – </i>New work with the extended jazz edition of JOMF,
cassette-only release with two 20-minute cuts.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Not for Pussies, <i>Digital</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Not for Pussies, <i>Remnants
and Aftershocks – </i>Brian and Janette Kidd’s music becomes more layered and
varied album by album, and each successive NfP allows us to hear more of
Janette’s exceptional vocals.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bill Orcutt, <i>Gertie
Likes Pussy – </i>Bill Orcutt performs some of his most difficult compositions
at a Gertrude Stein read-a-thon. Not for the weak of heart.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->37.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Heartless Bastards, <i>Live
at Webster Hall June 15, 2015 – </i>A double disc’s worth of Erica Wenner’s
best new tunes, in a tight and well-recorded set.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->38.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Parquet Courts, <i>Live
at Palisades Feb. 9, 2015 – </i>While this is not as tightly engineered as the
Third Man Records set, this provides a looser, sillier sample of the mighty
Parquet Courts.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->39.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Steve Gunn and Black Twig Pickers, <i>Live at Hopscotch, Sept. 11, 2015 – </i>An experimental/traditionalist
wonderland.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->40.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Vibracathedral Orchestra, <i>Unnatural with Pain Relief – </i>One of VCO’s slower sets, and
apparently the last release on the Krayon label. Worth seeking out for its
majestic feel.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Vibracathedral Orchestra, <i>Representing North </i>and <i>Gavin’s
Recording – </i>Two takes on the same Café Oto show, sort of a reprise of last
year’s Oto works.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->42.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Babes in Toyland, <i>Live
Sept. 17, 2015 – </i>The grand reunion is intriguing, but also a reminder of
how much of the early 90s riot grrrl music relies on a metal base. <o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->43.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Zaimph, <i>Two
Aspects Divided – </i>A fine vinyl recording from Marcia Bassett, engineered
with care.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->44.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Sir Richard Bishop, <i>Live
at Union Pool, April 10, 2015 – </i>An intense and intimate recording from SRB.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->45.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Various Artists, <i>Counterfeit
Blanks: A Shrimper Compilation – </i>Cassette Store Day release to chronicle
the Shrimper label.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->46.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Pile, <i>Live at
Baby’s All Right, April 28, 2015 – </i>An intense set from the often overlooked
Pile.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->47.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Frames, <i>Longitude
– </i>This 25<sup>th</sup>-year retrospective is mostly a best-of series, but
includes new material from Glen Hansard and friends.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->48.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Tom Carter and Bill Orcutt, <i>Two Sets Live at Trans-Pecos, June28, 2015</i><o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->49.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Avett Brothers, <i>Live
Vol. 4 (New Year’s Eve 2014/15 in Raleigh) – </i>This is the first of the Avett
live collection to feature a DVD, and many of the songs get fine treatment. I’m
ranking it lower because the band already gets too much publicity from a rabid
fan base that wants to pretend a middling Americana band is the world’s
greatest. Almost a Deadhead vibe, which is a bad thing in my book.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->50.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ex Hex, <i>Live at
Chaz’s, Durham, NC, April 18, 2015 – </i>A rough record store recording, but a
rare chance to hear Mary Timony’s band in its best element.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<!--[if !supportLists]-->51.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bob Dylan, <i>Shadows
in the Night – </i>I might appreciate this set of covers more if I liked Frank
Sinatra, but I don’t.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: .75in;">
<br /></div>
<div class="MsoBodyText" style="margin-left: .75in;">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<h2>
Singles and EPs <span style="font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;"><o:p></o:p></span></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->1.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Sharon Van Etten, <i>I
Don’t Want to Let You Down – </i>Even when her own release of the year is an
EP, Van Etten can do no wrong.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->2.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Janelle Monae and Wondaland, “Hell You Talmbout (Say
Their Names),” – Wow! A perfect theme song for Black Lives Matter. A compendium
of police victims set to strong beats. Nice to hear Monae produce such a
powerful political piece.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->3.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Rhiannon Giddens, <i>Factory
Girl – </i>An amazing companion to her debut LP, with five traditional and
cover tunes.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->4.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Parquet Courts, <i>Split
with Joey Pizza Slice, </i>“Pretty Girls is a Motherfucker” – Hey, this just
may be the song of the decade, right up there with The Modern Lovers’ “Pablo
Picasso.”<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->5.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Garbage, <i>The
Chemicals – </i>Shirley Manson doesn’t always get respect for some of her
post-reunion efforts, so let’s just say this is an amazing EP.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->6.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Violent Femmes, <i>Happy
New Year – </i>A worthy return in vinyl form, and one of the best RSD releases.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->7.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->FKA Twigs, <i>M3LL155X
– </i>A six-song EP that just might exceed her debut album by being more
focused and intense, and less spacey.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->8.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Natalie Prass, <i>Side
by Side – </i>The remixes of her own songs are fine. The cover of “Sounds of
Silence” was a little odder, but hey…<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->9.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Chuck Snow, <i>Death
Comes for Ella Mae Pixley – </i>A powerful EP from the former Auto No boss of
us all.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->10.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->David Bowie, “Blackstar,” Sort of a cheat to include
this, since the full album drops Jan. 8, but this got enough play in 2015 to
warrant a mention.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->11.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bardo Pond, <i>Is
There a Heaven? – </i>Third in the set of EPs, this with covers of Roxy Music
and Albert Ayler. (They also released all three as a combined LP this year, but
that counts as a re-release.)<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->12.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Courtney Barnett, <i>Boxing
Day Blues – </i>Courtney’s single for Third Man Records, two slower numbers but
still worthy.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->13.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Hurry Up, <i>s/t – </i>A
raucous punky EP from Portland, some of the liveliest tracks to come around in
a long time.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->14.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Todd Snider, <i>Impending
Doom – </i>Another great RSD 7-inch record, and a worthy entry in the Snider
canon.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->15.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Rev. Collin Estes, <i>Augury
– </i>A prelude to a full-length coming soon, to whet your appetite.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->16.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Jenny Lewis, <i>One
of the Boys (the PAX AM sessions) – </i>Jenny’s remixes of last year’s songs
with Ryan Adams’ label.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->17.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->!!!, <i>All U
Writers – </i>A 12-inch dance single preview of the <i>As If </i>album.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->18.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Mac DeMarco – <i>Another
One – </i>Some had this listed as a full album, I say its short length and its
unformed nature make it a definite EP.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->19.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Spoon, <i>TV Set – </i>A
nice Cramps cover on a 10-inch record.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->20.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Run the Jewels, <i>Bust
No Moves – </i>A much better Run the Jewels option than the rather-silly <i>Meow the Jewels.</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->21.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Justin Townes Earle, <i>Live at Grimey’s – </i>Frankly, this is a more interesting Earle effort
than any of his recent albums.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->22.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Off!, <i>Live – </i>What
else do you need to know? It’s Off!, it’s live.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->23.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Parquet Courts, <i>Split
with Future Punx, </i>“This is Happening Now” – Not as stunning as the Joey
Pizza Slice release, but a decent single all the same.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->24.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->The Decemberists, <i>Flora
Songs – </i>An average EP to go along with an average album.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->25.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Courtney Barnett, <i>Kim’s
Caravan – </i>A 12” single to accompany the debut album.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->26.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Johnny Marr, <i>I
Feel You – </i>A worthy single from RSD.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->27.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Dressy Bessy, <i>Lady
Liberty – </i>As a celebration of a reunion and a prelude to a full album in
February, Dressy Bessy dropped this single in November. All hail Tammy Ealom.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->28.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ricked Wicky, <i>Piss
Face</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->29.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ricked Wicky, <i>Death
Metal Kid</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->30.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ricked Wicky, <i>A
Number I Can Trust</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->31.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ricked Wicky, <i>Tomfoole
Terrific – </i>My favorite four of the endless stream of Ricked Wicky singles
this year.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->32.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Robert Pollard, <i>Take
Me to Yolita – </i>The only 45 rpm single bearing Pollard’s name this year, and
a nice one.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->33.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>NotGet (Keptsafe)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->34.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Lionsong
(Choral)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->35.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Stonemilker
(Patten)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->36.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>History of
Touches (Krampfhaft)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->37.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>History of
Touches (Rabit Naked)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->38.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Lionsong
(Mica Levi)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->39.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Black Lake
(Bloom)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->40.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Mouth
Mantra (Haxan Cloak)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->41.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Family
(Katie Gately)</i> <o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->42.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Family
(Bloom’s North)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->43.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>Lionsong
(Juliana Huxtable)</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->44.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Bjork, <i>NotGet
(Lotic Fromdeath) – </i>One could argue that the 11 (at last count) remixed
singles from <i>Vulnicura </i>realized
Bjork’s vision more than the album itself. Then again, one could argue that for
the spinoffs from most Bjork albums.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->45.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ricked Wicky, <i>Poor
Substitutes</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->46.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ricked Wicky, <i>Mobility</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->47.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ricked Wicky, <i>Jargon
of Clones – </i>Three more RW releases to round out Robert Pollard’s massive 45
rpm assault in 2015.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->48.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Ryan Adams, <i>Come
Pick Me Up – </i>One of a series of singles he’s issued pretty consistently in
the last two years, all of them decent.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->49.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Lydia Loveless, <i>I
Will Die 4U – </i>Sort of a silly Prince cover, but if this is all the Lydia we
get in 2015, I won’t complain.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<!--[if !supportLists]-->50.<span style="font-size: 7pt; font-stretch: normal;">
</span><!--[endif]-->Parquet Courts, <i>Monastic
Living – </i>Could be counted as a mini-LP or extended EP, but why would the
band choose to launch its new career with Rough Trade with a noise experiment?
I mean, when Trumans Water issued improvisational albums, they were
interesting, but this just feels like a bunch of unformed silliness. For
dedicated fans only.<o:p></o:p></div>
<br />
<div class="MsoBodyTextIndent" style="margin-left: .5in;">
<br /></div>
Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-90953662927563250912015-09-16T08:34:00.000-07:002015-09-16T08:34:08.487-07:00Closed Until Further NoticeIconomcurmudgeonclast Fans: Due to problems with multiple fake blog posts, spammy comments that are clogging up the console, and a general lack of impetus to update, this blog will be archived and locked down until further notice. I'm still here......Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-49203567425348499182015-05-02T07:39:00.000-07:002015-05-02T07:39:45.158-07:00Consistency, Justification, and the Always-On Public PersonaOne of my most-loathed quotes of all time is Ralph Waldo Emerson's suggestion that consistency is the hobgoblin of little minds. Certainly, it's useful and sometimes even necessary to reinvent oneself, but without the day-to-day consistency of how we address the public and treat our friends, we would feel it was OK to betray associates at a moment's notice, or to add and drop lovers like pieces of aluminum foil.<br />
<br /><br />
<br />
<br />
Similarly, whether we are famous or not, whether we are in positions of power or not, we should assume as social beings that we need to justify our actions to others, constantly and with as much consistency one can muster. The other day, a non-profit director took an arbitrary action against a partner, then said "I have no need to explain my actions to anyone." That point of view is as absurd as the CEO or public administrator who believes they can fire an employee and call it a "personnel matter," or the government of China jailing five feminists and calling it an "internal affair." In the 24/7 Internet era of the 21st century, there are no internal affairs. There are no private personnel matters. Everything, everywhere, is open for public debate, and you damned well better be able to rationalize the actions you take. Insisting that, because you are in a position of authority, you can take arbitrary actions without justifying them, is a certain path for eventually being removed from power.<br />
<br /><br />
When Aaron Burr challenged Alexander Hamilton to a duel, one of the underlying reasons stemmed from Hamilton's insistence that, as a member of the aristocracy, he could say things among a dozen friends that directly contradicted what he said in a public forum. Burr, as one of the first "modern" politicians, realized that a public figure has no private space. What is done or said in front of one person is done or said in front of 7 billion. And as such, it must be justified. If you take arbitrary actions and do not justify your reasons, you've publicly identified yourself as a shitty person.<br />
<br /><br />
I've said before that rash and blurty acts are dangerous in their own right. Any word that escapes your mouth, any act that escapes your body, should be run through your cortex for 30 seconds first. Sometimes you plan acts that seem to others to be unfair, but you had better be able to make your public case. As my friend Ricky said, "<span data-ft="{"tn":"K"}" data-reactid=".4b.1:4:1:$comment10153069817088876_10153070380903876:0.0.$right.0.$left.0.0.1.$comment-body"><span class="UFICommentBody" data-reactid=".4b.1:4:1:$comment10153069817088876_10153070380903876:0.0.$right.0.$left.0.0.1.$comment-body.0"><span data-reactid=".4b.1:4:1:$comment10153069817088876_10153070380903876:0.0.$right.0.$left.0.0.1.$comment-body.0.$end:0:$0:0">If I were to do a crappy thing to someone it would be planned. When finished with that crappy thing I would be prepared to explain the ins and outs of the crap. To justify my actions. A percentage of people would agree but on the other end a percentage of people would disagree. Never in silence of actions taken." CEOs, executive directors, leaders of nations, you have no private space. Justify everything you do. The alternative is to end up like Alexander Hamilton.</span></span></span><br />
<br />
<br />
<br />Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-70987389969929421172015-01-08T18:39:00.000-08:002015-01-08T18:39:38.316-08:00Charlie Hebdo and the Virtue of the Insufferable AssholeA former executive director of the Colorado ACLU, Cathy Hazouri, was fond of saying, "No matter what your political background, if something we've done this week <i>hasn't </i>pissed you off, then we're not doing our job." Why would someone choose to fund a non-profit designed to upset their personal notions of right and wrong? Because it's the ACLU, and people should take for granted that the purpose of such free-expression organizations is to show you all the times in your life you are wrong.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFAODvswDavwHJ4xJEtWTifnTAm-u3HUxBmxnY9urh06H2kcCU2H8uErI3y7xEBHOcUu0CSC_KlJ1J6EQ75KVedRoY2ljPuexOBJIXQZfLpZnhPluGwO4N4eqzHVEPcgW4a7lw1IbueoY/s1600/Charlie-Hebdo-pris-pour-cible.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFAODvswDavwHJ4xJEtWTifnTAm-u3HUxBmxnY9urh06H2kcCU2H8uErI3y7xEBHOcUu0CSC_KlJ1J6EQ75KVedRoY2ljPuexOBJIXQZfLpZnhPluGwO4N4eqzHVEPcgW4a7lw1IbueoY/s1600/Charlie-Hebdo-pris-pour-cible.jpg" height="187" width="320" /></a></div>
There seems to be similar misgivings among some writers and would-be progressives about supporting <i>Charlie Hebdo</i> and the 12 cartoonists and editors murdered by three Salafist extremists on January 7. Some insist on the likelihood of "imperialists" somehow being responsible for an action that may cause all Western Europeans to hate Muslims indiscriminately. (It seems plenty of Salafists have the full capability of doing that without the help of Western intelligence agencies, thank you very much.) Others recognize that <i>Charlie Hebdo</i> suffered a terrible and bloody injustice, but feel that the magazine was bound to incur some lethal wrath by always pushing and pushing the issue of the contradictions of devout Islam, a problem akin to poking a stick in a tiger's eye. Some are joining the ranks of undergraduate college students and instructors who have immersed themselves in "civility" for so long, they are leery of reading anyone from Twain to Hemingway to Vonnegut, finding it "offensive." One friend who is a firm supporter of civil rights made the legitimate point that, after the kerfuffle involving Seth Rogen's film for Sony, <i>The Interview, </i>he does not want to go so far in supporting freedom of speech that it means supporting people who are just plain assholes.<br />
<br />
There are plenty of reasons to suggest that <i>The Interview </i>might not be protected speech because it advocates the killing of a living world leader. But we should not shy away from support of <i>Charlie Hebdo</i> because of fear of assholes. What art movements from Dada to punk rock should have taught us is that the world needs insufferable assholes to move art and literature forward. We can always filter out the tactical assholes who are merely creepy to others as artistic movements get assimilated after they have existed for a few years. But we should remember that Dada, punk, and like movements arose with the conscious intention of the founders being strategic assholes - making the people hate you, because you poked sticks in their eyes.<br />
<br />
We should never underestimate the ability of the comfortably numb to turn their backs on injustices in front of them. In fact, this is one reason that the Black Lives Matter movement decided in late 2014 to consciously adopt an "in your face" attitude to protests: blockade Black Friday sales and the Mall of the Americas, show up at sporting events and music concerts, and make damned sure that no citizen could pretend that they could surround themselves with a protest-free entertainment bubble. <i>Guess what? You have <b>no </b>right to avoid being subjected to free speech! </i>Are the protesters assholes? Of course! They are assholes for a reason.<br />
<br />
It is admittedly disturbing and discomforting to be confronted with the artwork or propaganda of insufferable assholes. But that's the point - afflict the comfortable and comfort the afflicted. Those who have learned the lessons of false "civility" in recent undergraduate academic experiences might ask, "How is a spoof of someone's dearly held spiritual principles any different than hate speech that mocks someone's race or sex?"<br />
<br />
We are skating on thin ice here, but I would suggest that an angry tome that addresses someone's genetically inherited characteristics is hate speech. A parody that mocks someone's learned cultural experiences, including even their devout religious practices, is protected speech and a necessary shock to the system.<br /><br />My support of <i>Charlie Hebdo</i>'s decision to mock Islamic beliefs does not come from some inbred Islamophobia, but from a firm belief that the degree of devoutness a person displays is a measure of their degree of wickedness. A spirituality that reflects the divine will always be lighter than air and extremely flexible and malleable. It will treat no doctrinal framework as a given. This is why I keep yammering about making a T-shirt that says, "It is always better to change your doctrine than to circle the wagons." If your doctrine leaves you inflexible, you are succumbing to wickedness. Devoutness to any sort of cause, spiritual or secular, is equally evil.<br />
<br />
People don't willingly subject themselves to art, literature, or political ideas that offend them because they want to live inside their comfortable and safe assumptions. This is why Black Lives Matter wanted to take the issue of police brutality to people's homes. This is why the Dadaists and punks wanted to be as rude, lewd, and crude as possible within their temporal confines of middle America and Western Europe. They were all assholes. They were virtuous insufferable assholes trying to move the football forward. And if you are deeply offended, make a point of seeking out and shaking the hand of an insufferable asshole (hold on to your wallet). You just might have learned something.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM8gACABRjMZJ9T3mGw4NmwMBiopdk22lMEWXODRjz6TqclgNWH6EH4OjAIxaIWYYJh11YzvItWaqjfXXUfpTV4_JQTQmZIP9Gimv-hIHQ7QgM7U2EMbZwIYE7Nvq1xwoLV8EBFM3t9Do/s1600/DADA-09.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjM8gACABRjMZJ9T3mGw4NmwMBiopdk22lMEWXODRjz6TqclgNWH6EH4OjAIxaIWYYJh11YzvItWaqjfXXUfpTV4_JQTQmZIP9Gimv-hIHQ7QgM7U2EMbZwIYE7Nvq1xwoLV8EBFM3t9Do/s1600/DADA-09.jpg" height="320" width="224" /></a></div>
And what might Islamic activists learn from such mockery of Muhammad? Well, Christians learned something during the Reformation years that never quite sunk in to many Islamic sects. Let's think of this as the <i>Let's Make A Deal </i>three doors problem. Most devout neophytes are familiar with the very rare Doors # 1 and # 2. One can be a glorious victor in a spiritual struggle, or a sainted martyr. But Door #3 is the most common occurrence of all, as manifested in the Christian preterite or "left-behind" minions. You don't get transcendence, you don't even get to be a martyr, you get to lose and be forgotten and have your entire life left as meaningless. Many in the Western world accept this but still hope for salvation. Salafists are sure they have been crushed by Western prejudice for 200 years, even though Islamic falling-behind was largely self-inflicted, the fault of the corrupt Ottoman Empire 200 years ago. Many modern Salafists get enraged, and feel they have the right to eliminate any who might tell them their entire lives have been without meaning. Guess what? This is our lot, all of us who have chosen Door #3, Shut up and be the fly squashed against the fence. Sometimes it takes an asshole to tell you that. And as Christopher Hitchens once said, we can all sit down and talk about mutual respect once the mockery has begun, but you do not get to bring a gun to the table to attempt to enforce that respect through violence. Respect and protect your local asshole.<br /><br />Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-9490403430977116062014-12-31T08:31:00.000-08:002015-01-03T20:30:20.882-08:00The List 2014, Studio Albums, Specials, and EPs/Sngles<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; padding: 0px;">
It seems as though 2014 was grim and difficult for many, but the challenges seemed to spawn an unusual number of works that tried for transcendence, sometimes with worthy results. Many of the best releases were sad in tenor, but not all by any means. An unusual number of works were throwbacks to different eras, with the late 1970s a clear favorite, in both its punk and arena-rock instantiations.</div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; padding: 0px;">
The rules for special albums were tested this year. Special live and archival material in that category must consist of primarily new material. The five Led Zeppelin re-releases were not included because these were remastered albums, and the bonus material consisted of studio takes of the same songs. Still, hats off to Jimmy Page for the effort. Other great re-releases, such as those from Slint, Captain Beefheart, and Neil Young were kept off for the same reason. Strict best-of efforts from Bowie and Joni Mitchell didn’t count, but re-releases from Dylan, Kinks, Bardo Pond, and Game Theory contained a lot of unheard material from the vaults, so they’re in.</div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; padding: 0px;">
Please remember that close to a thousand mainstream and indie albums are released annually, and this 150 or so represent the ones worth hearing. Sure, there are quality gradients between the top ten and bottom 20, but anything that makes this list is worth your perusal.</div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; padding: 0px;">
Looking forward to a busy January 2015 with new ones from Sleater-Kinney (!), Belle & Sebastian, Heather Leigh Murray, and The Decemberists – and the return of Modest Mouse come spring. Farewell to Johnny Winter, Bobby Keys, Joe Cocker, and all our other friends who left this year. And if your melancholy in 2014 prompted you to consider joining that party, remember that we’ve all seen these movies before, there are plenty of good times left to be had on this planet, including listening to these wonderful music releases.<strong></strong></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; padding: 0px;">
<br /></div>
<div style="padding: 0px;">
<h1 style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 16.0pt;">Regular Studio Albums, 2014<o:p></o:p></span></h1>
<div class="MsoNormal" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<br /></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->1.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Pere
Ubu, <i>Carnival of Souls</i> – Wow, David
Thomas graced us earlier with an Ubu album that made 2013’s top ten, then came
right back with a follow-on that approaches the greatness of <i>The Modern Dance. </i>What else can one say?
A world where Pere Ubu can remain weird and relevant for 40 years remains one
worthy of living in.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->2.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Lydia
Loveless, <i>Somewhere Else </i>– There’s a
reason this surly and sad alt-country crooner dominates my LP and EP lists
alike. No one else writes songs of anger and tragedy like Lydia, and no one
else comes close to Patsy Cline when she sings them. This album was on constant
repeat in the car throughout 2014, and I never got sick of the songs.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->3.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Ought,
<i>More Than Any Other Day </i>– Many other
bands have tried for that early Talking Heads sound, like Local Natives and
Tapes n Tapes, but all quickly got tedious until this Canadian band
demonstrated how to make it sound fresh. Add a dollop of strange
surrealist-Situationism, and you have a winning formula.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->4.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->St.
Vincent, <i>s/t – </i>Annie Clark’s
internship with David Byrne was of benefit to both, and it comes through in
this work, her most focused and polished yet.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->5.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Le
Butcherettes, <i>Cry is for the Flies – </i>What
began as a Mexican feminist punk band becomes a Dadaist feast with the aid of
Mars Volta, Henry Rollins, Shirley Manson, and a cast of thousands.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->6.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Parkay
Quarts, <i>Content Nausea – </i>Sure, the
more official Parquet Courts album got most of the attention, but this odd and
loose jam session had it all – Dylanesque ballads, saxophone slop-rock numbers,
Nancy Sinatra covers, and a diatribe to modern life reminiscent of Ginsburg’s
“Howl.” A gem intended as a side dish to <i>Sunburned
Animal </i>turns out to be greater than its more refined sibling.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->7.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Alt-J,
<i>This Is All Yours – </i>Sure, Alt-J can
sound like modern music grad students married to English MFAs at times, but who
else can give you Miley Cyrus mixes and Conor Oberst out-of-phase echoes? A minor
psychedelic masterpiece.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->8.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Street
Eaters, <i>Blood::Muscles::Bones – </i>Say
what you will about the South of Market San Francisco fuzz sound of Ty Segall
and Thee Oh-Sees, I prefer another Bay Area locale. This honest punk duo from
the Emeryville Gilman Street scene in the East Bay is tighter, more vibrant,
with more integrity than any band across the Bay Bridge. Long may Street Eaters
reign.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->9.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Sharon
Van Etten, <i>Are We There? – </i>In the
world of ethereal women singer-songwriters, some prefer Angel Olsen or FKA
Twigs, but Sharon still remains undisputed queen to these ears. This is a
softer album than the last, almost a 1970s Laura Nyro work of rejoicing and
lament.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->10.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Lake Street
Dive, <i>Bad Self Portraits – </i>Everyone
knows Rachael Price and friends can do dynamite 1940s revival swing and
insanely great Motown covers. What is clear from this new album is that they
write exquisite partying and moaning juke-joint originals, with “Bobby
Tanqueray” standing as the perfect example.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->11.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Dead Fingers, <i>Big Black Dog – </i>Maria Taylor’s sister
Kate got married to Taylor Hollingsworth and started a Taylor-meets-Taylor
bluegrass duo that was almost a joke at first. Suddenly, the songs have become
more striking and the joke is over. If Bela Fleck and Abigail Washburn
represent the middle-age royal couple of bluegrass, Kate and Taylor are the
young upstarts, bursting with unusual and unforgettable tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->12.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Sun Kil Moon, <i>Benji – </i>Even for a sad singer like Mark
Kozelek, this SKM album is uniquely melancholy, covering the personal tragedies
of several childhood friends of Kozelek’s in small-town Ohio. Some may find that
the better versions of a few songs within, like “Richard Ramirez Died Today of
Natural Causes,” are found in Kozelek’s new live album, but <i>Benji </i>is the original source for
funereal wailings.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->13.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Brian Eno and Karl Hyde, <i>Someday World – </i>Eno has gone through quite the renaissance in
recent years, collaborating with young poets and jazz musicians, but his new
work with Karl Hyde, founder of Underworld, goes beyond anything else. Many of
the songs within recall Eno’s 801 band, or <i>Before
and After Science. </i>Eno and Hyde’s other 2014 work, <i>High Life, </i>was decent, but is ranked lower because it did not hum
the way this did. <b>Bonus Edition
Handicap: </b>Get the double-disc extended edition, the extra tracks are worth
hearing.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->14.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Tom Carter and
Pat Murano, <i>Four Infernal Rivers – </i>It’s
unusual for Tom Carter, the ambient drone guitarist, to have a studio work
ranked so high, simply because he’s an acquired taste. But in this case, he and
Murano of No Neck Blues Band have crafted a double album with four side-long
tracks devoted to the mythical rivers of Acheron, Phlegethon, Cocytus, and
Styx. A magnificent and mysterious work.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->15.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The New
Pornographers, <i>Brill Bruisers – </i>While
this album doesn’t have the cello-driven tension that drove the last album, <i>Together, </i>to the top of the 2011 list,
its light-heartedness and joy give the NPs a sound more akin to Magnetic Fields
this time around.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->16.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The Invisible
Hands, <i>Teslam – </i>This Egyptian band is
as impressive for its mere existence in 2014 as Plastic People of the Universe
was in Czechoslovakia’s Husak era. This album is more focused on three-minute
pop and more explicitly political than the debut album, which makes it more
viable for challenging the al-Sisi regime, but perhaps less interesting as a
musical document. But Alan Bishop deserves thanks for curating a beautiful and
dangerous project like this one.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->17.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Morrisey, <i>World Peace is None of Your Business – </i>As
much as I wanted to hate this album, since Morrisey has become such a whiney
aging queen, it offers ruthless lyrics and exquisite arrangements that are
perfect for the snarky take on a world where torture is normalized and police
shoot people for the hell of it. Thank you Morrisey, for being the cruel
bastard you are. <b>Bonus Edition Handicap:
</b>For Lord’s sake, of course you want the double-disc version.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->18.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Run the Jewels, <i>2 – </i>While the details of diatribe may
not be as well-honed as the best political hip-hop a la Flobots, Run the Jewels
brings an intensity and specificity to their work that is often missing in even
well-intentioned hip-hop artists. Throw in a Zack De La Rocha guest appearance
and arrangements that sound like they come from Mars, and you have a winning
formula.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->19.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The Mastersons, <i>Good Luck Charm </i>– The biggest thrill of
Steve Earle’s 2014 tour was learning that the husband-wife team that comprise
two new members of his band, also record as a duo. Wow, can they write, and wow
can Eleanor play the violin. Just wow all over the place.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->20.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Psycho Sisters, <i>Up On the Chair Bernice – </i>We can tease
Susan Cowsill and Vicki Peterson for taking 20 years to finally make this
album, or we can rejoice that their heavenly voices are finally giving us
studio versions of fine songs like “Never Never Boys.” A carefully crafted and
beautifully executed album, not surprising being two decades in the making.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->21.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Parquet Courts, <i>Sunbathing Animal – </i>The more traditional
crisp punk side of Parquet/Parkay gives us the album that everyone loved this
year, and with good reason. It’s just that with the Savage Brothers, there’s so
much to love from so many dimensions.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->22.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Taylor Swift, <i>1989 – </i>Yes, she’s grown up enough to
leave the dissing on old boyfriends rant behind, but Swift’s claim to have
invented a new kind of pop really constitutes melding late 1980s dance work
with a MGMT/Foster the People style. It’s catchy as hell, but you’ll miss the
stronger riffs in <i>Red. </i><b>Bonus Edition Handicap: </b>The Target
stores edition has three extra tracks that are great, but you have to put up
with three interviews on the process of songwriting that are pfft.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->23.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Mary J. Blige, <i>The London Sessions </i>– R&B singer
goes to London with Sam Smith and Naughty Boy and emerges with the kind of
defining work Dusty Springfield achieved with “Dusty in Memphis.” Sometimes,
straight-with-no-chaser minimalism works, and this is one of those times. It
would be nice to release a version of this album without the dumb interviews
between songs, however.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->24.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Conor Oberst, <i>Upside-Down Mountain – </i>Somehow, by
fusing elements of his best tendencies with Bright Eyes and his solo bands,
Oberst came up with an undeniable masterpiece. An absolutely critical addition
to the Oberst canon.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->25.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Jack White, <i>Lazaretto – </i>Of course White annoys you,
he annoys everyone. But give him credit for leaping beyond his first solo album
to provide an album full of well-written songs to spotlight the fine studio
musicians he’s put together.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->26.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Swans, <i>To Be Kind </i>– It seems like everything
Michael Gira has released of late has been a two-disc epic work well in excess
of an hour. He wanted the new one to be a special kind of epic, and got help
from St. Vicent, but after last year’s three-disc <i>The Seer </i>with backing vocals from Karen O. and Low, Swans albums
are getting to be downright exhausting.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->27.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Angel Olsen, <i>Burn Your Fire For No Witnesses – </i>Both
of Olsen’s full-length studio works to date show lyrical talent, relentless
rocking, and a sensibility beyond typical singer-songwriters, though her work
still lacks the coherency of someone like Sharon Van Etten. Definitely one of
the year’s more important releases, however.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->28.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Scott Walker and
Sunn O)))), <i>Soused – </i>Walker has been
looking for a slightly more traditional sound to back his strange lyrics and
vocal stylings, and Sunn O)))) has been engaged in several odd collaborations
of their own this year. What better treat than to have the two get together for
a haunted and spooky work released a few days before Halloween?<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->29.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> TV on the Radio,
<i>Seeds – </i>The Brooklyn R&D oddballs
had seemed to be melancholic and low on energy since the death of bassist
Gerard Smith, but they have re-committed themselves with this high-energy work
of hope and joy. Virtually every song is a keeper, which couldn’t be said of
the last album.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->30.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Leonard Cohen, <i>Popular Problems – </i>Cohen is embracing
his gruff, lost voice and his 80<sup>th</sup> birthday, steering himself to
sardonic and sometimes apocalyptic works in the style of Tom Waits. Maybe his
best work since <i>The Future.</i><o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->31.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--><i> </i>Jenny Lewis, <i>Voyager – </i>Now that Lewis has returned to her southern California
home, we shouldn’t expect lyrics with the complexity and introspection of some
of her best Rilo Kiley work. But what we should expect is some of the toughest
and best-informed jangly pop in the business, and we get it.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->32.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--><i> </i>The Black Keys, <i>Turn Blue – </i>While maybe not displaying the energy of <i>El Camino, </i>BKs responded to their
exploding fan base by trying for a bitter, dark blues-rock album. The
experiment works to a great extent, giving us BKs’ equivalent of <i>Tonight’s the Night </i>or <i>Nebraska.</i><o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->33.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--><i> </i>Lucinda Williams, <i>Down Where the Spirit Meets the Bone – </i>A powerful two-disc work
dedicated to her father, this one has Williams spouting fire and brimstone
about the world at large, which is more fun to listen to than when she is in
one of her world-weary moods.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->34.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--><i> </i>Air Dubai, <i>Be Calm – </i>Denver’s own R&B/rock fusion band finally gets a
proper commercial studio release and succeeds big time, coming across like a
Sly & The Family Stone for the 21<sup>st</sup> century.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->35.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Tori Amos, <i>Unrepentant Geraldines – </i>It’s a shame
there were so many great works moving ahead of Tori this year, as this is her
strongest work since <i>American Doll Posse,
</i>full of wry songs about turning 50.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->36.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Ex Hex, <i>Rips </i>– At last, Mary Timony comes fully
into her own! After some great work with Helium, solo outings, and Wild Flag,
Timony watched her former Wild Flag partners leave to re-form Sleater-Kinney.
That’s OK, she brought two women into the studio with Mitch Easter and made a
stunning debut of her own. The S-K reunion will get strong competition from a
trio that sounds like a middle-aged Runaways.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->37.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The Pixies, <i>Indy Cindy – </i>Seeing as how this is
collected material from three insanely-limited EPs, and seeing as how Frank
Black is a jerk, it’s surprising how good this new “album” sounds. Some might
disqualify it for its compiled nature, but <i>Indy
Cindy </i>is a rocker deserving of notice.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->38.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Rosanne Cash, <i>The River & The Thread – </i>All too
often, an accomplished musician who goes into the studio to create a definitive
masterpiece stumbles and falls. But every now and then, the artist gets it
right. Every song on this one sizzles. <b>Bonus
Edition Handicap: </b>Let’s face it, this album is incomplete without “Two
Girls,” “Biloxi,” and “Your Southern Heart.”<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->39.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> tUnE-yArDs, <i>Nikki Nack – </i>Merrill Garbus is one of
the few musicians smart enough to weave together equal parts of Laurie Anderson
and D’Cuckoo in her live shows. People often complain that the studio albums
don’t bring all of Garbus’s live experience to bear, but anything that can give
us “Water Fountain” is OK in my book.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->40.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Passenger Peru, <i>s/t – </i>This new band grabs influences
from a variety of eras and styles, and fuses them together far more effectively
than someone like War On Drugs.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->41.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Peter Hammill and Gary Lucas, <i>Otherworld – </i>2014 was a great year for unexpected collaborations –
Brian Eno & Karl Hyde, Tom Carter & Pat Murano – and who ever expected
Hammill to offer up a duo album with Gary Lucas of Captain Beefheart and Jeff
Buckley fame? Experimental as both artists would have you believe, yet more
listenable than most improvisational music.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->42.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Astral Social
Club, <i>Fountain Transmitter Medications – </i>Anyone
who has yet to be convinced that Neil Campbell is the next John Cage or Philip
Glass, might want to start with this. Campbell has given us great solo work and
a ton of albums with Vibracathedral Orchestra, but his last few years have been
spent with ASC, who started out as a drone collective but moved to a
beat-oriented noise group. This LP-plus-CD gives us 110 minutes of new and very
diverse ASC works.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->43.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> FKA Twigs, <i>LP1 – </i>Many people ranked this in their
Top 10, and this new British singer is quite unique, but the album has an
ethereal quality, not unlike Liz Harris/Grouper, that makes it more of a dream
state than an album in which individual tracks can be ranked and rated. Not
that there’s anything wrong with that.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->44.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Counting Crows, <i>Somewhere Under Wonderland – </i>Some may be
surprised, even offended, that Adam Duritz could rank in the Top 50, but this
album was surprisingly good and different from any other Counting Crows work,
bringing in elements of what might even be called scat jazz. Stop laughing.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->45.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Tennis, <i>Ritual in
Repeat – </i>This Denver band has come a long way since the mediocre <i>Cape Dory, </i>and Alaina Moore writes some
dynamite songs these days, with husband Patrick Riley providing beautiful
arrangements.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->46.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Sky Ferreira, <i>Night Time My Time – </i>As I mentioned in
last year’s list, this album was held until 2014 because it was not easily
commercially available until January 2014. It was worth the wait. She may play
a “poor punky perverted waif” game, but she writes and arranges great songs.
This year, she had stronger competition from artists ranging from Taylor Swift
to Charli XCX, but this still stands out. <b>Bonus
Edition Handicap: </b>Several expanded editions of this album exist, I vote for
the double-disc CD with the “Ghost” EP as your best entertainment value.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->47.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Marissa Nadler, <i>July – </i>Probably Nadler’s most dutifully
crafted and perfectly executed work. For someone who came up from the breathy
folk underground, Nadler has blossomed into a folk-rock singer who really knows
how to declare herself.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->48.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Deerhoof, <i>La Isla Bonita – </i>It’s hard to maintain
utterly weird over the course of nearly 20 years, but Deerhoof is back and at
their tightest and wildest, even though the members are scattered over multiple
cities. One of the best Deerhoof albums to date.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->49.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Imogen Heap, <i>Sparks – </i>Heap went all out in studio
effects and fan involvement with this album, recording portions on high plains
in China and train stations at lonely outposts. But she strived too hard to
make it a masterpiece, and the album lacks the direct intimacy of <i>Ellipse. </i><b>Bonus Edition Handicap: </b>The double-disc edition with instrumental
CD gives you insight into her song development, if you’re into that kind of
thing.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->50.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Dillon, <i>The Unknown – </i>There are times I want to
rank this unusual vocalist ahead of the likes of Angel Olsen. Ethereal at
times, but more hard-hitting than the gauzy vocalist types, this album is a
one-of-a-kind odd gem.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->51.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Thee Silver Mt.
Zion Memorial Orchestra, <i>Fuck Off Get
Free We Pour Light On Everything – </i>Over the course of a decade, Mt. Zion
has emerged as the most coherent spinoff project of Godspeed You Black Emperor,
and on this album, Efrim Minuck gets wonderfully specific with his musical
arrangements and political targets.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->52.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> D’Angelo and The
Vanguard, <i>Black Messiah – </i>Several
critics had this album up near the top, due to the brilliant political
statements linking Ferguson protests to Occupy and the Arab Spring. We should
thank D’Angelo for his political savvy, and for his return after a 14-year
absence with arrangements that meld Prince stylings with murky modernist
space-jazz. Maybe the latter is part of the problem. If you’re going to be
socially strident, you want the music to demand attention, whereas this is
chill jazz linked with political marching orders, a bit of a mismatch.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->53.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Elisa Ambrogio, <i>The Immoralist – </i>The Magik Markers’ wild
and mysterious guitarist graces us with her first solo album, and it’s
surprisingly melodic and ethereal. Some might find that prospect frightening,
but it’s nice that you can play Elisa among friends and not clear the room.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->54.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Guided by
Voices, <i>Cool Planet – </i>Who knew in
advance this would be GbV’s farewell album (for a second or third time)? Many
fans like <i>Motivational Jumpsuit </i>better,
but I find the second 2014 album to be superior, for reasons hard to pin down.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->55.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Melissa Aldana, <i>Crash Trio – </i>Yikes, a gorgeous South
American woman has emerged from nowhere to take the skronk saxophone crown away
from Roscoe Mitchell and Ornette Coleman. This album opts for more tunes than
free jazz, but indicates just what a treasure Aldana is.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->56.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Smoke Fairies, <i>s/t – </i>This British blues-folk duo
developed a fan base through a consistent sound over three albums, but took a
chance on their fourth to add a certain strange electronica to their music. A
step ahead for two women who deserve a far larger fan base.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->57.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Neil Young, <i>Storytone – </i>Neil put his all into a
strong political and emotional work that talks about his efforts on
environmental campaigns, the breakdown of his marriage, and his new
relationship with Daryl Hannah. He released this album as a two-disc set, with
an odd difference: Even though he created fully-orchestrated versions of these
songs, the primary disc is the solo acoustic one, while the richer-engineered
songs are on Disc 2. That makes sense. Neil is always at his best in acoustic
minimalist mode.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->58.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Doug Gillard, <i>Parade On – </i>Gillard mixes that familiar
Gem-era sound with a crispness that resembles Johnny Marr at times, and ends up
ranking higher than Marr’s second album. Bravo.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->59.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Liars, <i>Mess – </i>A shame this new danceable Liars
work fell this low, as it really is a fun effort. It lacks the self-importance
of <i>WIXIW, </i>and opts instead for the
kind of silliness their compatriots in Black Dice love. Recommended for
downtown weird-rock fans.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->60.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Grouper, <i>Ruins – </i>Many Liz Harris fans have this
in the Top Ten, and the minimalist voice and piano on this release make it my
favorite Grouper work. Still, Liz has this way of being ultra-ethereal and
surrounding everything with gauze, which makes it more of a mood background
piece.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->61.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Mogwai, <i>Rave Tapes </i>– A solid and substantive
work for Mogwai, though one that must stand up against the majestic
masterpieces they’ve offered recently. Regardless, this is Mogwai, so it’s
essential.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->62.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Lykke Li, <i>I Never Learn – </i>If you’ve never gotten
the appeal of Scandinavian pop star Lykke Li before, here’s one that should
turn many into a believer. A solid, dark, troubled, but danceable work.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->63.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> J. Cole, <i>2014 Forest Hills Drive – </i>Cole set out
to make a hip-hop masterpiece, and the strings and quality of arrangement make
this album work. He shows something that many hip-hop artists avoid –
vulnerability – but he still makes a nod to club culture at its least
interesting. Nevertheless, tracks like “Fire Squad” will be classics.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->64.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Kaiser Chiefs, <i>Education, Education, Education, and War – </i>After everyone in the
U.K. started hating the band for various sellout schemes and personal problems,
Kaiser Chiefs suddenly came up with a concept album about World War 1 and war
in general that is really, really good. What a surprise.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->65.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Spoon, <i>They Want My Soul – </i>Britt Daniels went
to great lengths to make this a tight, direct, almost soulful album, and to a
large extent succeeded. Some people have this in their Top Ten, and it is one
of Spoon’s finest works, but hey, it’s a tough year.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->66.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Charli XCX, <i>Sucker – </i>When this British pop diva
started fooling around with Iggy Azalea and others, it was obvious she had some
substance behind her, but it was a surprise to have her release an album at
year’s end that sounded like the unholy alliance of Sleigh Bells and Miley
Cyrus. Nice stuff.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->67.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Johnny Winter, <i>Step Back – </i>It’s sort of eerie how the
guest musicians and choice blues standards suggested a farewell album, recorded
just a couple months before his unexpected summer death. An epic way to leave
this world.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->68.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Lana Del Rey, <i>Ultraviolence – </i>An album in which Lana
falls more directly and sullenly into a dark Marilyn Monroe vision, which makes
this perfectly executed, but also self-limiting. Then again, would we want her
to insert a bright poppy item into this album?<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->69.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Perfect Pussy, <i>Say Yes to Love – </i>Some folks insist PP
is the perfect reincarnation of Harry Pussy, and the scream thrash noise is
certainly there, but there doesn’t seem to be as much substance as any of the
other new art punks like Le Butcherettes or Savages bring to the table.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->70.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Sylvan Esso, <i>s/t – </i>It’s hard to pigeonhole the
throbbing and occasionally dark dance sounds of this duo, but it is absolutely
captivating.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->71.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Black Bananas, <i>Electric Brick Wall – </i>Jennifer and Neal
will go to great lengths to tell you this is <i>not </i>Royal Trux under another name, and the beats behind BB are
certainly different. But the sludge psychedelia certainly indicates that the
reigning royalty of stoner otherworldliness are at it again.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->72.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Iggy Azalea, <i>The
New Classic – </i>Proof that other nations have wiser and better-arranged
hip-hop than we do is the existence of this Australian piece of mixing wonder,
as compared to our own Nicki Minaj, who doesn’t make my list this year because
she just annoys me (sorry, Skylar Grey, you do wonders for Nicki, but why not
go work with Iggy?).<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->73.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The Both, <i>s/t – </i>Ted Leo and Aimee Mann make a
great pairing on both a personal and professional front. There are some who say
the power of two is not as great as either artist working solo. I
disagree. There are some great songs on
this duo album.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->74.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Thurston Moore, <i>The Best Day </i>– There’s a reason Moore
uses nostalgic photos of perfect 1940s romance as the album art. This solo
outing melds the best tendencies of Sonic Youth and Moore’s solo work, and is
full of tracks worth multiple listens.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->75.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Bela Fleck &
Abigail Washburn, <i>s/t – </i>This married
couple of banjo virtuosos are long overdue to offer their wedding album. Bela
is the bluegrass traditionalist, while Abigail is the free-jazz and oriental
chord specialist, and together they make whoopee.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->76.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Xiu Xiu, <i>Angel Guts: The Red Classroom – </i>Jamie
wanted Xiu Xiu to go out with a bang, and made this the most difficult and
scary album in the catalog. Unfortunately, in a year that also saw the release
of Xiu Xiu singing spirituals, Xiu Xiu singing Nina Simone, and a Xiu Xiu
expanded “Best of” remastered edition, an album of amplified darkness just
didn’t come off as the best of the multiple Xiu Xiu farewells.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->77.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Mac De Marco, <i>Salad Days/Salad Days Demos – </i>Listing
this as one, since some of the songs from the separate demos release are
superior to the main studio album. Mac has a Modern Lovers/Steely Dan style
that can be endearing or annoying, and he wouldn’t want to sacrifice one for
the other. I bet once I got used to this, I’d rank it higher.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->78.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Ariel Pink, <i>pom pom </i>– And speaking of equal doses of
endearing and annoying, Pink can be even more insufferable in a solo album than
with Haunted Graffiti. But the thing is, his work can meld elements of Beatles
and Mothers of Invention. This album is great fun.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->79.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Ashley Paul, <i>Heat Source – </i>Now that Leslie Keffer and
Inca Ore have gone strangely silent, while Marcia Bassett seriously cuts back
her output, Paul stands as the best hope for experimental noise-music among
young women. Her work is intriguing, which is a good thing, as she has big
shoes to fill.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->80.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The Notwist, <i>Close to the Glass – </i>At last Munich’s
Notwist comes back to grace us with a new work, and this one moves more to
minimalist electronica while retaining the danceability. Marvelous tunes on
this one.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->81.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The Hold Steady,
<i>Teeth Dreams – </i>Like Black Keys, The
Hold Steady elected to go dark and sullen on this new album, and the sound fits
them better than the Springsteen-esque anthems. There’s no real reason for this
album being so much lower than Black Keys’ latest, as it’s actually quite good.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->82.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Owl John, <i>s/t – </i>Frightened Rabbit’s Scott
Hutchison goes solo and comes out with a work that is often as good as the best
Frightened Rabbit. “Los Angeles, Be Kind” is an especially worthy track.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->83.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> I Love You, But
I’ve Chosen Darkness, <i>Dust </i>– Austin’s
band with the best name in history vanished after 2006, and suddenly reappeared
with a stunning album sounding a little bit Joy Division, a little bit Polvo, a
little bit Bauhaus. Cheers.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->84.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Hospitality, <i>Trouble – </i>Amber Papini was almost
falling into a Belle & Sebastian twee mode, but added darker elements to
the Hospitality sound with great results. Notice how there’s a bunch of bummer
albums that came out in 2014? This is a good thing.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->85.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Blonde Redhead, <i>Barragan – </i>They’re not back to sounding
like a European Sonic Youth, but at least Blonde Redhead have recovered from
the awful pop of <i>Penny Sparkle. </i>There’s
still hope.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->86.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Got A Girl, <i>I
Love You But I Must Drive Off This Cliff Now – </i>A few fans of Dan the
Automator swear that this is the best studio album this year, and I love the
vocal work he gets from Mary Elizabeth Winstead, but it’s a work intended for
spy movies. Great if you’re a fan of Morricone and James Bond flicks, maybe a
bit limiting otherwise.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->87.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Robert Plant, <i>lullaby and the ceaseless roar – </i>This
might be Plant’s most diverse and complex work, melding traditionalist folk and
African polyrhythms. <o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->88.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Suzanne Vega, <i>Tales from the Realm of the Queen of
Pentacles – </i>Sorry this was low, Suzanne, it’s good to have you purge the
bitterness of the last decade and be busy writing worthy and unusual tunes
again. Maybe the Tarot references were a bit heavy, but still….<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->89.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Thompsons, <i>Family – </i>One might not be able to expect
the best Richard, Linda, or Teddy Thompson material ever in this family-affair
disc – and the songs are far from throwaway -- but the mere fact that Richard
and Linda and the kids are back in one studio performing is plenty of reason to
rejoice.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->90.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Manchester
Orchestra, <i>Hope – </i>This band always
had to balance its folky and hard-rock tendencies, and when the new album <i>Cope </i>came out in the spring (see below),
it felt like a bow to arena-rock that led to sludgy, indistinguishable tunes.
The announcement that an acoustic version would follow at year’s end sounded
like a backhanded admission that a mistake had been made. What is surprising is
that <i>Hope </i>makes one realize what a
fine batch of new tunes Manchester Orchestra had. Sometimes arrangements and
engineering can make all the difference in the world.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->91.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Cloud Nothings, <i>Here and Nowhere Else – </i>A fine enough
work by this art-punk band, but one that does not seem to have a clear focus. A
fun listen, nonetheless.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->92.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Warpaint, <i>s/t – </i>Finally starting to grasp what
these precise and vibrant women artists are doing, sort of an informed version
of Don Caballero or Mogwai. In any
event, it’s good.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->93.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The War On
Drugs, <i>Lost In Dreams – </i>Unlike Mark
Kozelek, I don’t despise War On Drugs and demand that they do lewd things. On
the other hand, I can’t justify placing them in a top 10 or 20 as many would
do, because the 1970s references are a little too obvious. Some of the
psychedelic interludes are great, some boring, but do we need an album that
sounds largely like Dire Straits?<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->94.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Fucked Up, <i>Glass Boys – </i>A decent album from the
Canadian growler band, but it would have been difficult in the best of
circumstances to follow up a classic like their <i>David Comes to Life. </i><b>Bonus
Edition Handicap: </b>You could get both copies of this album released at two
different speeds, but the purpose of the slower version seems unclear to these
ears.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->95.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Joseph Airport, <i>Stronger and Better – </i>A GbV-related
Rockathon project from Matthew Cutter and friends that ends up being superior
to any Pollard effort this year save <i>Cool
Planet. </i>Weird but essential in its own way.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->96.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Jackson Browne, <i>Standing in the Breach – </i>Browne could
have been in danger of being a parody of himself at various periods in life,
but took the time to make this a political album, a self-disclosing album, and
a humble album, all at the same time.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->97.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> The Fray, <i>Helios – </i>In some circles, The Fray have
gotten to be parodies of themselves, but this is a well-crafted work, and the
most worthy since their first, and possibly the best album they’ve ever released.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->98.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Interpol, <i>El Pintor – </i>Again, Interpol has
attracted its share of former fans who thought the band stuck around too long,
but this album brings back some of the energy of the first two albums.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->99.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Guided by
Voices, <i>Motivational Jumpsuit – </i>Why
was this album so popular with GbV fans, while its follow-on <i>Cool Planet </i>was ignored? Damned if I
know, but damned if I can tell you why I liked <i>Cool Planet </i>so much better. It’s a gut thing.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->100.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Chrissie Hynde, <i>Stockholm
– </i>It’s far better for Chrissie to release a solo album under her name than
to pretend to do another Pretenders album that is really just Chrissie with
studio musicians. This one has at least
four or five keepers in the batch.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->101.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> We Were Promised
Jetpacks, <i>Unraveling – </i>Jetpacks tries
for that sad Scottish sound pioneered by Arab Strap and honed by Frightened
Rabbit, and it is starting to get it right on this third album.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->102.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Tweedy, <i>Sukierae – </i>The obvious assumption was
that if Jeff Tweedy got together with his son on drums and recorded a two-disc
set of new material, there had to be some arrogant excess going on.
Surprisingly, this sounds like a middling Wilco album, which means it’s pretty
damned good.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->103.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> A Sunny Day in
Glasgow, <i>Sea When Absent – </i>This
geographically dispersed band cooks up concept albums that fit between Dirty
Projectors and Oneida. A little strange to figure out properly, but certainly
offering a better focus than someone like Foxygen.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->104.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Cymbals Eat
Guitars, <i>Lose – </i>A fascinating and
complex band with exquisite guitar work that probably deserves higher ranking,
but I’m still trying to find their center of gravity.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->105.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Kimbra, <i>The
Golden Echo – </i>I’m a big proponent of the Kiwi sparkling diva, but Kimbra
tried to do too much in this album, and it overwhelms the listener.
Nevertheless, there’s no denying the talent in arrangement, singing, lyricism,
anything.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->106.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Ensemble
Economique, <i>Melt Into Nothing – </i>Some
people consider Brian Pyle the leader of the next phase of ambient music, and I
have no basic disagreement with that. The problem is that I miss Starving Weirdos
too much, and now that Pyle is putting all his energy into EE, it’s apparent SW
might not come back.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->107.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Tom Petty, <i>Hypnotic
Eye – </i>For this album and the last, Petty has offered up fresh, exciting
material that makes critics say <i>“The old
Petty is back.” </i>Why so low then? Maybe because the geezer has to compete
with so many new whippersnappers.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->108.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Sharon Jones & The Dap Kings, <i>Give the People What They Want – </i>Following recuperation from
cancer, Sharon comes back with a vibrant, exciting set that may be her most
focused and strident yet.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->109.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Ronnie Fauss, <i>Built
to Break – </i>Only just learned how this Austin shitkicker is trying to revive
the spirit of Joe Ely and Steve Earle all rolled into one. Maybe not as
gripping as his last album, the new one still offers some unforgettable tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->110.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Julian Casablancas and the Voidz, <i>Tyranny – </i>The worst Julian could have done was to try and make a
Strokes-Lite album with his new band. Instead, this is a weird-as-hell
ensemble, not unlike The Residents.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->111.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Johnny Marr, <i>Playland
– </i>Johnny came close to #1 last year with his first true solo work, but
maybe he came back with a second round too quickly. A worthy album, but the
punch doesn’t match that of the last album.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->112.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Bob Mould, <i>Beauty
and Ruin – </i>Many long-time Mould and Husker Du fans want to love this, as a
confessional for Bob as he comes out sexually and confronts his political and
social demons. All true, though it was hard to get a sense of why that was
compelling.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->113.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Phantogram, <i>Voices
– </i>I actually like these folks more than most ethereal pop duos, and this
one had a touch of sadness and terror in it, which put it above the high-water
mark.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->114.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->U2, <i>Songs of
Innocence – </i>Look, let’s not gang up on Bono merely for offering this album
free on iTunes. Yes, it can be mediocre at times, but it has some moments of
greatness, and it is not the worst album U2 ever released. Then again, it ain’t
a Top Ten contender, no matter what <i>Rolling
Stone </i>may say.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->115.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Vacant Lots, <i>Departure
– </i>Many people consider this duo the future of psychedelia. I consider them
more interesting than Ty Segall and many of his side bands, but that’s a matter
of damning with faint praise.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->116.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Afghan Whigs, <i>Do
to the Beast – </i>This is not a worthless Greg Dulli effort. It has many great tunes on it. Still, Dulli
has not decided where he wants to go with AW, and this album is like a sampler
of directions the band might head in.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->117.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Brian Eno & Karl Hyde, <i>High Life – </i>This was mostly a suite of outtakes from <i>Someday World. </i>It’s worth owning for a
comprehensive suite of the Eno/Hyde sessions, but nowhere near the original in
impact.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->118.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Dum Dum Girls, <i>Too
True – </i>Recent outings have shown that Dee Dee is capable of crafting the
perfect pop song. Some held out hope that this would be the quintessential DDG
album, but it’s more an act of treading water.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->119.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Aaron Despised, <i>Scopes
Monkey Trial – </i>Aaron G. provides some intriguing and wise lyrics melding a
little science in with the heartache. Great potential here.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->120.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Tom Carter, <i>Numinal
Entry – </i>The only reason this falls relatively low is because it’s a normal,
mellow Carter work in comparison with his collaboration with Pat Murano and his
split LP with Jackie-O. Still worth
several listens.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->121.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Stephen Malkmus, <i>Wigout
at Jagbag’s – </i>A shame to put this one low, as Malkmus has cast aside his
snarkiness and given us a nostalgic review of progressive music from the 70s,
80s, and 90s. A work of love from a
music lover.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->122.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Swearing at Motorists, <i>While Laughing, the Joker Tells the Truth – </i>Hey, even it’s a little
rough around the edges, Dave Doughman is back, which is a cause for celebration.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->123.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Horse Feathers, <i>So
It Is With Us – </i>Horse Feathers are somewhat like Newfoundland’s The Once in
dwelling near the edge of too much sincerity, but I’m beginning to think
there’s nothing wrong with that.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->124.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Karmin, <i>Pulses – </i>There
are those who are pissed off with this white suburban couple providing polished
hip-hop, but it works well enough to deserve a listen.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->125.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Wovenhand, <i>Refractory
Obdurate – </i>This Denver folk/psychedelia band is hard to pin down, but this
carefully engineered and mysterious album holds up across repeated listens.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->126.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->First Aid Kit, <i>Stay
Gold – </i>These Swedish woman always are fascinating, but the last album had a
little more guts, while this one might have slightly too much hippie.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->127.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Pink Mountaintops, <i>Get
Back – </i>Stephen McBean of Black Mountain is back with his wild and sarcastic
PM band again, always interesting but always inscrutable.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->128.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Mark Lanegan Band, <i>Phantom
Radio – </i>The last time Mark was around with his full band, the <i>Blues Funeral </i>album scored very high on
my list. This album was more cowboy lonesome, but couldn’t hold my interest as
well.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->129.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Ani DiFranco, <i>Allergic
to Water – </i>Ani knows she’s stuck in middle-class connubial bliss these
days, and even writes songs alluding to being happy most of the time. She tries
for some very interesting arrangements and rhythms to spice things up, but it
still ain’t the guitar-thumpin’ lesbian bitch of yore.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->130.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Hey Rosetta, <i>Second
Sight – </i>What may be Canada’s best band just keeps turning out consistently
interesting music, with very few instances of repeating themselves.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->131.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Foo Fighters, <i>Sonic
Highways – </i>I like David Grohl a lot, but even when he’s making music for a
TV series, with a different song written in every town, Foo Fighters music all
sounds alike after a while.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->132.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Low Fat Getting High, <i>s/t – </i>Another punky Brooklyn band is out to save our souls, but in
this case, Michael Sincavage has a high-energy voice that resembles Dave
Grohl’s, giving LFGH a sincerity lacking in many growlier punk bands.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->133.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Off!, <i>Wasted
Years – </i>I don’t have Off! as high as other punk bands, simply because some
of their efforts seem contrived. Still, a worthy effort.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->134.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->White Lung, <i>Deep
Fantasy – </i>Great to see the rise of new women’s punk bands with this much
energy, though it doesn’t reach as far as Ex Hex or Le Butcherettes.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->135.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Wye Oak, <i>Shriek –
</i>I love Jenn Wasner to death, and really wanted to like her new move into
synthesizers, but damnit, I miss the guitar-driven Wye Oak of old!<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->136.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Edith Makes a Paper Chain, <i>There There There – </i>A shame that new talent Miette will be heading
off to a music scholarship, but at least we have the chronicles for each phase
of the always-shifting Edith.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->137.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Hamilton Leithauser, <i>Black Hours – </i>Everything about the packaging and structure of this
album suggests that the lead singer of The Walkmen wanted to make an album that
recalled the best 1940s and 1950s moody solo work. It doesn’t always translate
that way, but remains a helluva lot more interesting than Sam Smith.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->138.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Chris Forsyth, <i>Intensity
Ghost – </i>Some great improvisational guitar work, potentially bringing Chris
up to the Jack Rose/Tom Carter level.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->139.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Beck, <i>Morning
Phase – </i>The first time Beck attempted an album of ballads, <i>Sea Change, </i>there was plenty of
sincerity and novelty. It’s been ten years and time for another ballads album,
but this one didn’t hold the sincerity for me.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->140.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->The Roots, <i>…And
Then You Shoot Your Cousin – </i>It’s always fun to see where Jimmy Fallon’s
favorite house band goes next, but at least they’re not becoming too
mainstream. This one is a downright weird album, veering from 1940s lifted
sounds to strange stories of death on the streets.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->141.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->The Pains of Being Pure at Heart, <i>Days of Abandon – </i>Kip Berman’s progressed enough in his sound to
make Pains less twee, but live shows suffer from no Jen Goma, who carries this
studio album. Pains has some great tunes, a more consistent touring band would
help.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->142.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Raveonettes, <i>Pe’ahi
</i>– With this many studio albums under their belt as a dark,
percussion-driven duo, you have to credit Raveonettes with at least trying for
a richer and stranger sound this time out.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->143.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->… And You Will Know Us By the Trail of Dead, <i>IX – </i>Trail of Dead always tries to meld
various types of Yes, Mars Volta, and Tool prog-rock, sometimes successfully,
sometimes not so. The band has established an imaginary sci-fi historic world
rich with anime, and it’s always fun to go visiting, but the ninth album has
fewer new ideas.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->144.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Natalie Merchant, <i>s/t
– </i>At least her voice is not gone, albeit deeper, and she’s writing about
adult themes again. Several of these songs have substance, but also have
predictable trajectories.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->145.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Owls, <i>Two – </i>It
took Tim Kinsella a decade to make a second Owls album, but it’s still hard to
figure out what this band’s center of gravity is. I think I like it.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->146.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Chad Van Gaelen, <i>Shrink
Dust – </i>You have to hand it to Chad in being akin to Jandek or Daniel
Johnston, never compromising a weird sensibility and songwriting style. This
album is deliciously strange.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->147.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Ty Segall, <i>Manipulator
– </i>OK, OK, I like this, but still have my doubts about a lot of Ty’s work.
Give me time.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->148.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Odonis Odonis, <i>Hard
Boiled Soft Boiled – </i>A Toronto band that melds the strangest brew of punk,
industrial, and surf rock that you’re ever going to hear. An acquired taste,
but yummy.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->149.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->White Fence, <i>For
the Recently Found Innocent </i>– Somehow, I find I can like Ty Segall’s work
when it is within groups like WF or Sic Alps.
This one certainly merits a listen.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->150.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Sunn O)))) and Ulver, <i>Terrestrials – </i>A surprisingly soft and structured album from two
purveyors of metal noise. Unexpected.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->151.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Wytches, <i>Anabel
Dream Reader – </i>Some folks swear by these odd punk rockers. Maybe a bit immature right now, but Wytches
will be worth watching.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->152.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Prince, <i>Art
Official Age</i><o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->153.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Prince and 3rdeyegirl, <i>Plectrumelectrum – </i>Prince celebrates his return to Warners with two
distinctly different and fairly interesting albums, but it’s clear Prince is
mostly repeating himself these days, when he’s not mimicking everyone else.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->154.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Volcanoes, <i>Future
Sorority Girls of America – </i>Another fun-loving punky crew with a lot of
noise in the mix, providing hope for a new generation of crazy rock out there.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->155.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Sturgill Simpson, <i>Metamodern
Sounds in Country Music – </i>So the alt-country world went gaga over this guy
because he comes from a traditionalist background and talks about doing drugs.
Waylon Jennings et al did that years ago. Fact is, the songs on this album
aren’t all that ground-breaking or startling – it’s OK country, nothing more.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->156.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Sisyphus, <i>s/t – </i>Sufjan
Stevens’ latest project is a three-man hip-hop ensemble, but it doesn’t take
Sufjan’s efforts that far forward.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->157.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Robert Pollard and Teenage Guitar, <i>More Lies from the Gooseberry Bush – </i>Not as much diverse efforts as
the last Teenage Guitar, and more borderline songs.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->158.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Casper & The Cookies, <i>Dingbats – </i>When Casper & The Cookies are on point, the Athens,
GA band are as amazing as any experimental group out there. At other times, as with this album, they
simply sound too normal.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->159.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Cherry Glazerr, <i>Haxel
Princess – </i>CG is comprised of punk-rock princesses all in their teens, but
they ain’t The Runaways. Still a little amateurish, but fun to hear.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->160.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Clap Your Hands Say Yeah, <i>Only Run – </i>Poor Alec Ounsworth always gets picked on for being the
great hope of indy rock and then blowing it. It’s hard to call this album a
return to great form, but it’s certainly better than Clap Your Hands’ more
recent work.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->161.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Lily Allen, <i>Shezus
– </i>I loved this British surly bitch so much, but she started believing in a
Katy Perry/Miley Cyrus world, and became a mom at the same time. Consequently, <i>Shezus </i>is filled with silly party songs
that lead us mostly nowhere.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->162.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->The Kooks, <i>Listen
– </i>At least they make no bones about playing pure pop for now people. As
long as I’m including Kooks, I’m tempted to include Maroon 5 in the list,
because at the end of the day, I bash both but hum their tunes.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->163.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Circus Devils, <i>Escape
– </i>Last year, two Circus Devils albums were released simultaneously that had
some of the most experimental and ambitious pop music out there. This year, the Pollard/Tobias Circus Devils
outing is all ballads, and not that exciting.
It’s hard to understand what constitutes a Circus Devil.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->164.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->The Gaslight Anthem, <i>Get Hurt – </i>Brian Fallon always gets knocked for trying to bring too
much of a Springsteen or Mellencamp sound into his music. This was going to be
the sincere and sad album. In some ways it succeeded, but Fallon still tries
too hard.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->165.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Foxygen, <i>And Star
Power – </i>This duo is manic, and often rivals Todd Rundgren of the <i>Wizard/True Star </i>era for complexity, but
they suffer from extreme ADHD. Too many
unfinished ideas shooting around.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->166.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Marketa Irglova, <i>MUNA
– </i>Look, I want to cheer for the Czech waif from Swell Season and <i>Once, </i>but she’s really got to lose a
little of the hippie mysticism.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->167.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Real Estate, <i>Atlas
– </i>Why oh why do people go so bonkers over Brooklyn’s Real Estate? They have
carved out a 21<sup>st</sup>-century remake of 1970s Southern California soft
rock. So what?<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->168.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Eels, <i>The
Cautionary Tales of Mark Oliver Everett – </i>In which Mark remains stuck in
his “poor me” laments. Gawd, he can be
talented when he wants to be, but Gawd, does he need to get out of self-pity.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->169.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Justin Townes Earle, <i>Single Mothers – </i>JT’s got to work twice as hard to live up to his
dad’s legacy, let alone the whole Earle clan of Stacey, Emily, etc. This
sort-of-concept album fell flat, however.
A companion album is due in January, dedicated to <i>Absent Fathers, </i>but my expectations aren’t high.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->170.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Fanfarlo, <i>Let’s
Go Extinct – </i>Here’s the danger of concept albums: you can be a band like
Fanfarlo and come out with two focused exceptional albums, then reach for an
album-long concept on environmental devastation and come up with a poorly-executed
disappointment.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->171.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Manchester Orchestra, <i>Cope – </i>Manchester Orchestra’s stab at a total hard-rock album fell
flat, and it’s hard to believe these songs are the same ones as on <i>Hope.</i><o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->172.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Coldplay, <i>Ghost
Stories – </i>We were promised sincere stories about Chris’s breakup with
Gwyneth Paltrow, when what we really get is the flattest Coldplay album since
the band was formed.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->173.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Generationals, <i>Alix
– </i>Here’s a band like Lumineers whose popularity I largely don’t get.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->174.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Foster the People, <i>Supermodel
– </i>Only kept on the list because they’re occasionally fun.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->175.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Karen O, <i>Crush
Songs – </i>OK, Karen, lo-fi we can get, and sweet goofy songs are OK, but did
you really think this 28-minute knockoff would get anywhere? It might work for
Kimya Dawson, not so much for the woman who gave us Yeah Yeah Yeahs.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->176.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Pink Floyd, <i>Endless
River – </i>This only stays on the list in deference to David Gilmour. Scarcely
a Pink Floyd album, scarcely much of anything, and scarcely worth your time.<br />
<!--[if !supportLineBreakNewLine]--><br />
<!--[endif]--><o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.25in;">
NOTE: I elected not to include
the new albums from Weezer or Maroon 5 on this list, but if you want to indulge
in guilty pleasures, really, I won’t laugh.<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<br /></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<br /></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<br /></div>
<div class="MsoNormal" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<b><span style="font-size: 18.0pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) <o:p></o:p></span></b></div>
<div class="MsoNormal" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<br /></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.75in; text-indent: -0.25in;">
<!--[if !supportLists]-->1.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->Savages
and Bo Ningen, <i>Words to the Blind – </i>A
37-minute single-track live recording that only aces out The Dead C due to its
total audacity. Savages wanted to be the art-punk-feminist new political
vanguard, but issued a pretty conventional album in 2013. Lo and behold, they
release a dangerous EP in 2014, and this Dadaist experiment with Japanese poetry-noise
band Bo Ningen, which raises Situationist art attacks to new heights.<o:p></o:p></div>
<div class="MsoBodyText" style="margin-left: 0.75in; text-indent: -0.25in;">
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<!--[if !supportLists]-->2.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;"> </span><!--[endif]-->The
Dead C, <i>Live – The Twelfth Spectacle:
Arena/Permanent LSD/This Century Sucks/Year of the Rat – </i>New Zealand’s Dead
C has graced the improvisational music world with more exceptional studio
recordings than any band had a right to claim. Now the Grapefruit folks present
with a four-LP set of Dead C live recordings. Stunning.<o:p></o:p></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
3. <span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Icepick,
</span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Hexane – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A live recording on cassette
of one of the most thrilling new jazz trios in years, featuring Chris Corsano
on percussion. Essential.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">4</span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Fripp
& Eno, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Live in Paris May 28, 1975 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Quite
a surprise to see a set this good only surface after nearly 40 years. This is
the perfect blend of </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">No Pussyfooting </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">and
</span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Evening Star </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">epochs. Since filtering
could have removed the crowd noise, it seems apparent that Fripp and Eno wanted
to keep this in. The audience in St. Etienne on this tour booed and walked out,
so maybe the message is that apparently enlightened audiences from any era can
act just as idiotic as the audiences that booed the electric Dylan. (Hey, wait,
didn’t Neil Young get a lot of boos during the </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Living With War </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">tour? Case closed.)</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">5. </span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">OctaGrape/Trumans
Water/Permanent Makeup, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Lotions &
Creams – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Former Trumans Water vocalist Glen Galloway has been garnering
plenty of attention for his vibrant new band Octagrape. Multiple accolades to
Galloway this year for helping to pull together his Trumans cohorts for a brief
U.S. tour, and for getting both bands, along with tour mates Permanent Makeup,
to offer new studio songs in a special tour-only tape. A universe in which
Trumans Water exists in any form is a far richer universe.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">6.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Xiu
Xiu, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">There is No Right, There is No Wrong
– </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Xiu Xiu released two special albums on Record Store Day to mark the
alleged death of Xiu Xiu. This massive two-LP-plus-CD set has remastered
versions of all the best Xiu Xiu songs, and a CD of rarities and unreleased
work that includes some great vocals from Caralee McElroy. A must for Xiu Xiu
fans.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">7.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Antony
& The Johnsons, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Turning – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">What,
another live Antony Hegarty album? Well, this one is more intimate, with a
smaller string ensemble than </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Cut the
World, </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">and it also includes a DVD of a film by Charles Atlas, which is a
manifesto and documentary on Antony’s inscrutable ideas on transgenderism and
linguistics. Don’t try to understand it all, just absorb.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">8.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Tom
Carter and Jackie-O Motherfucker, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Split
Hopland – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Both sides on this odd little LP are essential. Tom Carter
provides one of his best live sets with Helena Espvall, while Jackie-O returns
to free jazz with a brass and woodwinds ensemble featuring Lemon Bear.
Exceptional.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">9.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Anais
Mitchell, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">xoa – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Shortly after having
her baby, Anais went into the studio with Gary Paczosa to record new versions
of 15 songs, some from previous albums, some unreleased. The result is
transcendent. It’s hard to make it through a beautiful song like “Out of Pawn”
with a dry eye</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">10. </span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Vibracathedral
Orchestra, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">REC-REH 13 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Even if
Bridget Hayden tweets on occasion, “What was I thinking, getting back with
these mad dogs?”, the return of VCO is a cause for intense celebration. The
release of this CDR just before the group’s British gigs in February 2014 made
us realize how much we missed in VCO’s absence.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">11.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Mark Kozelek, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Live at Biko – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">This almost serves as a
live chronicle of Sun Kil Moon’s </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Benji, </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">along
with other assorted songs. And Kozelek gives us several deadpan jokes about
aging, without getting to the annoying point he reached in the notorious “War
On Drugs Can Suck My Dick” YouTube.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">12.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Bob Dylan, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Basement Tapes Raw/Complete – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Even for
those who owned the 1976 double-record version of the notorious Big Pink tapes,
the two-CD version serves up bonus songs and alternate takes that make it worth
the purchase. </span><b style="font-size: 12.8000001907349px; text-indent: -0.25in;">Bonus Edition Handicap: </b><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">I
suppose there are people that would want the six-disc edition of Basement
Tapes. There are also people who collect every possible Grateful Dead
performance. Doesn’t make it right.\</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">13.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> New Basement
Tapes, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">s/t – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">This effort was akin to
what Nora Guthrie did with Wilco, Billy Bragg, Jay Farrar, and Jonatha Brooke,
for reinterpretations of Woody Guthrie poems. T-Bone Burnett talked with Bob
Dylan about some of the Basement Tapes-era material that was never recorded,
then recruited such stalwarts as Elvis Costello, Marcus Mumford, and Jim James
to turn them into songs. Nothing earth-shattering, but fun blues and ramblin’
tunes showing Dylan’s more humorous side.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">14.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Jonatha Brooke, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">My Mother Has 4 Noses – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Speaking of Jonatha
Brooke, the woman never ceases to amaze. She wrote and performed in a one-woman
play about her mother’s final two years of life in deteriorating health. Then
she releases a companion soundtrack/studio CD. Heartbreaking, beautiful.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">15.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Game Theory, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Blaze of Glory – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">This is a re-release of
a first album that almost no-one outside Sacramento or San Jose ever saw. It
counts as more than a re-release because a download card is included with several
unreleased Scott Miller/Game Theory tunes, a bargain if ever there was one.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">16.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Xiu Xiu, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Unclouded Sky – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">The second of the two
Xiu Xiu Record Store Day releases, this one has Jamie performing stripped-down
late-19</span><sup style="text-indent: -0.25in;">th</sup><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">-century spirituals in Sigur Ros’s studio. Strange and
beautiful.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">17. </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Ought, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Live at the Bowery, Oct. 14, 2014 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A
first-class live set from the folks at NYCtaper, one capturing the band as it
is bursting into fruition.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">18.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Tindersticks, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Ypres – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A special instrumental
installment piece that the band put together to commemorate the centennial of
nerve gas attacks in Ypres, Belgium in WW1. Grim but breathtaking.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">19l.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Death of
Samantha, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Live at Baby’s All Right, May
29, 2014 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Doug Gillard brought Death of Samantha back for a stunning
reunion set in NYC last spring, and the NYCtaper files make for great
listening.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">20.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Whiskey Bitches,
</span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Live at CMJ, Oct. 23, 2014 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">There
are many great bootlegs out there documenting why Whiskey Bitches are one of
the new NY “it” bands, but this one is the most vibrant.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">21.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Peter Gabriel, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Scratch My Back – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Finally, after putting
out an album where he covers several artists, many of the artists return the
favor. </span><b style="font-size: 12.8000001907349px; text-indent: -0.25in;">Bonus Edition Handicap: </b><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">For
those missing the original effort, the covers and covered are available as a
2-CD set.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">22.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Bill Orcutt, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">VDSQ Vol. 10 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">It’s hard to determine
when Bill Orcutt is doing a special vs. a standard studio recording, but this
special collection of Orcutt’s oddball interpretations of American classics is
a curated classic worth hunting down.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">23.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Bruce
Springsteen, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">High Hopes – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">This is
sort of Bruce’s </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Odds and Sods </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">album,
a collection of songs he’s always played but never committed to a proper album.
There are some great moments here, to be sure, but it’s a hit and miss
proposition.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">24.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Peter Hammill, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">All That Might Have Been – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Best
interpreted in its 3-CD version, there are both songs and continuous tracking
“cine-album” versions of his recent work. He treats the movie soundtrack as the
primary vehicle, but it explains a lot to hear the source material of discrete
songs.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">25.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Richard
Thompson, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Acoustic Classics – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">In
which Thompson enters a studio with a guitar and gives us the Unplugged version
of his best songs.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">26.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Alvarius B and
Sir Richard Bishop, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">If You Don’t Like It,
Don’t! – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A special Record Store Day gatefold LP of one side of live
Alvarius B, one side of live SRB, some of their best recent work.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">27.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Bardo Pond, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Shone Like a Ton – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A proper vinyl
edition of an almost impossible to find ancient cassette session.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">28.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Flaming Lips, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">With a Little Help From My Fwends – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Wayne
set out to re-make </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Sgt. Pepper’s Lonely
Hearts Club Band </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">with an all-star cast of thousands, but even though he
provided some of the obligatory Flaming Lips noise, he never veered that far
from the original. It gets better with repeated listens, but is not the kind of
groundbreaker that FL’s cover of </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Dark
Side of the Moon </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">was.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">29.</span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Astral Social
Club, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Live in Antwerp </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">– As if the
sprawling </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Fountain Medication
Transmissions </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">wasn’t enough, Campbell provides us with a taste of a
downloadable and wild ASC live show.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">30.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Gram Parsons, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Alternate Takes – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A 2-LP collection of
alternate takes from </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">GP </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">and </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Grievous Angel. </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">While not an essential
offering, it’s a special treat for fans.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">31.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Kinks, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Anthology
1964-71 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">With all the Kinks compilation material out there, you’d think a
five-disc set would be scraping the bottom of the barrel, but there’s actually
a lot of good keeper material.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">32.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Bardo Pond, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Refulgio – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A 2-LP set of single B-sides
and oddities, largely from the 1990s, that have not had a decent release until
now.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">33.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Swearing at
Motorists, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">An Intimate Evening at
Hasenschaukel – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">One of the few informal live sets available of Dave
Doughman since he’s settled down and become a dad, this one is endearing for
its friendly silliness.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">34.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Tuxedomoon, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Pink Narcissus – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">The San Francisco
legends come back for the first time in years to record a soundtrack to a 1971
cult film, a beautiful instrumental suite.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">35.</span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> Vibracathedral
Orchestra, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Live at Café Oto, February
2014 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A beautiful chronicle
of VCO’s return to the living, as droney and as unexpected as ever.</span></div>
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">36.</span><span style="text-indent: -0.25in;"><span style="font-size: xx-small;"> </span></span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> Neil Young, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">A Letter Home – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">I appreciate what Neil
was trying to do with Jack White here, record in a primitive sound booth a
suite of popular standards as a gift to his dead parents. But this effort is so
lo-fi it’s almost unlistenable. Hard to know why Young thought this was a good
idea.</span></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.75in; text-indent: -0.25in;">
<o:p></o:p></div>
<div class="MsoBodyText" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<br /></div>
<h2 style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 16px;">
<span style="font-size: large;">Singles and EPs </span><span style="font-size: 14pt; font-weight: normal;"><o:p></o:p></span></h2>
<div class="MsoNormal" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<br /></div>
<div class="MsoNormal" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<br /></div>
<div class="MsoNormal" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.25in;">
<br /></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->1.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Christina Carter, <i>Character
Study – </i>The ethereal otherworld diva continues her evolution from guitar to
spoken word with a combination chapbook and vinyl release featuring poetry as
only Christina can convey it.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->2.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Diane Cluck, <i>Boneset
– </i>Some might say this should be disqualified as a reimagining of last
year’s <i>fall.tour.songs </i>EP, but the
new arrangements are so stellar, and the 10” vinyl such a physical pleasure to
behold, that we’ll bend the rules a bit.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->3.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Halsey, <i>Room 93 –
</i>The slightly slutty mystery woman who’s a hybrid of Elle Goulding and Lana
Del Rey issues her first EP in the physical form of a hotel key. Really, what
else do you need to know?<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->4.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Octagrape, <i>Major
Mayor Maxion Marble – </i>Glen Galloway and his mad San Diego ensemble dredge
out four ultra-obscure cover tunes and give them the Octagrape style makeover.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->5.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Lydia Loveless, <i>Boy
Crazy – </i>As good as her last two albums, but containing songs on no album.
Lydia just keeps smacking the balls right out of the stadium.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->6.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->St. Vincent, <i>Pieta
– </i>Two songs that should have been on the most recent album, but make a nice
little holiday season extra.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->7.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Frightened Rabbit, <i>Live
at Criminal Records – </i>The reason we never get tired of Frightened Rabbit
live recordings is because Scott and company have developed such a reputation
for fine sullenness.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->8.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Liars, <i>Mess On a
Mission – </i>Perhaps the visually coolest offering from the April Record Store
Day, this single is printed in transparent vinyl with embedded colored yarn
throughout. And yeah, the music is a great extension of <i>Mess.</i><o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->9.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]-->Speedy Ortiz, <i>Real
Hair -- </i> Right now, you’re either on
the Speedy Ortiz circuit and must pick up everything they release, or you have
yet to attain enlightenment.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in; text-indent: -0.25in;">
<!--[if !supportLists]-->10.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Adam Clark, <i>A Simple Equality – </i>This British
lyricist and song stylist brings together influences from all over the map and
the decades, but emerges with songs that sound like no one else.<o:p></o:p></div>
<div class="MsoBodyTextIndent" style="margin-left: 0.5in; text-indent: -0.25in;">
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<!--[if !supportLists]-->11.<span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal;">
</span><!--[endif]--> Esme Patterson, <i>Woman to Woman – </i>A concept EP about
re-imagining famous tunes from the woman’s point of view, from the singer who
brings the shake to Paper Bird, and to Shakey Graves as well.<o:p></o:p></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">12.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Mogwai, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Music Industry-3, Fitness Industry-1 – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Mogwai
has developed a reputation of issuing an EP or a remix album at the end of
years in which the band releases major studio works. This year was no
exception, with an EP that contained both new songs and remixes, intended as an
augmentation of </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Rave Tapes.</i></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">13.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;">
</span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Neil Campbell/Michael Flower, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Wharf Cat – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Campbell and Flower love
multimedia mixes in releases, and this new one combines a 7” record, a CD, and
a hand-printed book of silkscreened paintings, probably reproduced using a letterpress
or windmill press. Fancy.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">14. </span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Jake Bugg, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Live at Silver Platter – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A brief set
issued for Record Store Day, one to keep our appetites sated between albums.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">15.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Ashley Paul, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">White Night – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">A cassette EP release,
vastly different from her </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Heat Source </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">album,
yet wildly experimental all the same.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">16.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Lydia Loveless,
“Blind”/”Mile High”—Another exclusive single, another bit of perfection.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">17. </span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Bardo Pond, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Looking for Another Place – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">The second
in a trilogy of 12” singles for Record Store Day, this one features extended
covers of Eno’s “Here Come the Warm Jets” and Velvet Underground’s “Ride Into
the Sun.” Intriguing.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">18. </span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Savages, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Fuckers/Dream Baby Dream – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Someone who
sets out to be as challenging as Savages may find that a single called
“Fuckers” no longer shocks anyone, but it’s still an impressive EP.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">19.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Ryan Adams, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Vampires – </i><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Intended as the doppelganger
to the self-titled album released in 2014, this EP is low-fi buzz punky stuff,
which makes it more interesting than his second EP, listed below.</span></div>
<div style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px;">
<span style="font-size: 12.8000001907349px; text-indent: -0.25in;">20.</span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;"> </span><span style="font-size: 12.8000001907349px; text-indent: -0.25in;">Chvrches, </span><i style="font-size: 12.8000001907349px; text-indent: -0.25in;">Recover</i></div>
<span style="font-size: 13px; font-stretch: normal; line-height: 16px; text-indent: -0.25in;"><span style="font-family: lucida grande, tahoma, verdana, arial, sans-serif;">21.</span></span><span style="font-family: 'Times New Roman'; font-size: 7pt; font-stretch: normal; line-height: normal; text-indent: -0.25in;"> </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Chvrches, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Under the Tide – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Two fascinating 12” EPs to augment last year’s
album, both worth owning for the remixes within.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">22.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Haim, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Forever – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Fans of Haim’s first album
were hoping this song would be placed on a 12” dance single, where it belonged.
The wish came true.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">23.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Dodos, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Substance – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Two songs from </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Carrier </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">get re-imagined with help from
Magik*Magik Orchestra.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">24.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Cults, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Upstairs at United – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">I love it that
Nashville’s United studio is getting new life in special sessions, but after
hearing three of the </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Upstairs </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">series,
I’m convinced that analog/analog/analog recording methods ain’t necessarily
better than partial or full digital. It works well with Cults, however.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">25.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Loamlands, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Same Kind of Light – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">An interesting new
band touring with Mountain Goats offer up their first recordings.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">26.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">The Notwist, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Run Run Run – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">A nice 12” dance remix EP
from the new album.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">27.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Game Theory, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Distortion</i><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">28.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Game Theory, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Pointed Accounts of People You Know – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Two impossible to find EPs
from the 1980s by Scott Miller’s legendary band are given new life as 10”
records.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">29.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Arctic Monkeys, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Who the Fuck Are Arctic Monkeys? – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">While
this may not be the finest EP/single Arctic Monkeys have ever produced, it
gives us four solid songs in between album releases.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">30.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Guided by
Voices, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Littlest League Possible</i><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">31.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Guided by Voices, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Planet Score</i><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">32.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Guided by Voices, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Alex and the Omegas</i><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">33. </span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Guided by Voices, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Vote for Me, Dummy</i><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">34. </span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Guided by Voices, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Save the Company – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">This may well be the last multi-single batch of
GbV singles that ever come out, and it’s a good batch.</span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Don’t snooze.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">35.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Devo, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Gates of Steel – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">A fun and interesting
Record Store Day project.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">36.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Cage the
Elephant, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Take It Or Leave It </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">– This
band is growing into such an interesting and unique pop project, it’s exciting
to see any single come out.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">37.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Bardo Pond, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Without a Doubt – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">A new 45 rpm 7” that
almost got overlooked in all the Bardo Pond re-releases of 2014.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">38.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Bis, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Minimum Wage – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">The British “teentsy-pop”
wonders of the late 1990s have returned as middle-agers, and they’re growing
old gracefully.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">39.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Low Fat Getting
High, </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Poor Circulation – </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">A spring
2014 teaser to the album that came out in November, establishing LFGH as
Brooklyn’s finest punk band.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">40.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Iggy Azalea,
“Fancy” – Of course this needed to be listed along with the album, thanks to
the presence of Charli XCX.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">41.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Mogwai, “Tell
Everybody I Love Them” – Along with the </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Music
Industry </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">EP, we got a non-album single to augment our </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Rave Tapes.</i><br />
<i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">42.</i><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><i style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </i><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">The Decemberists, “Make You Better” – A
teaser single for the new album due in January 2015.</span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Should be good, based on this.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">43.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Ryan Adams, “Do
You Laugh When You Lie?” – More an extension of the self-titled album than a
lo-fi punk side project, but decent.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">44.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Passenger Peru,
“Light Places” – Another teaser for a 2015 album, this shows PP getting richer
and more layered, should be a good year for them coming up.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">45.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Conor Oberst,
“Hundreds of Ways” – There were many great outtakes left off the exceptional
2014 solo album, here’s an example.</span><br />
<span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">46.</span><span style="font-size: 7pt; font-stretch: normal; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;"> </span><span style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; text-indent: -0.25in;">Regina Spektor,
“You’ve Got Time” – Our Russian chanteuse has been quiet of late, so here’s a
little single to hold us off until the next go-round.</span></div>
<div class="MsoBodyTextIndent" style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin-left: 0.5in;">
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<o:p></o:p></div>
<br />
<div class="MsoBodyTextIndent" style="margin-left: .5in;">
<br /></div>
</div>
</div>
<div>
<ol style="font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; font-size: 12.8000001907349px; line-height: 16px; margin: 10px 0px 10px 5px; padding: 0px 0px 0px 10px;">
</ol>
</div>
Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com1tag:blogger.com,1999:blog-2850977918787367334.post-66523269939074284632014-04-17T09:53:00.000-07:002014-04-17T09:53:12.494-07:00Dark They Were, and Google-Eyed<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfkVE9bVAQ_u2NGXUsK9PMhzCIEhyluv8WI03P2Zw5gUErt4nnQw_YtskV6FWNUcKa6LOIMAoZWQZfeWXCZqCuGH7_aC849J3Z3s0Fq1L0CCPq8B7TmmeGC8p6jwM3SNsnS91eX0pZ4HI/s1600/168955497.jpg.CROP.rectangle3-large.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><br /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_E_QGidkS4L5UudGcayvUGkDPpyWxbymzwhmhbcqT72VXjGQdHlEGbO6DEtPekTokdYDxJ_cMcLQw1YYkpaFCbdLQS9rlnUce27IeAYw2d7NJBlJoIIsZqc59GTKha85xxcB46vUAw8g/s1600/168955497.jpg.CROP.rectangle3-large.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh_E_QGidkS4L5UudGcayvUGkDPpyWxbymzwhmhbcqT72VXjGQdHlEGbO6DEtPekTokdYDxJ_cMcLQw1YYkpaFCbdLQS9rlnUce27IeAYw2d7NJBlJoIIsZqc59GTKha85xxcB46vUAw8g/s1600/168955497.jpg.CROP.rectangle3-large.jpg" height="194" width="320" /></a></div>
I was chatting with Hadar from Medtronic and Anthony from Lucky Shot Media the other night, not long after I had watched someone at a restaurant casually wearing and using Google Glass (no, I did not shout "Glasshole!" and run). We talked of how strange it was that Google went out of its way to acquire companies in the robotics, drone, and self-organizing intelligence software fields that were military-related. If Google intended to compete with Amazon's drones, it could have sought out equivalent commercial companies in these fields, but no, Google apparently wanted to be seen as a military contractor. <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX7CUwDavuyvwX4-S9G6SBMc-0DZNLM0ywP4JexPgzA0IiogeJ4TMYQtiUg8M6CTgsBG9CS9JtlnHDrmB9n5fP6wc1xcpz9PLvxsM4XgTQT7uF7Zi3JVqA7hSxW4_ioxA7fUaC7M77gxU/s1600/Darkgold.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjX7CUwDavuyvwX4-S9G6SBMc-0DZNLM0ywP4JexPgzA0IiogeJ4TMYQtiUg8M6CTgsBG9CS9JtlnHDrmB9n5fP6wc1xcpz9PLvxsM4XgTQT7uF7Zi3JVqA7hSxW4_ioxA7fUaC7M77gxU/s1600/Darkgold.jpg" /></a></div>
Anthony pointed to an<a href="http://www.hemispheresmagazine.com/2014/04/01/ifs-ands-and-bots/"> article in United Airlines' Hemispheres</a> magazine, of all places, warning that Google was cornering the market on creepy robots. The awareness is everywhere, lurking just beneath the surface. Even though we once thought of Android as an open alternative to Apple's iPhone closed garden, Google's acquisition of Motorola Mobility now means that when you boot up a Droid phone, it says Google everywhere. There is no app launch without Google, no deep data-mining without Google, hell, no NSA without Google.<br />
<br />
And now comes word that <a href="http://www.cnet.com/news/after-google-glass-google-developing-contact-lens-camera/">Google's successor to Google Glass will be a contact lens</a>. Most models seem to utilize gold foil in particular places. And suddenly I see the "Divergent" film series before my eyes, I am reading Ray Bradbury's short story 'Dark They Were and Golden Eyed' (perhaps on a Kindle embedded on a contact lens), and the golden-eyed ones are everywhere, armed and extremely dangerous. And we worried about Apple's omniscience. We worried about drones owned by JSOC. Where is the Sarah Connor who can take down Google?<br />
<br />
But Eric Schmidt insists, over and over, that his company will do no evil. By the time that slogan changes, Google will have embedded a disclaimer in every eyeball that mere use of a search engine or an Android environment prevents the user from initiating litigation, committing said user to binding arbitration. And by then it will be too late, like the last moments of carbon monoxide poisoning. Oh, by the way, the Blogspot host for Iconocurmudgeonclast is Google, and all image and video searches for this post were made using Google. We love you, we love you, of course we do.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<object width="320" height="266" class="BLOGGER-youtube-video" classid="clsid:D27CDB6E-AE6D-11cf-96B8-444553540000" codebase="http://download.macromedia.com/pub/shockwave/cabs/flash/swflash.cab#version=6,0,40,0" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/pfUZDzEN_I0/0.jpg"><param name="movie" value="https://youtube.googleapis.com/v/pfUZDzEN_I0&source=uds" /><param name="bgcolor" value="#FFFFFF" /><param name="allowFullScreen" value="true" /><embed width="320" height="266" src="https://youtube.googleapis.com/v/pfUZDzEN_I0&source=uds" type="application/x-shockwave-flash" allowfullscreen="true"></embed></object><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBJxgyXBME2BvGx-zXBX5CVZeW_PSUPlOc8F7zBVF8UQyTWDzRNIyPnsMiARsS3kJnc2v1-3_qyE1r63aBun0JvHiiMNScQWbVB6rMQdb2iALZhMqQTYCHZW6URF8NTNaO1NGLzdceMyw/s1600/Samsung_Contact_Lens_Computer.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBJxgyXBME2BvGx-zXBX5CVZeW_PSUPlOc8F7zBVF8UQyTWDzRNIyPnsMiARsS3kJnc2v1-3_qyE1r63aBun0JvHiiMNScQWbVB6rMQdb2iALZhMqQTYCHZW6URF8NTNaO1NGLzdceMyw/s1600/Samsung_Contact_Lens_Computer.jpg" height="125" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYjCvNAZ8YdZWUbnITlDlX75xGVOhx-W0DdmOQga_dJLpvXHyVCT6h1-s1ZQcxZD8YIDvu2lpGln_eqKZsZwVThcrCvBJV3RjWz2o47FKzX040Xk-PGqMmONn5FdG-cWGZtfP0fDFuchw/s1600/darkgoldbook.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYjCvNAZ8YdZWUbnITlDlX75xGVOhx-W0DdmOQga_dJLpvXHyVCT6h1-s1ZQcxZD8YIDvu2lpGln_eqKZsZwVThcrCvBJV3RjWz2o47FKzX040Xk-PGqMmONn5FdG-cWGZtfP0fDFuchw/s1600/darkgoldbook.jpg" /></a></div>
<br />Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-50288976993050500252014-01-31T07:37:00.000-08:002014-01-31T07:37:28.497-08:00Citizenship Rules for a Fake-Sentient Species<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTjIQVWXlQG8tvkgVa4exP2lOksPQuY0agbctXQoejdNhyyt347QCXtN44atUx2ddM742JJeCpp1KjuYjJJ0dik3NuZiQ6ge0D3QwCvWadfYU95M5hpz9Vi6TKy1lHEbYFpM_nOtNP_4Q/s1600/lancelink.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTjIQVWXlQG8tvkgVa4exP2lOksPQuY0agbctXQoejdNhyyt347QCXtN44atUx2ddM742JJeCpp1KjuYjJJ0dik3NuZiQ6ge0D3QwCvWadfYU95M5hpz9Vi6TKy1lHEbYFpM_nOtNP_4Q/s1600/lancelink.jpg" height="240" width="320" /></a></div>
With all the recent talk about boycotts of Italy and Israel, people often ask me, "What right do you have to speak of X?", which makes me realize I have some core concepts of being an active global citizen that may completely confound or confuse others. Below are some of my first principles for responsible <i>homo sapien </i>citizenship, keeping in mind that I still adhere to the doctrine of Very Low Expectations, since not many are willing to make such leaps. Feel free to criticize - in fact, the closer friend you are, the more I would expect you to chide me mercilessly.<br />
<br />
<b>1. </b>We do not pass many tests for sentience to begin with. There have not been that many evolutionary steps beyond the opposable thumb, and we will go mad looking for transcendent behavior in such a silly species. If we're going to boycott, let's begin with the species, not the nation-state. <b>1A Corrollary: </b>The nation-state, as well as the supranational organization, is the most artificial of any creation, and deserves less loyalty and more skepticism than the tribe or community.<br />
<br />
<b>2. </b>Your best friend, lover, family member, or member of tribe, race, or nation-state, does not deserve an excuse or a free pass. In fact, you should hold those closest to you to <b>higher </b>standards of behavior than strangers or adversaries. When you observe inappropriate behavior among members of your in-group, you can approach them quietly and privately at first, but if there is little response, don't be afraid to name and shame. Even if - especially if - they're members of your family or your tribe. No free passes, ever.<br />
<br />
<b>3. </b>China and Russia will be particularly incensed to learn that there is no such thing as an "internal affair." Every law passed by a municipality or nation-state, and every act by a state, including fully covert acts of intelligence agencies, is subject to critique by every citizen of the planet. (It should be obvious that this applies to the U.S. as well.) If a nation passes a law banning gays or quashing dissent, a global effort to boycott is fully appropriate, and no pleadings for special circumstances are legitimate. I don't care if you're an Islamic Republic or a "big-man" animist dictatorship, one standard of human rights applies for all homo sapiens.<br />
<br />
<b>4. </b>On matters of justice, crime and punishment, the notion that an individual should be tried according to the nation-state in which the crime took place, only applies to a point. All nation-states should follow rules of evidence, procedure, and presumed-innocence similar to general ABA guidelines - which is not to say that American-style justice is an appropriate global standard. It is only to point out that Italy, most Arab nations, and many Southeast Asian and African nations, do not adhere to an Enlightenment rule of law. No one should be tried for drug laws in Singapore or for protests laws in Bahrain, for example - including citizens of those nations.<br />
<br />
<b>5. </b>If you are going to be a critical global citizen, think about the adage "Cruel But Fair." If you resort immediately to the ad-hominem name-calling attack, and insist that "All (members of X group) are bad," you only expose your ignorance and prejudice. Be specific and address problems directly to the person responsible for the problems. Do not shirk from calling someone out for doing wrong. They may hate you today, but they will likely thank you later - and if they don't, they probably do not deserve to be friends or comrades.Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-30526139136255163482013-12-31T07:20:00.000-08:002013-12-31T07:20:58.124-08:00The List 2013<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:TargetScreenSize>800x600</o:TargetScreenSize>
</o:OfficeDocumentSettings>
</xml><![endif]--><br />
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>X-NONE</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
</w:Compatibility>
<w:BrowserLevel>MicrosoftInternetExplorer4</w:BrowserLevel>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="false"
DefSemiHidden="false" DefQFormat="false" DefPriority="99"
LatentStyleCount="371">
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="0" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index 9"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" Name="toc 9"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="header"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footer"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="index heading"/>
<w:LsdException Locked="false" Priority="35" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of figures"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="envelope return"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="footnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="line number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="page number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote reference"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="endnote text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="table of authorities"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="macro"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="toa heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Bullet 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Number 5"/>
<w:LsdException Locked="false" Priority="10" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Closing"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Signature"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Body Text"/>
<w:LsdException Locked="false" Priority="0" SemiHidden="true"
UnhideWhenUsed="true" Name="Body Text Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="List Continue 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Message Header"/>
<w:LsdException Locked="false" Priority="11" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Salutation"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Date"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text First Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Note Heading"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Body Text Indent 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Block Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Hyperlink"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="FollowedHyperlink"/>
<w:LsdException Locked="false" Priority="22" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Document Map"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Plain Text"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="E-mail Signature"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Top of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Bottom of Form"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal (Web)"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Acronym"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Address"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Cite"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Code"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Definition"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Keyboard"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Preformatted"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Sample"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Typewriter"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="HTML Variable"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Normal Table"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="annotation subject"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="No List"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Outline List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Simple 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Classic 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Colorful 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Columns 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Grid 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 4"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 5"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 6"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 7"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table List 8"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table 3D effects 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Contemporary"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Elegant"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Professional"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Subtle 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 1"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 2"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Web 3"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Balloon Text"/>
<w:LsdException Locked="false" Priority="39" Name="Table Grid"/>
<w:LsdException Locked="false" SemiHidden="true" UnhideWhenUsed="true"
Name="Table Theme"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" SemiHidden="true" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" QFormat="true"
Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" QFormat="true"
Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" QFormat="true"
Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" QFormat="true"
Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" QFormat="true"
Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" QFormat="true"
Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" SemiHidden="true"
UnhideWhenUsed="true" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" SemiHidden="true"
UnhideWhenUsed="true" QFormat="true" Name="TOC Heading"/>
<w:LsdException Locked="false" Priority="41" Name="Plain Table 1"/>
<w:LsdException Locked="false" Priority="42" Name="Plain Table 2"/>
<w:LsdException Locked="false" Priority="43" Name="Plain Table 3"/>
<w:LsdException Locked="false" Priority="44" Name="Plain Table 4"/>
<w:LsdException Locked="false" Priority="45" Name="Plain Table 5"/>
<w:LsdException Locked="false" Priority="40" Name="Grid Table Light"/>
<w:LsdException Locked="false" Priority="46" Name="Grid Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="Grid Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="Grid Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="Grid Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="Grid Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="Grid Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="Grid Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="Grid Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="Grid Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="Grid Table 7 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="46" Name="List Table 1 Light"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark"/>
<w:LsdException Locked="false" Priority="51" Name="List Table 6 Colorful"/>
<w:LsdException Locked="false" Priority="52" Name="List Table 7 Colorful"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 1"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 1"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 1"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 1"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 1"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 1"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 2"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 2"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 2"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 2"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 2"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 2"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 3"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 3"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 3"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 3"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 3"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 3"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 4"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 4"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 4"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 4"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 4"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 4"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 5"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 5"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 5"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 5"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 5"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 5"/>
<w:LsdException Locked="false" Priority="46"
Name="List Table 1 Light Accent 6"/>
<w:LsdException Locked="false" Priority="47" Name="List Table 2 Accent 6"/>
<w:LsdException Locked="false" Priority="48" Name="List Table 3 Accent 6"/>
<w:LsdException Locked="false" Priority="49" Name="List Table 4 Accent 6"/>
<w:LsdException Locked="false" Priority="50" Name="List Table 5 Dark Accent 6"/>
<w:LsdException Locked="false" Priority="51"
Name="List Table 6 Colorful Accent 6"/>
<w:LsdException Locked="false" Priority="52"
Name="List Table 7 Colorful Accent 6"/>
</w:LatentStyles>
</xml><![endif]-->
<br />
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: 12.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span></span><span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>2013 seemed
destined at first to be a slump year, one of the first with a smaller number of
releases in nearly two decades, until a mad rush in the fourth quarter pushed
the number of worthy albums into the three-figure bracket. Once more, women
dominated the playlists, particularly in the categories of truly memorable
work. A handful of stellar works by Laura Marling, Civil Wars, Richard Buckner,
Circus Devils, were balanced by dozens of decent but less remarkable works.
There was definitely a feel of “reunion fatigue” in the air, with few reunions
of old-timers outside of The Replacements causing much excitement. </span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Two releases were kept off on purpose. Sky
Ferreira got ranking from several critics in 2013, but her “Night Time Right
Time” album has an official street date of Jan. 7, 2014. Come back next year
for a ranking. Beyonce got a lot of downloads for her December “secret” album,
but I only go so far in following divas. (And as for R. Kelly, well he’s just
vile.)</span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Our Specials section, as always, does not
list reissues that do not add new content. I didn’t include Swans’ <i style="mso-bidi-font-style: normal;">Not Here Not Now </i>because I couldn’t
score a copy – too rare. </span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Please remember that close to a thousand
mainstream and indie albums are released annually, and this 150 or so represent
the ones worth hearing.<span style="mso-spacerun: yes;"> </span>Sure, there are quality
gradients between the top ten and bottom 20, but anything that makes this list
is worth your perusal.</span></div>
<div class="MsoNormal">
<span style="font-size: 14.0pt; mso-bidi-font-size: 10.0pt;"><span style="mso-spacerun: yes;"> </span>Next year should start out righteously
with new releases from Springsteen, Mogwai, A Silver Mt. Zion, Xiu Xiu, and
hopefully the long-overdue Psycho Sisters release. Let’s make a passing toast
to the incomparable Lou Reed and all the others who left us in a year that may
not have been stellar, but definitely had its moments.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<h1>
<span style="font-size: 16.0pt;">Regular Studio Albums, 2013</span></h1>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span>Laura
Marling, <i style="mso-bidi-font-style: normal;">Once I Was An Eagle</i> – This
was a shoo-in for the top slot from the first listen. Marling is only 23, but
has three previous albums to her credit, all decent in their own right. But
this time, she collaborated with Ethan Johns to create song cycles and medleys
in a Kate Bush fashion, using a husky voice midway between Joni Mitchell and
Nina Simone. And the songs – most songwriters don’t have the maturity to write
like this when they’re 60. An astonishing work.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span>The
Civil Wars, <i style="mso-bidi-font-style: normal;">s/t </i>– This album
apparently is a last will and testament for a stunning duo, though Joy and John
Paul still may find a way to work together in the future. The inclusion of a
few cover songs means they might have had to scrape the bottom to complete a
full album, but what the heck, we needed a studio version of Civil Wars’ cover
of Smashing Pumpkins’ “Disarm,” anyway.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span>Richard
Buckner, <i style="mso-bidi-font-style: normal;">Surrounded </i>– Buckner’s
traditional cryptic lyrics and plaintive cries get some great engineering
treatments from Tucker Martine, with the result being his oddest and maybe
greatest since <i style="mso-bidi-font-style: normal;">Impasse. </i>It really
doesn’t matter if we can’t figure out what the hell he’s talking about, as long
as it sounds great and makes us cry.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span>The
Invisible Hands, <i style="mso-bidi-font-style: normal;">s/t </i>– Alan
Bishop/Alvarius B of the Sun City Girls gets together with some Egyptian
musicians to produce an album that is surprisingly melodic and anthem-rocking.
It is imperative that you hear the double-album of English and Arabic lyrics,
so you can appreciate just what a special band this is.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span>Julia
Holter, <i style="mso-bidi-font-style: normal;">Loud City Song – </i>OK, now I’m
going to have to go back and find her bedroom tapes, because this woman is just
<i style="mso-bidi-font-style: normal;">scary </i>good. Nothing to compare her
to, really – Laurie Anderson? Amy X. Neuburg? Nah, not really. Julia is
outer-galactical free-jazz vocals. She may get ethereal from time to time, but
the dream-wave cover of Barbara Lewis’s “Hello Stranger” forgives all sins.
Seems like a mighty long time.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span>They
Might Be Giants, <i style="mso-bidi-font-style: normal;">Nanobots </i>– The
once-great duo had been diddling around between kids’ albums and not-so-great
adult albums for the last decade or so, so it was almost shocking to hear a
topical album with great riffs that comes close to rivaling the 1990 classic, <i style="mso-bidi-font-style: normal;">Flood. </i>What a treat to have memorable TMBG
releases again.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";"> </span></span>Johnny
Marr, <i style="mso-bidi-font-style: normal;">The Messenger – </i>We could give
Johnny demerits for waiting 25 years to do a solo album, but when the lead
guitarist of The Smiths and second-lead of Modest Mouse finally gets off his
butt to go solo, you just know it’s gonna be good.<span style="mso-spacerun: yes;"> </span>And it is.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";"> </span></span>Parquet
Courts, <i style="mso-bidi-font-style: normal;">Light Up Gold </i>– How is it
possible for a band to sound like The Jam, Trumans Water, and New Fast
Automatic Daffodils all at once?<span style="mso-spacerun: yes;"> </span>When
they’re as flat-ass crazy as Parquet Courts. It’s exciting when a new band can
scare and impress you this much.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";"> </span></span>Pere
Ubu, <i style="mso-bidi-font-style: normal;">Lady from Shanghai </i>– The demos
released at the Ubu web site already gave us a taste of what this would be
like, but the fully-realized studio album shows us that David Thomas continues
to have fresh ideas about where to take the classic band of the avant
garage.<span style="mso-spacerun: yes;"> </span>It’s Ubu for another century.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span>Low, <i style="mso-bidi-font-style: normal;">The
Invisible Way </i>– Some found the new album not quite as compelling as the
last one, but the decision to feature Mimi on most vocals made this one stand
out for me. And it’s hard to point to Low ever making a mediocre album, anyway.
<b style="mso-bidi-font-weight: normal;">Bonus Edition Handicap: </b>Copies with
the bonus EP, <i style="mso-bidi-font-style: normal;">The Visible End, </i>are
worth the search, though the EP will get its own coverage under singles.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Bill Callahan, <i style="mso-bidi-font-style: normal;">Dream River </i>– Bill’s rich baritone was
always the key to making Smog albums special, but his solo work took on a new
dimension when he added woodwinds a few years back. Now he’s into a certain
scat-singing style and happy lyrics, which give the Callahan sound a suggestion
of Van Morrison’s <i style="mso-bidi-font-style: normal;">Veedon Fleece </i>–
except on Prozac.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Frightened
Rabbit, <i style="mso-bidi-font-style: normal;">Pedestrian Verse </i>– For a
while, it seemed that Scott H. and friends were making conscious efforts to
take the crown of “depressing Scottish indy band” away from the dearly departed
Arab Strap. But with the new album, Frightened Rabbit has emerged as the
undisputed champion of crying in your pint at the pub. Listen to songs like
“State Hospital” and see if you don’t agree.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>!!!, <i style="mso-bidi-font-style: normal;">Thr!!!ler </i>-- !!! has come out with a few
albums, such as <i style="mso-bidi-font-style: normal;">Myth Takes, </i>that might
be called the quintessential !!! dance album – except that this one really
deserves the title. There are plenty of electronica-driven dance bands these
days, but none revive the dirty funk of past eras as much as the mighty, mighty
!!!.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Circus Devils, <i style="mso-bidi-font-style: normal;">My Mind Has Seen the White Trick</i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">15.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Circus Devils, <i style="mso-bidi-font-style: normal;">When Machines Attack – </i>It’s hard to say whether Robert Pollard
intended the dual releases of Circus Devils to be his most groundbreaking releases
of the year, outshining Guided by Voices and solo releases. The Circus Devils
project with Todd Tobias always was a repository for Pollard’s odder and more
experimental works, but these two albums both rock and weird-out with a fervor,
like a Broadway show from a surreal nightmare.<span style="mso-spacerun: yes;">
</span>Both albums are quite different from each other, both utterly
fascinating.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">16.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Arcade Fire,
<i style="mso-bidi-font-style: normal;">Reflektor – </i>I don’t care how cool it
is to hate Win Butler (and yes, the man can be pompous), Arcade Fire usually
does overblown arena-rock right, and the decision to move to a disco-dance
apocalypse simply gives this double-disc monster the feel of Bowie’s <i style="mso-bidi-font-style: normal;">Station to Station. </i>It’s fun, it’s epic,
and it’s hard to find a 2013 rock tune as good as “Normal Person.”</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">17.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Sleigh Bells, <i style="mso-bidi-font-style: normal;">Bitter Rivals – </i>After a second album
that meandered too much into overkill, Alexis and Derek have gotten the balance
back by adding cartoon overdubs and silly sounds.<span style="mso-spacerun: yes;"> </span>A fine album of irrepressible joy.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">18.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Skylar Grey, <i style="mso-bidi-font-style: normal;">Don’t Look Down </i>– The mysterious former
folk-singer behind Eminem and Dr. Dre might have been expected to come to the
fore with hip-hop, but she opted for a hybrid pop sound that fit her
sensibilities perfectly. Great job of coming out from the shadows and into the
light.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">19.<span style="font: 7.0pt "Times New Roman";">
</span></span>Speedy Ortiz, <i style="mso-bidi-font-style: normal;">Major
Arcana – </i>There’s something naturally appealing about Sadie Dupuis’ angular
and occasionally dissonant style, bringing to mind Bettie Serveert, Breeders,
Pavement, Throwing Muses, and more esoteric sources. A step forward from <i style="mso-bidi-font-style: normal;">The Death of Speedy Ortiz.</i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">20.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Kanye West, <i style="mso-bidi-font-style: normal;">Yeezus </i>– Of course he’s an annoying
asshole, but Kanye has been taking bigger risks and making more interesting
music than Jay-Z, Drake, Kid Cudi, or dozens of other multi-million-selling hip
hop artists.<span style="mso-spacerun: yes;"> </span>By turning to a strange
industrial-punk sound, Kanye really challenged his fan base, and made it clear
who was the real genius behind the Kanye/Jay-Z duo album, <i style="mso-bidi-font-style: normal;">Watch the Throne. </i>As much as it pains me to say it, it certainly
wasn’t Jay-Z.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">21.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Haim, <i style="mso-bidi-font-style: normal;">Days Are Gone </i>– Three sisters who sound
a little bit Roches, a little bit Bangles, a little bit New Order, a little bit
Kimbra or Suzi Quatro, which adds up to a whole lot of fun.<span style="mso-spacerun: yes;"> </span>Maybe not perfect in every track, but a
dazzling debut album.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">22.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Sarah Jarosz, <i style="mso-bidi-font-style: normal;">Build Me Up from Bones – </i>On her first
album, she was still the wide-eyed teenager discovered on <i style="mso-bidi-font-style: normal;">Prairie Home Companion. </i>By her sophomore album, it was clear she
could write and arrange amazing folk-country pieces.<span style="mso-spacerun: yes;"> </span>For her third, Jarosz emerges as a master,
both in the songs she writes, and in her covers of Dylan and Joanna Newsom.
Simply wow, with several exclamation points.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">23.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>CocoRosie, <i style="mso-bidi-font-style: normal;">Tales of a Grasswidow – </i>Their sound has
been moving away from 1930s weirdness to more 21<sup>st</sup>-century beatbox,
but the Casady sisters still write an ethereal dream music that sounds like
nothing else on the planet.<span style="mso-spacerun: yes;"> </span>This one
grows on you, and then won’t let go.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">24.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Joy
Formidable, <i style="mso-bidi-font-style: normal;">Wolf’s Law </i>– Ritzy sure
has adapted to becoming an international star without posing or preening, but
simply playing damned good guitar, writing stunning rock songs, and being as
genuine as can be.<span style="mso-spacerun: yes;"> </span>Good to see JF
receive the attention it deserves.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">25.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>M.I.A., <i style="mso-bidi-font-style: normal;">Matangi – </i>M.I.A. continues her political
invective, but adds Bollywood-raga hip-hop and some suggestions of a past-lives
circle of reincarnation in her single “You Always Live Again.” That’s not
merely relevant, it’s transcendent.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">26.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Flaming Lips, <i style="mso-bidi-font-style: normal;">The Terror </i>– At least we can credit
Wayne with playing the Heraclitus game of never stepping into the same river
twice.<span style="mso-spacerun: yes;"> </span>After a couple jam-session albums
that were fun and loose, FL returns with a dark, somewhat scary album that
serves to remind us why the band’s influence lasts and lasts.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">27.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Neko Case, <i style="mso-bidi-font-style: normal;">The Worse Things Get </i>– We know from
albums like <i style="mso-bidi-font-style: normal;">Middle Cyclone </i>and <i style="mso-bidi-font-style: normal;">Fox Confessor </i>that Neko saves her most
eclectic songwriting for her solo albums, reserving more mainstream pop for New
Pornographers. The new one continues in this vein, offering a capella voice
experiments and very stark lyrics in a fascinating potpourri. <b style="mso-bidi-font-weight: normal;">Bonus Edition Handicap: </b>The expanded
edition is worth it for both the hardcover book of art and the duo with Eric
Bachmann.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">28.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Lorde, <i style="mso-bidi-font-style: normal;">Pure Heroine – </i>At first listen, some
might wonder if the world needs a teen Kiwi version of Lana Del Rey, but on
Prozac. Then you realize that most 17-year-olds in music are making dancey
tween-pop, and Lorde is on to an intelligent mix of urban smarts and odd
musical arrangements. Surprisingly good stuff herein. The voice sometimes takes
on an Ellie Goulding quality, but the musical arrangements are more
adventurous.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">29.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Beer Damage, <i style="mso-bidi-font-style: normal;">Hobo On the Face of Music </i>– Pete Swanson
is probably on a bigger roll than any other experimental musician of the last
few years, and this outing with Brian Sullivan might be his best this year – or
is it the <i style="mso-bidi-font-style: normal;">Punk Authority </i>EP? This
release has all the mystery and weirdness of the best Yellow Swans releases,
but with the humor and sense of play turned up to 11.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">30.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Janelle Monae, <i style="mso-bidi-font-style: normal;">Electric Lady </i>– If we ignore the fact
that the concept albums are a little too over-staged, with this one giving us
superfluous DJ radio patter, Monae is just as amazing on her second album as
she was on her first. Bringing sci-fi to the soul world is tricky enough, but
pulling in influences from Aretha Franklin to Gloria Gaynor makes it twice as
stunning. And does it translate to live performances? Oh yeah, with emphasis.<span style="mso-spacerun: yes;"> </span>Quite the trick for a working-class girl from
Kansas City.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">31.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Califone, <i style="mso-bidi-font-style: normal;">Stitches – </i>Califone took a break after
the mighty <i style="mso-bidi-font-style: normal;">Funeral Singers </i>release
and film in 2009, and Tim Rutili took the band on a series of house concerts in
the fall of 2013.<span style="mso-spacerun: yes;"> </span>This album has a
fuller sound than those wonderful stripped-down acoustic shows, and gives
Califone a sense of almost country or Latino weirdness.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">32.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Nick Cave and
the Bad Seeds, <i style="mso-bidi-font-style: normal;">Push the Sky Away – </i>Something
about this haunting work makes it one of Cave’s most compelling works in a
couple decades. Heavier suggestions of Leonard Cohen and Mark Lanegan, but
still Cave through and through.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">33.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Elvis Costello
and The Roots, <i style="mso-bidi-font-style: normal;">Wise Up, Ghost – </i>This
unusual collaboration has some of Elvis’s hardest-hitting political and
cultural lyrics of this century.<span style="mso-spacerun: yes;"> </span>The only
thing keeping the album from the top ten was that ?uestlove elected to give us
the Roots sound from Jimmy Fallon, rather than the Roots sound from earlier
albums.<span style="mso-spacerun: yes;"> </span>Still, even smooth Roots is a
nice mix with Costello. <b style="mso-bidi-font-weight: normal;">Bonus Edition
Handicap: </b>As with Neko Case, get the deluxe one both for the fancy book and
for the extra tracks, a worthy investment.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">34.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Dead C, <i style="mso-bidi-font-style: normal;">Armed Courage – </i>The triumphant return of
New Zealand’s Dead C, with two 20-minute tracks designed to drill holes in the
brain.<span style="mso-spacerun: yes;"> </span>Note that the <i style="mso-bidi-font-style: normal;">Dead C vs. Rangda </i>album in the Specials
section was recorded several years ago, while this album is brand new.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">35.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Tired Pony, <i style="mso-bidi-font-style: normal;">The Ghost of the Mountain </i>– Would there
be a way to get Gary Lightbody to dispense with Snow Patrol and spend all his
time with this relaxed, country-style side project? Peter Buck from REM has a
lot to do with how good this sounds, but Lightbody’s singing and lyrics also
make it a treasure – and far less prone to tedium than Snow Patrol.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">36.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Fuck Buttons, <i style="mso-bidi-font-style: normal;">Slow Focus – </i>There are many decent instrumental
dance and drone bands out there, but Fuck Buttons continuously remains at the
top of the heap due to their complex, strident, and compelling sounds,
suggesting elements of Godspeed or King Crimson. This one will grab your ears
and not let go.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">37.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Chvrches, <i style="mso-bidi-font-style: normal;">The Bones of What You Believe – </i>Is there
a soul in modern synth-pop?<span style="mso-spacerun: yes;"> </span>This
Scottish duo will make you a believer, sort of a lyrical companion to Fuck
Buttons.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">38.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The National, <i style="mso-bidi-font-style: normal;">Trouble Will Find Me – </i>Many fans
considered this a step down from <i style="mso-bidi-font-style: normal;">High
Violet, </i>though I was convinced there was a lot to like here, as Matt got
more personal and cryptic. Still, repeated listens couldn’t propel it into the
Top 10, where The National often ends up.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">39.<span style="font: 7.0pt "Times New Roman";">
</span></span>Jucifer, <i style="mso-bidi-font-style: normal;">No Life
Beyond the Volga – </i>Few people realize what a great amateur historian
Gazelle Amber Valentine is. She and Ed went all-out to create a history of the
WW2 defense of Stalingrad, getting narrative and a-capella singing voices in
Russian (curated directly from Volgograd) to flesh out this monster of a
sludge-metal album. The only frustration is that Amber sticks to her
heavy-metal growl throughout the album, offering none of the melodic acoustic
ballads from <i style="mso-bidi-font-style: normal;">L’Autrichienne </i>and other
albums. Still, a necessary element of the Jucifer canon.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">40.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Polvo, <i style="mso-bidi-font-style: normal;">Siberia </i>– As its title suggests, this
moody ice album is a little more cryptic and hard to break into than 2009’s <i style="mso-bidi-font-style: normal;">In Prism. </i>If you’re willing to put up
with uncertainty and shivery nights, though, there’s a lot to like in this
album.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">41.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Guided by
Voices, <i style="mso-bidi-font-style: normal;">English Little League – </i>By
taking a bit more time and being a bit more judicious with the GbV title than
in the three separate albums released in 2012, Robert Pollard has given us some
distilled GbV whiskey. The only problem is that the immense greatness of this
year’s dual Circus Devils albums pushed the GbV entry down slightly.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">42.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Paul McCartney, <i style="mso-bidi-font-style: normal;">New – </i>The only reason this wasn’t in the
Top 20 or so was because it’s just hard to compete with whippersnappers when
you’re 70.<span style="mso-spacerun: yes;"> </span>Still, this album is nothing
short of amazing, sounding quite a bit like The Beatles while not intending to.
The best songs are not the ones reminiscing on the Quarrymen years, but the
ones in which Sir Paul is thoroughly 21<sup>st</sup> century.<span style="mso-spacerun: yes;"> </span>A gem. <b style="mso-bidi-font-weight: normal;">Bonus
Edition Handicap: </b>Of course you need to get the extended version.<span style="mso-spacerun: yes;"> </span>Every additional song by McCartney is worth
it.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">43.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Cate Le Bon, <i style="mso-bidi-font-style: normal;">Mug Museum – </i>Cate ranks a little lower
than some women mega-stars, but only because of her proudly eclectic nature. In
her U.S. tour at the end of 2013, Cate proved how she can combine a strident
rock-star sensibility with odd and dissonant mixes of keyboard and guitar. The
songs here are more mature and reflective than in her first two albums, and
it’s about time everyone started paying attention to this weird Welsh wiccan.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">44.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Jason Isbell, <i style="mso-bidi-font-style: normal;">Southeastern – </i>It’s hard to directly
refute those who would place this album at #1 for the year. (OTOH, it’s easy to
refute Pitchfork for putting Vampire Weekend at #1.) Isbell writes some of his
best material here, better than anything he’s done with Drive-By Truckers. And
in some songs like “Elephant” and “Songs That She Sang in the Shower,” he
confronts subjects almost too difficult to set to lyrics. The arrangements are
good, but they’re standard Southern rock and acoustic country. Maybe for my Top
Ten, I want something a little more unexpected a la Laura Marling or Richard
Buckner.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">45.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Sebadoh, <i style="mso-bidi-font-style: normal;">Defend Yourself – </i>Wow, did Lou Barlow
come back with a vengeance!<span style="mso-spacerun: yes;"> </span>Yes, he’s
playing with the reunited Dinosaur Jr., but I’ve always thought his work with
Sebadoh and The Folk Implosion was more important.<span style="mso-spacerun: yes;"> </span>This album scarcely has a weak cut, just Lou
at his strident, nasal-vocal best. <b style="mso-bidi-font-weight: normal;">Bonus
Edition Handicap: </b>The vinyl version comes with a single of two non-album
tracks that are as great as anything on the album itself.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">46.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Bettie Serveert,
<i style="mso-bidi-font-style: normal;">Oh Mayhem! – </i>This comes down a notch
from Bettie’s last effort, 2010’s <i style="mso-bidi-font-style: normal;">Pharmacy
of Love, </i>if only because the riffs were a little less original. Still, it
is amazing that Carol van Dyk keeps cranking out album after remarkable album.
She lets her voice take her in new and strange directions for this one. At
least The Netherlands treats Bettie Serveert as a national treasure, but it’s
well past time the U.S. and other nations begin giving the band the respect it
richly deserves.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">47.<span style="font: 7.0pt "Times New Roman";">
</span></span>Okkervil River, <i style="mso-bidi-font-style: normal;">The
Silver Gymnasium – </i>This is Will Sheff’s personal bit of surreal teen
history, almost an indie rock version of <i style="mso-bidi-font-style: normal;">Quadrophenia.
</i>This probably deserves higher ranking, with stunning songs like “Walking
Without Frankie” and “Down Down the Deep River,” but it’s an odd jewel to fully
comprehend.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">48.<span style="font: 7.0pt "Times New Roman";">
</span></span>Vampire Weekend, <i style="mso-bidi-font-style: normal;">Modern
Vampires of the City – </i>Don’t get me wrong, I appreciate the fact that
Vampire Weekend has grown out of college preppiedom, and are no longer making
the same album over and over again.<span style="mso-spacerun: yes;"> </span>This
album is interesting in many coming-of-age ways, but it certainly didn’t
deserve the album of the year ranking it got from Pitchfork – not even a Top
10.<span style="mso-spacerun: yes;"> </span>There’s simply nothing as clever as
“Oxford Comma” or “M79” within.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">49.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Pearl Jam, <i style="mso-bidi-font-style: normal;">Lightning Bolt – </i>Hey, give Eddie some
love!<span style="mso-spacerun: yes;"> </span>This is good! Seriously, there
seems to be a cottage industry of picking on Vedder these days, which makes it
hard for some to realize that this is a fine album.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">50.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Cage the
Elephant, <i style="mso-bidi-font-style: normal;">Melophobia -- </i>These
Kentucky young-uns started out trying to be a more intellectual version of Blink-182
for a 21<sup>st</sup>-century crowd, but have matured over three studio albums
and a live CD/DVD into being a fascinating band that takes influences from
everywhere, melding them into a very unique whole.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">51.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Pissed Jeans, <i style="mso-bidi-font-style: normal;">Honeys – </i>More so than their first two
albums, or than most strident punk bands outside Dillinger Escape Plan, PJ is
all about making frantic work.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">52.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Rhye, <i style="mso-bidi-font-style: normal;">Woman – </i>Nice falsetto R&B stylings
from Canadian singer Milosh, though it works better in a mix with more strident
material.<span style="mso-spacerun: yes;"> </span>Good after-midnight wine-drinking
music.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">53.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Iron & Wine,
<i style="mso-bidi-font-style: normal;">Ghost on Ghost </i>– The problem with
being as adventurous as Sam Beam is, is that sooner or later you have to make
an album that sounds a little like what has gone on before. But when Sam can
reach for works derivative of something as fine as <i style="mso-bidi-font-style: normal;">Kiss Each Other Clean, </i>even a release that is a bit repetitive is
still worth many, many listens.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">54.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Melt-Banana, <i style="mso-bidi-font-style: normal;">Fetch – </i>They’re baaaack, the heroes of
Japanese Dadaism. Now incarnated as a duo, M-B still can crank out crazy sounds
like no-one’s business, thanks largely to Yasuko Onuki’s powerful voice and surreal
lyrics.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">55.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Robert Pollard
(Teenage Guitar), <i style="mso-bidi-font-style: normal;">Force Fields at Home</i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">56.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Robert Pollard, <i style="mso-bidi-font-style: normal;">Honey Locust Honky Tonk – </i>Bob gave us dual summer releases, of
which <i style="mso-bidi-font-style: normal;">HLHT </i>was supposed to be his
foray into country. Don’t believe it, these are straightforward great Pollard
pop tunes.<span style="mso-spacerun: yes;"> </span>But his home-recorded,
single-take tunes under the name of Teenage Guitar are more interesting in
bringing back the early days of lo-fi GbV. Pollard is like no one else in his
ability to crank out necessary music.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">57.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Valerie June, <i style="mso-bidi-font-style: normal;">Pushin’ Against a Stone </i>– VJ started her
career as a music traditionalist in the manner of Carolina Chocolate Drops, but
this album finds her bringing more Motown and Stax sounds into the mix, with
great results.<span style="mso-spacerun: yes;"> </span>This woman is on a rocket
to critical acclaim, if not mega-stardom.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">58.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Savages, <i style="mso-bidi-font-style: normal;">Silence Yourself </i>– Let’s be clear: This
British quartet of angry women define a sound that brings to mind 1978-era
Siouxsie and the Banshees.<span style="mso-spacerun: yes;"> </span>That alone
makes their work critical. But their posturing to be the Dadaist, anti-marketing
equivalent of Pere Ubu, Gang of Four, or The Slits, just doesn’t seem
legitimate, as though it’s anarchism as a T-shirt slogan. A lot of people place
Savages in their Top Ten.<span style="mso-spacerun: yes;"> </span>I can’t do
that, but I’d recommend the album to anyone.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">59.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Earl Sweatshirt,
<i style="mso-bidi-font-style: normal;">Doris – </i>This precocious teenager may
not be as groundbreaking as Tyler the Creator and other Odd Future members
paint him to be, but Sweatshirt offers up better hip-hop poetry, loaded with
unique imagery, than most artists 10 or 20 years older. Sweatshirt is a
lyricist to watch.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">60.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Maria Taylor, <i style="mso-bidi-font-style: normal;">Something About Knowing – </i>The post-baby,
post-marriage Maria hasn’t sunk into connubial bliss. This album has a more
conscious intent to cross rock, folk, and country boundaries than any of her
previous work, solo or with Azure Ray. This may seem to be ranked low, but
Taylor deserves to be recognized as one of the premiere women vocalists of the
South (or worldwide).</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">61.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Bardo Pond, <i style="mso-bidi-font-style: normal;">Peace on Venus – </i>As I mention in the
Specials list, BP seems to have a legion of detractors today, saying the band
is lost in its magic mushrooms.<span style="mso-spacerun: yes;"> </span>This is
great material, just like the last s/t studio album, so stop with the bashing.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">62.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Waxahatchee, <i style="mso-bidi-font-style: normal;">Cerulean Salt – </i>Katie Crutchfield is so
admired for her DIY bedroom-tapes roots and anti-commercial posturing, she was
treated as the darling of SXSW and is a favorite of NPR radio. But Waxahatchee
is still a work in progress, a fine effort, but maybe not the Top 10 caliber
some critics suggested this year.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">63.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>David Bowie, <i style="mso-bidi-font-style: normal;">The Next Day – </i>We can be thankful for
Bowie’s mere return to the planet Earth, and long-time fans were crowing that
this was a classic work, but the more honest listeners would admit after a few
listens that <i style="mso-bidi-font-style: normal;">The Next Day </i>more
closely resembles his uneven 1990s albums. A worthy effort, to be sure, but not
up to his 1970s classics. <b style="mso-bidi-font-weight: normal;">Bonus Edition
Handicap: </b>The longer album is a must for all true Bowie fans, though the
extra songs are not essential for the casual listener.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">64.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>David Rovics, <i style="mso-bidi-font-style: normal;">Meanwhile in Afghanistan – </i>The anti-commercial
folkie creates his first full-sound concept-rock album, and it pulls no
punches. An album to wake us all up.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">65.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Alela Diane, <i style="mso-bidi-font-style: normal;">About Farewell – </i>Her best album yet covers
the varieties of breakup, divorce, heartbreak, etc. She’s tough, but this is a
challenging album.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">66.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Phoenix, <i style="mso-bidi-font-style: normal;">Bankrupt! – </i>Phoenix has made a career
out of shapeshifting, but with <i style="mso-bidi-font-style: normal;">Wolfgang
Amadeus, </i>the band found a Talking Heads/Tapes & Tapes type of sound it
could live with. The new one may not reach the heights of Phoenix’s last
go-round, but at least Thomas Mars has dropped that silly dance phase he went
through with <i style="mso-bidi-font-style: normal;">Alphabetical.</i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">67.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Astral Social
Club, <i style="mso-bidi-font-style: normal;">Electric Yep – </i>The only reason
for putting this release in Studio and <i style="mso-bidi-font-style: normal;">Destination
SNFU </i>in Specials is because the latter was released only on cassette. In
all ASC 2013 work, we get a taste of Neil Campbell’s new efforts to mix
ambient-drone-noise with happy beats and an alleged love for 1970s pop. It all
sounds weird, but it all sounds as good as ASC’s <i style="mso-bidi-font-style: normal;">Happy Horse.</i></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">68.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Robert Pollard, <i style="mso-bidi-font-style: normal;">Blazing Gentlemen – </i>And to make
Pollard’s 2013 excursions an even half-dozen, we get this December release
which provides us with classy power-pop and few wasted tracks.<span style="mso-spacerun: yes;"> </span>What a year.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">69.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Franz Ferdinand,
<i style="mso-bidi-font-style: normal;">Right Words, Right Thought, Right Action </i>–
A worthy effort to inject new energy into the FF version of power-pop. The band
runs into the same problem as established acts like The Strokes – how do you
sound fresh and keep to a style at the same time? A fun album in any event. <b style="mso-bidi-font-weight: normal;">Bonus Handicap Edition: </b>The two-disc
version with a live album, <i style="mso-bidi-font-style: normal;">Right Notes
Right Words Wrong Order, </i>is an absolute gem.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">70.<span style="font: 7.0pt "Times New Roman";">
</span></span>John Vanderslice, <i style="mso-bidi-font-style: normal;">Dagger
Beach – </i>It goes without saying that a breakup/divorce can focus the mind
like the prospect of a good hanging, and Vanderslice gets some interesting if
painful mileage out of his wife suddenly leaving him. Straightforward and
experimental at the same time.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">71.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Deerhunter, <i style="mso-bidi-font-style: normal;">Monomania – </i>Never was as nuts about
Deerhunter (or any of Brad Cox’s projects) as some people are, but I have to
give these guys credit for shaking it up by creating a grungy punk album. A
definite move to diversify, with good results.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">72.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Linda Thompson, <i style="mso-bidi-font-style: normal;">Won’t Be Long Now – </i>No intent to place
our favorite female folkie so far down (hell, her ex-husband is even further
down).<span style="mso-spacerun: yes;"> </span>It’s just great to have Linda
back among us. This is an odd mix of tunes of recent vintage and a couple older
recordings (one from <i style="mso-bidi-font-style: normal;">Gangs of New York </i>soundtrack),
proving that Linda still has her voice, her wry songwriting ability, and her
good sense in picking out traditionalist songs to cover.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">73.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Dawes, <i style="mso-bidi-font-style: normal;">Stories Won’t End – </i>This L.A. band has
the Jackson Browne late 70s thing down perfectly, and can write damned good
songs besides. Perhaps this should have been higher, but I have the sense that
Dawes tries too hard to bring back a Southern California mentality that is of
dubious value.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">74.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Quasi, <i style="mso-bidi-font-style: normal;">Mole City – </i>It’s great to have go-go
divorcees Sam Coomes and Janet Weiss back together as a duo again, and this one
has a lot of fine drumming and Who-flavored sounds, but nothing quite as
memorable as <i style="mso-bidi-font-style: normal;">American Gong </i>here.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">75.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Deer Tick, <i style="mso-bidi-font-style: normal;">Negativity – </i>John McCauley made a decent
recovery from Deer Tick’s crappy last album, <i style="mso-bidi-font-style: normal;">Divine Providence, </i>and is now set to marry singer Vanessa Carlton
at the end of 2013 (she shows up on this album). It’s the richest of any Deer
Tick albums except perhaps <i style="mso-bidi-font-style: normal;">Black Dirt
Sessions, </i>but I couldn’t get it up to even the Top 50, which is maybe all
my fault and not McCauley’s.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">76.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Future of the
Left, <i style="mso-bidi-font-style: normal;">How to Stop Your Brain in an
Accident – </i>Something seemed a little withheld or repetitive in this year’s
album compared to previous FotL, but still worth a listen.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">77.<span style="font: 7.0pt "Times New Roman";">
</span></span>The Strokes, <i style="mso-bidi-font-style: normal;">Comedown
Machine – </i>I actually feel sorry for Julian Casablancas and friends, since
they’re trying to make their music sound fresh, but they’re still stuck under
the shadow of 2001-era Strokes.<span style="mso-spacerun: yes;"> </span>What to
do?</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">78.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Magik Markers, <i style="mso-bidi-font-style: normal;">Surrender to the Fantasy – </i>It’s great to
see Elisa Ambrogio and her posse get the benefit of another commercial release
from Drag City, though it rarely hits the highs of 2009’s <i style="mso-bidi-font-style: normal;">Balf Quarry. </i>Magik Markers dwells in an odd space of underground
releases which make no compromise in their noise roots, and commercial releases
that throw in a little melody, though this album has its own degree of
weirdness.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">79.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Eleanor
Friedberger, <i style="mso-bidi-font-style: normal;">Personal Record – </i>It’s
pretty obvious Fiery Furnaces won’t be getting back together soon, so we should
judge this album against Eleanor’s last solo release. She opted for a more
focused and defined effort to capture a 1970s sound, yet it doesn’t always
display the simple nostalgic joy of <i style="mso-bidi-font-style: normal;">Last
Summer. </i>Still, her music is always a pleasure.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">80.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Wire, <i style="mso-bidi-font-style: normal;">Change Becomes Us – </i>This was billed as
material from the <i style="mso-bidi-font-style: normal;">154 </i>period of Wire,
dredged and re-recorded in 2012. Some people swear by it as some of the most
amazing Wire material ever, I think it’s interesting and adequate but scarcely
earth-shattering.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">81.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Sigur Ros, <i style="mso-bidi-font-style: normal;">Kveikur – </i>This album was described as
the alter ego of 2012’s <i style="mso-bidi-font-style: normal;">Valtari, </i>and
ends up sounding a bit like Mogwai as a result, and that is very cool.<span style="mso-spacerun: yes;"> </span>Still, Sigur Ros’s singing in their imaginary
language is self-limiting for the band after a while.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">82.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Blitzen Trapper,
<i style="mso-bidi-font-style: normal;">VII – </i>I like BT a lot, particularly
when I compare them to other Dylanesque bands like Avett Brothers, who seem to
be more popular.<span style="mso-spacerun: yes;"> </span>While 2010’s <i style="mso-bidi-font-style: normal;">Destroyer of the Void </i>was wildly
experimental and 2011’s <i style="mso-bidi-font-style: normal;">American Goldwing
</i>was a Southern-rock sendup, this year’s album is a mixed bag with a lot of
traditionalism thrown in. It may not be profound, but it’s a lot of fun – more
fun than the new Avett Brothers, to be sure.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">83.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The
Dismemberment Plan, <i style="mso-bidi-font-style: normal;">Uncanney Valley </i>–
It’s so nice to have Dismemberment Plan back, it pains me to rank the new
studio album this low. But let’s face it, the band always was more uneven in
the studio than live. Travis Morrison is able to write astonishing lyrics at
times, but at other times, like in his solo album, he can get very maudlin. The
new one has great moments, but more maudlin ones.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">84.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Dillinger
Escape Plan, <i style="mso-bidi-font-style: normal;">One of Us is the Killer – </i>DEP
can be a unique growler of a post-punk band, but this one has the group
reaching to gain a little diversity, and making some very interesting music as
a result.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">85.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Chelsea Light
Moving, s/t – It’s nice to see the post-Sonic Youth Thurston Moore get involved
in a simple and straightforward rock music project, but this isn’t as
interesting as his noise/poetry work with Anne Waldman and Clark Coolidge.<span style="mso-spacerun: yes;"> </span>Maybe Moore has dwelled too long in
weirdo-land to be considered just another punk rocker.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">86.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Haunted
Windchimes, <i style="mso-bidi-font-style: normal;">Out with the Crow – </i>Pueblo’s
favorite old-timey traditionalist band pull out a full-length set of super
songs, though it still is an acquired taste for those into a 1930s scat-country
revival.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">87.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Lee Ranaldo and
the Dust, <i style="mso-bidi-font-style: normal;">Last Night on Earth – </i>Hard to
determine whether I like the riff-poppy or Neil-Young-jammy side of Lee better,
but this album didn’t grab me as much as last year’s, despite its similarity to
Crazy Horse.<span style="mso-tab-count: 1;"> </span></div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">88.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Cults, <i style="mso-bidi-font-style: normal;">Static – </i>Madeline Folin can write some
very nice tunes of the Best Coast/Tennis/Dum Dum variety, but her partner Brian
Oblivion layers it in the type of fuzz favored by Trailer Trash Tracys.<span style="mso-spacerun: yes;"> </span>Nice, but covered in a cotton-candy gauze.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">89.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Pond, <i style="mso-bidi-font-style: normal;">Hobo Rocket </i>– It takes an odd talent to
make parody rock that also worships the eras and genres it lampoons.<span style="mso-spacerun: yes;"> </span>These knuckleheads from Western Australia get
the mix just right.<span style="mso-spacerun: yes;"> </span>You could even
listen to this album in a straightforward fashion as a fine party mix.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">90.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Kings of Leon, <i style="mso-bidi-font-style: normal;">Mechanical Bull – </i>Make no mistake, it’s
great to see Caleb Folowill out of rehab, and I’m happy to get a new KoL, but
the band deliberately decided to work its way back up to stardom slowly, with
an instrumentally-favored album in the grand Southern rock tradition.<span style="mso-spacerun: yes;"> </span>A fine jam session, but without the typical
pop riffs that made KoL the champions of a pre-meltdown era.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">91.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Jim James, <i style="mso-bidi-font-style: normal;">Regions of Light – </i>Speaking of grand
Southern rock traditions, I was expecting an overly-precious and precocious
album from My Morning Jacket frontman Jim James, but instead we get a sincere
and well-arranged selection of Southern ballads and complex weirdo gospel.
Probably ranked lower than it deserves to be, as James put his heart into this
one.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">92.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Stooges, <i style="mso-bidi-font-style: normal;">Ready to Die – </i>This actually had more
moxie than Iggy’s last foray with his new Stooges lineup, but you can’t help
but feel that Iggy really is having a near-death experience, as he’s going
through the motions of the old Stooges.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">93.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Arctic Monkeys, <i style="mso-bidi-font-style: normal;">AM – </i>What I said about The Strokes holds
equally true for Arctic Monkeys.<span style="mso-spacerun: yes;"> </span>Two
albums ago, AM tried to shake things up by sounding a little more like The
Doors, now they’re trying to meld different Arctic Monkey periods into one
unified sound. Decent work, but nothing bowled me over.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">94.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Cut/Copy, <i style="mso-bidi-font-style: normal;">Free Your Mind – </i>These folks have that
dance-psychedelia thing down well, and this may be the most representative of
C/C albums, but Dan Whitford’s too-cute tenor reminds me of why the band could
never be !!! or Fuck Buttons.<span style="mso-spacerun: yes;"> </span>Then
again, I’d rather listen to Cut/Copy than Daft Punk.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">95.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Dodos, <i style="mso-bidi-font-style: normal;">Carrier – </i>Maybe I should respect the
fact that Meric Long intended this album as a concept memorial to deceased Dodo
Chris Reimer, but somehow, without the backing vocals of Neko Case that graced
the last album, the music seemed to meander.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">96.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Body/Head, <i style="mso-bidi-font-style: normal;">Coming Apart – </i>Seems that many people
wanted to place this high on their avant-garde music list, if only to make sure
that Kim Gordon of Sonic Youth was seen as every bit the innovator as her
ex-husband Thurston Moore.<span style="mso-spacerun: yes;"> </span>Problem is,
this album aspires to be weird and experimental, but is not exceptional at what
it does. I’ve always liked Kim, but didn’t find a lot to like in her new duo
Body/Head.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">97.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Local Natives, <i style="mso-bidi-font-style: normal;">Hummingbird – </i>On the plus side, this
band experimented with a lot more layered sounds than were present in <i style="mso-bidi-font-style: normal;">Gorilla Manor. </i>But in so doing, they
lost that early Talking Heads sound that made them fascinating, and ended sounding
more like 1970s-era progressive rock. In my mind, that is not a good thing.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">98.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Steve Earle, <i style="mso-bidi-font-style: normal;">Low Highway – </i>At this point, anything
Steve Earle does in his career will get my approval, but these songs seem to be
a bit also-ran.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">99.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Mt Eerie, <i style="mso-bidi-font-style: normal;">Pre-Human Ideas – </i>Hard to decide whether
this belonged in studio or specials albums, as it is a remix of sorts.<span style="mso-spacerun: yes;"> </span>Phil E. comes up with some good and some odd
ideas.<span style="mso-spacerun: yes;"> </span>This one mostly works, but is an
acquired taste.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">100.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Lady Gaga, <i style="mso-bidi-font-style: normal;">Artpop – </i>Is this the most diverse and
intriguing Gaga album? Absolutely. Is it maddening and annoying? Absolutely.
Despite her promise and desire to be avant garde, the Gagster can’t stop
talking about her big bad self, and what a slutty sex symbol she is. At a
certain point, you’ll be throwing up in the back of your throat, all thanks to
Lady Gerdga. Still fun to hear every once in a while.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">101.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Grant Sabin, <i style="mso-bidi-font-style: normal;">Anthromusicology – </i>Only ranked this low
because he’s still a Southern Colorado local trying to break into the blues bigger
time.<span style="mso-spacerun: yes;"> </span>A fine collection of originals and
covers, exquisitely mastered.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">102.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span>Queens of the Stone Age, <i style="mso-bidi-font-style: normal;">Like Clockwork – </i>Many swear by this as a milestone in Queens work.
Maybe my skepticism is because Josh Homme is starting to wear on me.<span style="mso-spacerun: yes;"> </span>A worthwhile effort, but not a clock-stopper.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">103.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Son Volt, <i style="mso-bidi-font-style: normal;">Honky Tonk – </i>When some people say, “This
is my country album,” it means the album is less interesting than others in the
canon. This is certainly true of Sheryl Crow, who did not even rate an entry
this year with her country album. Unfortunately, it’s also true of Jay Farrar
and Son Volt, who only started some mellow fires with this one.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">104.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Richard
Thompson, <i style="mso-bidi-font-style: normal;">Electric – </i>Some fans may
kill me for having the mighty R. Thompson this low, and well below his former
wife. This album has some great individual tunes in it, but it doesn’t have
that special bite of Thompson’s best work.<span style="mso-spacerun: yes;">
</span>If you’re already a fan, you’ll want it anyhow.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">105.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Yoko Ono, <i style="mso-bidi-font-style: normal;">Take Me to the Gates of Hell – </i>I admire
the hell out of Yoko for making music this powerful when she’s 80 years old. My
only gripe is that this was intended, at least in part, to be a traditional,
commercial pop album.<span style="mso-spacerun: yes;"> </span>When she really
lets loose with crazy shit, as in last year’s collaboration with Kim Gordon and
Thurston Moore, she gets much more interesting.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">106.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Fuzz, <i style="mso-bidi-font-style: normal;">The Fuzz – </i>Some people are fanatically
obsessed with anything Ty Segall does. He seems to be me to be a very prolific
and competent drummer and multi-instrumentalist and not much more.<span style="mso-spacerun: yes;"> </span><i style="mso-bidi-font-style: normal;">Fuzz </i>is
too fuzzy, too brief, too typical hard-rock.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">107.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Atoms for Peace,
<i style="mso-bidi-font-style: normal;">Amok – </i>The idea of pairing Thom Yorke
with Flea certainly was a good one.<span style="mso-spacerun: yes;"> </span>The
result had intriguing moments, but nothing as good as Yorke’s solo work or his
albums with Radiohead.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">108.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>My Bloody
Valentine, <i style="mso-bidi-font-style: normal;">mbv – </i>I have a confession
to make.<span style="mso-spacerun: yes;"> </span>I found MBV boring throughout
most of their original 80s and 90s career. Their much-heralded reunion is worth
a few spins on the CD player, but reminds me of why I never had MBV on my
favorites list.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">109.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Eels, <i style="mso-bidi-font-style: normal;">Wonderful, Glorious – </i>It’s been evident
through Mark E.’s string of recent bipolar albums that Eels/Mark is at its/his
best when in a deep depression, while the happier albums are sort of
SSRI-induced Eels Lite.<span style="mso-spacerun: yes;"> </span>Which does not
mean I advocate deliberate depression for better creativity.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">110.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Ethan Johns, <i style="mso-bidi-font-style: normal;">If Not Now, When? – </i>Given Johns’
excellent work with Laura Marling, and all the chatter about his solo efforts,
I was expecting something amazing.<span style="mso-spacerun: yes;"> </span>These
are unadorned, pleasant and sometimes intriguing songs, but nothing to startle or
surprise.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">111.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Future Bible
Heroes, <i style="mso-bidi-font-style: normal;">Partygoing – </i>Some of the work
Stephin Merritt does under his alter egos, such as Gothic Archies, FBH, or The
Sixths, is throwaway material that didn’t make it onto a Magnetic Fields
album.<span style="mso-spacerun: yes;"> </span>This is better than toss-away, but
not memorable.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">112.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Justin
Timberlake, <i style="mso-bidi-font-style: normal;">The 20/20 Experience, Parts 1
and 2 – </i>If Justin would have stuck with a Part 1, this effort might have
ranked higher, as his production was exceptional this time around.
Unfortunately, he released a second album of outtakes that simply wasn’t as
good as the first part, and thereby weakened the entire effort.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">113.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>She & Him, <i style="mso-bidi-font-style: normal;">Volume 3 – </i>Is it due to Zooey
Deschanel’s over-exposure that this album sounds tired in its execution?<span style="mso-spacerun: yes;"> </span>Not entirely, it seems that Zooey and M. Ward
might be running out of good tunes.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">114.<span style="font: 7.0pt "Times New Roman";">
</span></span>Yo La Tengo, <i style="mso-bidi-font-style: normal;">Fade
– </i>As releases go on and on from Ira and friends, I’m forced to conclude
that the ethereal style practiced by YLT is simply a genre that doesn’t inspire
me very well.<span style="mso-spacerun: yes;"> </span>Nice, but transient and
forgettable.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">115.<span style="font: 7.0pt "Times New Roman";">
</span></span>Bad Religion, <i style="mso-bidi-font-style: normal;">True
North – </i>Strident as always, though Greg doesn’t grab me in much of this
album.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">116.<span style="font: 7.0pt "Times New Roman";">
</span></span>Devendra Banhart, <i style="mso-bidi-font-style: normal;">Mala
– </i>DB really tried to come up with a good mix of English pop and Spanish
traditional sounds, but not much stuck with the listener long.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">117.<span style="font: 7.0pt "Times New Roman";">
</span></span>Explosions in the Sky, <i style="mso-bidi-font-style: normal;">Prince Avalanche original soundtrack – </i>Let’s give Explosions credit
for trying something completely different for this soundtrack – classical
chamber music sounds!<span style="mso-spacerun: yes;"> </span>Not for every
taste, but a bolder effort than trying to emulate Godspeed You Black Emperor.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">118.<span style="font: 7.0pt "Times New Roman";">
</span></span>Boards of Canada, <i style="mso-bidi-font-style: normal;">Tomorrow’s
Harvest – </i>These guys get demerit points for constructing such an odd series
of puzzles surrounding Record Store Day, to build up hype for an apocalyptical
instrumental album which pretty much fails to tell us anything we haven’t heard
before.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">119.<span style="font: 7.0pt "Times New Roman";">
</span></span>Billy Bragg, <i style="mso-bidi-font-style: normal;">Tooth
and Nail – </i>Always happy to see Bragg fighting the good fight, though it
doesn’t compel me to get up and protest.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">120.<span style="font: 7.0pt "Times New Roman";">
</span></span>Loren Conors & Thurston Moore, <i style="mso-bidi-font-style: normal;">The Only Way to Go is Straight Through – </i>Nice to have Conors back
for a new outing, though this duo didn’t inspire as much as I had hoped.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">121.<span style="font: 7.0pt "Times New Roman";">
</span></span>Morcheeba, <i style="mso-bidi-font-style: normal;">Head
Up High – </i>In the 1990s, this British ensemble was like a precursor to
Black-Eyed Peas.<span style="mso-spacerun: yes;"> </span>One would guess that
their reunion would find them older and wiser, but it sometimes comes across as
a lounge version of Morcheeba.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">122.<span style="font: 7.0pt "Times New Roman";">
</span></span>Avett Brothers, <i style="mso-bidi-font-style: normal;">Magpie
and Dandelion – </i>Part of this ranking reflects that I’m pissed off that
among the younger Dylanesque country-folk bands, Avetts have a bigger following
and demand higher ticket prices than, say, Blitzen Trapper.<span style="mso-spacerun: yes;"> </span>It’s simply not deserved.<span style="mso-spacerun: yes;"> </span>There are a few good songs here, but this
band is way over-hyped.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">123.<span style="font: 7.0pt "Times New Roman";">
</span></span>Octa#Grape, <i style="mso-bidi-font-style: normal;">Red
UFO – </i>Glen Galloway of Trumans Water and Soul-Junk is back with a rockin’
band that is fabulous live.<span style="mso-spacerun: yes;"> </span>This album,
however, is a rough cut demo type of affair that will be of interest to fans,
but not casual listeners.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">124.<span style="font: 7.0pt "Times New Roman";">
</span></span>Camper Van Beethoven, <i style="mso-bidi-font-style: normal;">La Costa Perdida – </i>David Lowry has come back to re-cast CVB as a
more straightforward band with a Latino twist. It’s bright and bouncy, but
missing the CVB snarky wisdom.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">125.<span style="font: 7.0pt "Times New Roman";">
</span></span>Barn Owl, <i style="mso-bidi-font-style: normal;">V – </i>The
new kings of odd drone offer one of their weaker affairs, but still something
worth hearing.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">126.<span style="font: 7.0pt "Times New Roman";">
</span></span>Eminem, <i style="mso-bidi-font-style: normal;">Marshall
Mathers LP2 – </i>Did it take Eminem a certain amount of guts to revisit his MM
character of decades past?<span style="mso-spacerun: yes;"> </span>Of course,
and he deserves credit for that. But Eminem is 40 and still angry without good
cause, making this album somewhat maddening.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">127.<span style="font: 7.0pt "Times New Roman";">
</span></span>Laura Veirs, <i style="mso-bidi-font-style: normal;">Warp
and Weft – </i>It’s tough to admit it when a Colorado Springs hometown girl gets
a big new audience in the Pacific Northwest, but starts releasing less
interesting material.<span style="mso-spacerun: yes;"> </span>Hmm.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">128.<span style="font: 7.0pt "Times New Roman";">
</span></span>Daft Punk, <i style="mso-bidi-font-style: normal;">Random
Access Memories – </i>Let me lay my cards down up front.<span style="mso-spacerun: yes;"> </span>This is a well-crafted and intriguing album.
But these guys are way too calculated and way too into deliberate marketing
tricks. As talented as they may be, Daft Punk creep me out.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">129.<span style="font: 7.0pt "Times New Roman";">
</span></span>Drake, <i style="mso-bidi-font-style: normal;">Nothing
Was the Same – </i>Sorry, I don’t care what a million-seller Drake is and how
many folks love this album, this is mostly tedious hip-hop, except for the more
experimental tunes in the longer version of this album. <b style="mso-bidi-font-weight: normal;">Bonus Edition Handicap: </b>If you must hear new Drake, go ahead and
buy the longer version, because it is only within the bonus songs that Drake
really strives for something outside the hip-hop mainstream.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">130.<span style="font: 7.0pt "Times New Roman";">
</span></span>Besnard Lakes, <i style="mso-bidi-font-style: normal;">Until
In Excess, Imperceptible UFO – </i>Besnard Lakes is Canada’s answer to Low, but
they’ve always been a bit too precious for me.<span style="mso-spacerun: yes;">
</span>In this album, they go from occasionally profound to often annoying.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">131.<span style="font: 7.0pt "Times New Roman";">
</span></span>Lee “Scratch” Perry and The Orb – <i style="mso-bidi-font-style: normal;">More Tales from the Orbservatory – </i>While these two worked well
together in the last collaboration, this album is mostly a series of outtakes,
and is not really a full album, but a collection of remixes.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">132.<span style="font: 7.0pt "Times New Roman";">
</span></span>Jay-Z, <i style="mso-bidi-font-style: normal;">Magna
Carta Holy Grail – </i>Hard to believe I’d rank a million-selling hip-hop album
lower than Drake, but Jay-Z promised us conspiracies and political relevance,
and delivered champagne swilling with his rich friends.<span style="mso-spacerun: yes;"> </span>Like Gatsby with flat champagne.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">133.<span style="font: 7.0pt "Times New Roman";">
</span></span>Gauntlet Hair, <i style="mso-bidi-font-style: normal;">Stills
– </i>This Denver post-Goth band killed the advance hype coming out for this
album by breaking up when it was released.<span style="mso-spacerun: yes;">
</span>They relied so heavily on 80s sounds we’ve heard before, it almost was a
non-event they broke up.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">134.<span style="font: 7.0pt "Times New Roman";">
</span></span>Retribution Gospel Choir, <i style="mso-bidi-font-style: normal;">3 – </i>Alan Sparhawk is wise to hand the microphone over to Mimi,
because what he does himself with Low and with this side band has been less
interesting in the past year or so.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">135.<span style="font: 7.0pt "Times New Roman";">
</span></span>Superchunk, <i style="mso-bidi-font-style: normal;">I
Hate Music – </i>So many friends are lovers of Superchunk, it’s sort of like Yo
La Tengo – I hate to admit in public the band doesn’t do much for me.</div>
<div class="MsoBodyText" style="margin-left: .5in; mso-list: l0 level1 lfo1; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">136.<span style="font: 7.0pt "Times New Roman";">
</span></span>Washed Out, <i style="mso-bidi-font-style: normal;">Paracosm
– </i>Some people swear by this chillwave, but I think Washed Out expresses
little more than its desire to sleep.</div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<div class="MsoBodyText">
<br /></div>
<div class="MsoNormal">
<b><span style="font-size: 18.0pt; mso-bidi-font-size: 10.0pt;">Special
Albums (Live, Compilations, Splits, CD-Rs, MP3, etc.) </span></b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";"> </span></span>Various
Artists, <i style="mso-bidi-font-style: normal;">Absolutely Cuckoo: Minnesota
Performs the 69 Love Songs – </i>It’s been nearly 15 years since Magnetic
Fields dropped <i style="mso-bidi-font-style: normal;">69 Love Songs </i>on the
world, and I’d been expecting an ambitious covers attempt for at least a
decade. But who would have expected a collection from unknown Minnesota acts to
work so well? There might be ten or a dozen clunkers out of 69, but the
surprise is how many of these covers stand up to Magnetic Fields’
originals.<span style="mso-spacerun: yes;"> </span>Well done, Minnesota.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";"> </span></span>Diane
Cluck, <i style="mso-bidi-font-style: normal;">Live at Joe’s Pub – </i>Diane may
not have offered us studio recordings for more than five years, but this gem
from NYC Taper proves that she has loads of great new material, and a new cello
collaborator that enhances her work a hundredfold.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";"> </span></span>Hopeful
Heroines, <i style="mso-bidi-font-style: normal;">Goddamn Mess (Live) – </i>Xanthe
and Harriet are captured at a lively outdoor event, with Animus Invidious doing
some fine mastering. This is the sparkling gypsy side of HH, and my only
complaint is that there is little evidence of what Xanthe calls the dark and
spooky side present in their first EP. I like a touch of gloomy and spooky,
even in happy and hopeful heroines.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";"> </span></span>Various
Artists, <i style="mso-bidi-font-style: normal;">For Tom Carter (the Deserted
Village/Bandcamp Benefit Collection) – </i>In 2012, two groups of experimental
musicians put out two benefit compilations for improvisational guitarist Tom
Carter, who was in<span style="mso-spacerun: yes;"> </span>a coma in a Berlin
hospital (he’s fine now, albeit broke). Not to be outdone, the Deserted Village
collective released an 8-CD benefit in 2013 with nearly nine hours of music, this
time with as much traditional-acoustic as jazzy and spacey stuff. A marvelous
listen, and you get to chip in to Tom’s recovery.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";"> </span></span>Anais
Mitchell and Jefferson Hamer, <i style="mso-bidi-font-style: normal;">Child
Ballads – </i>This one falls under Specials despite being a studio album,
because Anais and Jeff are covering the curated work of Francis Child, who
compiled old English folk ballads. This is a stunning collection, which Anais
performed from in the Black Forest in May 2013 while very pregnant with her
first child. Not to be missed.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";"> </span></span>Bill
Orcutt and Chris Corsano, <i style="mso-bidi-font-style: normal;">The Raw and The
Cooked</i></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";"> </span></span>Bill
Orcutt, <i style="mso-bidi-font-style: normal;">A History of Every One </i>– Bill
Orcutt, founder of noise ensemble Harry Pussy and later a specialist on the
de-tuned Kay acoustic guitar, gave us two astonishing works in 2013. His live
album with Corsano shows just how far acoustic music can go in spazzed-out
noise, while his solo work for MIE is a set of covers of American traditional
songs – though in true Orcutt fashion, it’s hard to distinguish “Onward
Christian Soldiers” from “Massa’s in the Cold Cold Ground.” If you’re looking
for harsh musical deconstruction, no one does it better than Orcutt.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";"> </span></span>Bob
Dylan, <i style="mso-bidi-font-style: normal;">Another Self Portrait – </i>Given that
the first <i style="mso-bidi-font-style: normal;">Self-Portrait </i>caught Dylan
at his nadir and was simply not very easy to listen to, it’s surprising how
this double album turns out to be the best of the Bootleg series. <b style="mso-bidi-font-weight: normal;">Bonus Edition Handicap: </b>There is a
version of this album out there with four discs and two hardcover books, but
that seems like overkill to me.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";"> </span></span>Shearwater,
<i style="mso-bidi-font-style: normal;">Fellow Travelers – </i>Shearwater doing
covers? Well, they got some help from Clinic, St. Vincent, Sharon Van Etten,
and other friends, to cover songs as diverse as Xiu Xiu’s “I Luv the Valley
Oh!” to The Baptist Generals’ “Fucked-Up Life.”<span style="mso-spacerun: yes;">
</span>And as a bonus, they gave us a single with Sharon Van Etten covering
Stevie Nicks, a bonus 45 covering songs by Swans and Mountain Goats, and a
split 45 with Low covering Rihanna and Frank Ocean. Damn and double-damn.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span>Clinic, <i style="mso-bidi-font-style: normal;">Free
Reign II – </i>There are Clinic fans who will tell you this LP (vinyl-only) of <i style="mso-bidi-font-style: normal;">Free Reign </i>remixes is better than the
original album. I won’t go that far. The two versions of <i style="mso-bidi-font-style: normal;">Free Reign </i>are quite different, and both deserve a listen. If you
are a fan of the original, you must hear the sequel.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Christina
Carter, <i style="mso-bidi-font-style: normal;">Texas Modern Exorcism – </i>Christina
is delving further into the spoken word as shamanist chant, and in fact
published her first poetry chapbook in 2013. This album shows her transition
from guitar-drone and voice-drone to poetry and story-telling, with a
fascinating mix of all such styles.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Not for Pussies,
<i style="mso-bidi-font-style: normal;">Demon – </i>Janette and Brian are
crossing an interesting terrain with their third album, combining hypnotic
drones a la Charalambides with some beautiful traditionalist singing from
Janette. As a result, NfP dwells in a land of traditional and experimental
which Pelt, Jayme Stone, Charlambides, and not many other bands call home.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Xiu Xiu, <i style="mso-bidi-font-style: normal;">Plays Nina – </i>A scary time was guaranteed
when Jamie Stewart decided to sing Nina Simone, but what was not expected was
the assistance from two giants of modern jazz, Tim Berne and Ches Smith. It
appears as though Berne and Smith now consider themselves semi-regular members
of Xiu Xiu, and will appear on a new studio album in February. This album
polarizes like crazy, with some people despising it and some hanging on every
note. Hey, it’s Xiu Xiu anti-music and it’s Nina Simone. If Jamie wasn’t
pushing the envelope so hard it was ripping apart, this wouldn’t be Xiu Xiu.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Bardo Pond, <i style="mso-bidi-font-style: normal;">Rise Above – </i>Way too many people ignored
this Record Store Day special of BP covering the music of Pharoah Sanders and
others. A very special tour de force. Bardo Pond haters can simply be dismissed
as stupid, thank you very much.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">15.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Beatles, <i style="mso-bidi-font-style: normal;">Live at the BBC – </i>No, it’s not
superfluous, but it’s a collection designed for those wanting one-off informal
versions of early Beatles numbers, and the covers they used to perform.<span style="mso-spacerun: yes;"> </span>Think of the mix that used to be on The Beatles
cartoon show, and imagine those songs in a studio. An interesting addition to
the canon.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">16.<span style="font: 7.0pt "Times New Roman";">
</span></span>Thurston Moore, Anne Waldman, and Clark Coolidge, <i style="mso-bidi-font-style: normal;">Comes Through in the Call Hold – </i>Probably
Moore’s most important work of 2013, and a good way to introduce Coolidge’s and
Waldman’s poetry to a wider audience. This album has the wacky sense of fun of
Moore’s and Gordon’s collaboration with Yoko Ono. Anyone who thinks that
Waldman in particular can be overbearing in her hippie sense of righteousness,
Moore won’t let either poet go there – all three make righteous fools of
themselves.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">17.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Jimi Hendrix, <i style="mso-bidi-font-style: normal;">People, Hell & Angels – </i>Yes, this is
legitimately new Hendrix studio discoveries, and yes it’s good stuff. Perhaps
the best post-mortem collection to have emerged from the vaults to date.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">18.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Bill Callahan, <i style="mso-bidi-font-style: normal;">Live in Washington, DC, Nov. 14, 2013 – </i>This
NPR podcast is recorded in a refurbished synagogue, and shows why Callahan’s
group he’s put together for the <i style="mso-bidi-font-style: normal;">Dream
River </i>sessions spotlights the songwriter in his finest hour.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">19.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>No-Neck Blues
Band, <i style="mso-bidi-font-style: normal;">Faramingo Josei – </i>This came out
mid-year as a free download of the rumored “lost” No-Neck album, but was
released on a vinyl LP at year’s end. It still belongs in Specials because it
is a document of a mid-decade NNCK, featuring the experimental band at its most
whimsical and weird.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">20.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Rilo Kiley, <i style="mso-bidi-font-style: normal;">Rkives – </i>Not simply a collection of
B-sides, but a fine series of songs recorded throughout Rilo Kiley’s varied and
illustrious career. Since it has the definitive version of Jenny Lewis singing
“The Frug,” it is already an essential recording, wouldn’t you agree?</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">21.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Heather Leigh
Murray, <i style="mso-bidi-font-style: normal;">Me-Ba – </i>Heather has suddenly
dropped the pedal steel guitar and vocals of her recent work, solo and with
Jailbreak, in favor of a sonic assault worthy of Fushitsusha. Are you brave
enough to follow her into a land of bardos and hells?</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">22.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Neil Young, <i style="mso-bidi-font-style: normal;">Live at the Cellar Door – </i>This latest
installment from Neil’s continuing live recordings features a solo Neil in
early 1970, just as <i style="mso-bidi-font-style: normal;">After the Gold Rush </i>came
out.<span style="mso-spacerun: yes;"> </span>It features songs from the first
s/t album, and a wonderful version of “Bad Fog of Loneliness.” The recording
quality is exceptional.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">23.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Pelt Part Wild
Gate, <i style="mso-bidi-font-style: normal;">Hung On Sunday – </i>A fine gamelan
drone album, featuring members of Pelt, Dead C, and Part Wild Horses.<span style="mso-spacerun: yes;"> </span>Whenever Pelt decides to make a supergroup
jam session, good results are virtually guaranteed.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">24.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Ani DiFranco, <i style="mso-bidi-font-style: normal;">Live in Buffalo – </i>If you were to own
only one Ani live album, this double-disc solo acoustic set finds her
introducing powerful new material, and digging back into her catalog to <i style="mso-bidi-font-style: normal;">Not a Pretty Girl </i>and older fare. A fine
work.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">25.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Astral Social
Club, <i style="mso-bidi-font-style: normal;">Destiny SNFU – </i>Neil Campbell
played some wild games with ASC material this year, and this cassette release
may include some of the best.<span style="mso-spacerun: yes;"> </span>ASC work
since 2010 has been playful, confusing, ridiculous, and essential.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">26.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Mark Lanegan and
Duke Garwood, <i style="mso-bidi-font-style: normal;">Black Pudding – </i>It’s
hard to know whether to list this as studio or special, as it’s a unique
collaboration with results as unexpected as Lanegan and Isobel Campbell.<span style="mso-spacerun: yes;"> </span>Heavy on the blues for this duo out, and
interesting.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">27.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The
Replacements, <i style="mso-bidi-font-style: normal;">Live at Riot Fest – </i>Rather
than focus on the <i style="mso-bidi-font-style: normal;">Songs for Slim </i>work
of the reformulated Replacements, it might be more worthwhile to dig out 2013
live sets like this one, which includes some of the band’s best 1980s material,
so you can fully appreciate why a Replacements reunion was important.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">28.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Belle &
Sebastian, <i style="mso-bidi-font-style: normal;">Third Eye Centre – </i>B&S
have so much extra, B-sides, and unrecorded material, this is by different
counts either their third or fourth album of extras. That might seem excessive,
but when Stuart and company go into the studio, even the leftovers beat most
bands’ first-string material.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">29.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Dead C and
Rangda, <i style="mso-bidi-font-style: normal;">Dead C vs. Rangda – </i>Neither
band contributes what might be classed as new material, but the album is set up
as a unique guitar wank-off.<span style="mso-spacerun: yes;"> </span>Great fun.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">30.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Wilco, <i style="mso-bidi-font-style: normal;">Live at Solid Sound Festival – </i>A classic
Wilco double-CD set from their own curated festival.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">31.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Savages, <i style="mso-bidi-font-style: normal;">Live in Washington, Nov. 20, 2013 – </i>If
you’re doubting the special nature of a Savages live show, this NPR podcast
shows them at their best, even if they’re a little more contrived than they
wish to appear.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">32.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Comets on Fire, <i style="mso-bidi-font-style: normal;">Knitting Factory, 09/08/06</i></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">33.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Six Organs of Admittance, <i style="mso-bidi-font-style: normal;">The Lost Electric Six Organs Album</i></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">34.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Purling Hiss, <i style="mso-bidi-font-style: normal;">Live on WKDU, 2011 – </i>Three newest releases from the Six
Organs-related Silver Current Records, capture these three related bands at
their finest live glory.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">35.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Merzbow, <i style="mso-bidi-font-style: normal;">Kookaburra – </i>Scary shit from Australia,
but of course it is.<span style="mso-spacerun: yes;"> </span>It’s Merzbow.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">36.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Tom Carter, <i style="mso-bidi-font-style: normal;">Live May 2013 – </i>Tom is back!<span style="mso-spacerun: yes;"> </span>And in fine form!<span style="mso-spacerun: yes;"> </span>Nothing more need be said.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">37.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Mt. Eerie, <i style="mso-bidi-font-style: normal;">Live in Bloomington, IN, 2011 – </i>An
interesting acoustic set where Phil introduces some of the material for his two
2012 studio releases.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">38.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Jucifer, <i style="mso-bidi-font-style: normal;">Nadir – </i>A rough-cut and somewhat
frightening work, reproducing Jucifer’s first cassette demo efforts from the
mid-1990s.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">39.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Mark Kozelek, <i style="mso-bidi-font-style: normal;">Like Rats (covers)</i></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">40.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Mark Kozelek, <i style="mso-bidi-font-style: normal;">Live from Phoenix Public House</i></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">41.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Mark Kozelek, <i style="mso-bidi-font-style: normal;">Perils from the Sea</i></div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">42.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Mark Kozelek, <i style="mso-bidi-font-style: normal;">Kozelek and Desertshore – </i>OK, Mark is beginning to exhaust me in
the Robert Pollard/Ty Segall sort of way. Which means the material is good, but
how many collaborations and acoustic live renditions of Sun Kil Moon can we
handle? Still, none of these albums are bad.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">43.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Steve Malkmus, <i style="mso-bidi-font-style: normal;">Plays CAN’s Ege Bamyasi – </i>An odd and
appealing vinyl-only LP of Steve covering CAN’s <i style="mso-bidi-font-style: normal;">Ege Bamyasi </i>album in a live concert.</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">44.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Tindersticks, <i style="mso-bidi-font-style: normal;">Across Six Leap Years – </i>An odd but
compelling rehash of the band’s 20-year history, with reworkings of classic
songs like “A Night In.”</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">45.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Velvet
Underground, <i style="mso-bidi-font-style: normal;">White Light/White Heat
Expanded – </i>This sort of qualifies as more than a re-release, since there
are outtakes included in the box set.<span style="mso-spacerun: yes;">
</span>And who doesn’t need a remaster of the original Verve set?</div>
<div class="MsoBodyText" style="margin-left: .75in; mso-list: l1 level1 lfo2; tab-stops: list .75in; text-indent: -.25in;">
<span style="mso-list: Ignore;">46.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Mark Lanegan, <i style="mso-bidi-font-style: normal;">Imitations – </i>Lanegan offers us
minimalist covers of some of his favorite songs.<span style="mso-spacerun: yes;"> </span>An eclectic mix, sometimes odd, but
occasionally wonderful, particularly his cover of “You Only Live Twice.”</div>
<div class="MsoBodyText" style="margin-left: .75in;">
<br /></div>
<div class="MsoBodyText" style="margin-left: .5in;">
<br /></div>
<h2>
Singles and EPs <span style="font-size: 14.0pt; font-weight: normal; mso-bidi-font-weight: bold;"></span></h2>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: .25in;">
<br /></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">1.<span style="font: 7.0pt "Times New Roman";">
</span></span>Parkay Quarts (Parquet Courts), <i style="mso-bidi-font-style: normal;">Tally All the Things That You Broke – </i>First they grace us with a
fine debut album, then PQ issues an EP under a joke name that provides more
power pop and a hippie jam as the capper.<span style="mso-spacerun: yes;">
</span>What a year for this crazy band.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">2.<span style="font: 7.0pt "Times New Roman";">
</span></span>Pete Swanson, <i style="mso-bidi-font-style: normal;">Punk
Authority – </i>Seems like last year was Swanson’s year, until he gives us this
wild EP along with the exquisite Beer Damage album.<span style="mso-spacerun: yes;"> </span>Pete is defining experimental music the way
his former band, Yellow Swans, did five years ago.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">3.<span style="font: 7.0pt "Times New Roman";">
</span></span>Idea Fire Company, <i style="mso-bidi-font-style: normal;">The
Terrible Comet Salt – </i>The soundtrack to a short film from a few years back,
with spoken word narrative by Darren Goss, that is almost like a twisted
version of <i style="mso-bidi-font-style: normal;">Cloudy with a Chance of
Meatballs </i>as told by Edward Gorey.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">4.<span style="font: 7.0pt "Times New Roman";">
</span></span>Best Coast, <i style="mso-bidi-font-style: normal;">Fade
Away – </i>Three years ago, Dum Dum Girls achieved a breakthrough with a superb
EP followed by an equally impressive album. Beth Cosentino is aiming for the
same type of breakthrough and to a large extent, she succeeds.<span style="mso-spacerun: yes;"> </span>BC’s first two albums were impressive enough,
but this EP shoots the band into new songwriting levels.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">5.<span style="font: 7.0pt "Times New Roman";">
</span></span>Robert Pollard and Sunflower Logic, <i style="mso-bidi-font-style: normal;">Clouds on the Polar Landscape – </i>The best
of Pollard’s short-form work this year, and an impressive understated piece of
pop weirdness.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">6.<span style="font: 7.0pt "Times New Roman";">
</span></span>Sharon Van Etten and Shearwater, <i style="mso-bidi-font-style: normal;">Stop Draggin’ My Heart Around –</i>This Stevie Nicks cover was
mentioned in the Specials section as an adjunct to Shearwater’s covers album,
but deserves a mention here as a fine piece of pop.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">7.<span style="font: 7.0pt "Times New Roman";">
</span></span>The Joy Formidable, <i style="mso-bidi-font-style: normal;">Minute’s
Silence – </i>An excellent appetizer from Ritzy and her friends to accompany
the band’s full-length in 2013.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">8.<span style="font: 7.0pt "Times New Roman";">
</span></span>The Invisible Hands, <i style="mso-bidi-font-style: normal;">Insect Dilemma – </i>If you’ve heard the band’s debut album in either
English or Arabic, you know it is essential to pick up everything they release.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">9.<span style="font: 7.0pt "Times New Roman";">
</span></span>Emily Earle, <i style="mso-bidi-font-style: normal;">News
from Colorado – </i>Steve Earle’s 19-year-old niece puts out a damned
impressive CD, proving once again that the Earle family musical dynasty will
have far greater longevity than certain Duck Dynasties we could mention.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">10.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>No-Neck Blues
Band, <i style="mso-bidi-font-style: normal;">Gitanjali – </i>This was from a
recording session that Re Bi Xibalba had been sitting on for a few years,
finally released as a 10-inch record.<span style="mso-spacerun: yes;">
</span>And a powerhouse it certainly is.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">11.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The New
Mendicants, <i style="mso-bidi-font-style: normal;">Australia 2013 – </i>Fans
waiting for another Pernice Brothers release may have to rely on NM sounds, as
Joe Pernice is apparently making this his new project. It has all of Joe’s
familiar smooth vocals.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">12.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Low, <i style="mso-bidi-font-style: normal;">The Visible End – </i>Offered both as a
bonus to the band’s full-length, and as a separate release, this EP packs the
power of <i style="mso-bidi-font-style: normal;">The Invisible Way </i>in a small
package.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">13.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Dawes, <i style="mso-bidi-font-style: normal;">Stripped Down at Grimey’s – </i>None of the
songs on this EP may be the best version ever recorded, live or in studio, but
it represents a wonderful sampler of some of Dawes’ most emotionally wrenching
songs.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">14.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Flaming Lips, <i style="mso-bidi-font-style: normal;">Peace Sword – </i>It’s sort of absurd the
band refers to this as an EP, since it clocks in at nearly 40 minutes, but it’s
intended as a happy psychedelia answer to the full-length album <i style="mso-bidi-font-style: normal;">The Terror. </i>As a result, it sounds more
like typical Flaming Lips than the unusual melancholy of the full-length CD.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">15.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Destroyer, <i style="mso-bidi-font-style: normal;">Five Spanish Songs – </i>You have to hand it
to Dan Bejar for trying something completely different for outtakes from the <i style="mso-bidi-font-style: normal;">Kaput </i>sessions, though the songs aren’t
startling or keepers for the ages.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">16.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The
Replacements, <i style="mso-bidi-font-style: normal;">Songs for Slim </i>– Nice
new benefit tunes for a very sick member of the former Replacements, but as
mentioned in the Specials section, the recordings of live sessions during the
reunion tour are more interesting.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">17.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Astral Social
Club, <i style="mso-bidi-font-style: normal;">Metal Guru – </i>Once again, it’s
hard to call this an EP, as ASC has packaged a seven-inch record with a 45-minute
CD, offering what are supposed to be cover versions of T. Rex’s “Metal Guru”
and Bowie’s “Moonage Daydream” – though of course, with Neil Campbell’s sense
of weird electronic play, the sounds within do not seem to be covers of
anything at all.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">18.<span style="font: 7.0pt "Times New Roman";">
</span></span>Glen Hansard, <i style="mso-bidi-font-style: normal;">Drive
All Night – </i>After Hansard’s lackluster solo LP following the breakup of The
Swell Season, it’s good to see him come back with an impressive cover of
Springsteen and three original songs, including a cameo appearance by ex-lover
Marketa Irglova.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">19.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Elvis Costello
and The Roots, <i style="mso-bidi-font-style: normal;">Wise Up: Thought Remixes –
</i>Some fine remixes from <i style="mso-bidi-font-style: normal;">Wise Up Ghost,
</i>with appearances by Black Thought and members of Sharon Jones’ Dap Kings
band.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">20.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Civil Wars, <i style="mso-bidi-font-style: normal;">Between the Bars – </i>With no reunion in
sight for the moment, Joy and John Paul give us a 10-inch record with some fine
leftover covers, most notably the title cut and “Talking In Your Sleep.”</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">21.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Frightened
Rabbit and Manchester Orchestra, <i style="mso-bidi-font-style: normal;">Grouplove
– </i>More a split than a true collaboration, it’s good to see two wonderful
and different bands as FR and MO together on one piece of vinyl.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">22.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Smoke Fairies, <i style="mso-bidi-font-style: normal;">Upstairs at United, Vol. 6 – </i>In theory,
the Upstairs series should be good, particularly for a bluesy duo like Smoke
Fairies. In practice, the renditions aren’t that much different from SF in the
studio, but this is a necessary one for fans.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">23.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Tennis, <i style="mso-bidi-font-style: normal;">Small Sounds – </i>Alaina Moore and Patrick
Riley tried the same thing Best Coast did with this EP: They’ve grown from a
form of yacht rock in their first album, to a fuller sound in last year’s <i style="mso-bidi-font-style: normal;">Young and Old, </i>and now want to move the
five songs here up another notch in order to be taken seriously. The leap may
not have been as successful as Best Coast, but the effort is not a bad one.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">24.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Guided by
Voices, <i style="mso-bidi-font-style: normal;">Down by the Racetrack</i></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">25.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Guided by Voices, <i style="mso-bidi-font-style: normal;">Noble Insect</i></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">26.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Guided by Voices,
<i style="mso-bidi-font-style: normal;">Xeno Pariah</i></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">27.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Guided by Voices, <i style="mso-bidi-font-style: normal;">Trash Can Full of Nails</i></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">28.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Guided by
Voices, <i style="mso-bidi-font-style: normal;">Islands</i></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">29.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Guided by
Voices, <i style="mso-bidi-font-style: normal;">Funky Minnows – </i>The GbV
singles-spinoff machine was working full tilt in 2013.<span style="mso-spacerun: yes;"> </span>Except for the first release, the multi-song <i style="mso-bidi-font-style: normal;">Down by the Racetrack, </i>all are two-song
singles taken from <i style="mso-bidi-font-style: normal;">English Little League,
</i>with many of the B-sides written by Tobin Sprout.<span style="mso-spacerun: yes;"> </span>So of course you have to go hear all of them.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">30.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Imagine Dragons,
<i style="mso-bidi-font-style: normal;">Live at Independent Records – </i>Even if
you think IR are getting far too much publicity, this live EP is a decent
effort, and proceeds of the very cheap CD go to charity, so fork it over.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">31.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>The Fuzz, <i style="mso-bidi-font-style: normal;">Live in San Francisco 2013 – </i>Ty Segall
seems to be everywhere these days, with his grunge band Fuzz being the most
popular project with which he is associated. This is a four-song EP that
catches Fuzz at its fuzziest, neo-hippie psychedelic best. Doesn’t mean it’s
stunning, just a bit of fun.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">32.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Front Country,
s/t – A very impressive Sacramento-area bluegrass band with their first EP,
suggesting we soon may hear a lot more.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">33.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Low/Shearwater, <i style="mso-bidi-font-style: normal;">Rihanna/Frank Ocean split – </i>Oh, come on,
even if the covers are fairly silly, you have to have this single for the sheer
weirdness involved, right?</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">34.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Robert Pollard, <i style="mso-bidi-font-style: normal;">Tonight’s the Rodeo</i></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">35.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Robert Pollard, <i style="mso-bidi-font-style: normal;">Return of the Drum Set – </i>Two singles from Pollard’s December
full-length, <i style="mso-bidi-font-style: normal;">Blazing Gentlemen, </i>with
the latter referring to Pollard’s big spat with former GbV drummer Kevin
Fennell over a $57,000 drum set offered on eBay. Some worthy music within – <i style="mso-bidi-font-style: normal;">Rodeo </i>has an interesting B-side in
“Astral City Slickers,” though this song has nothing to do with the GbV song
“Finks,” which made the phrase infamous.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">36.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Elephant
Revival, <i style="mso-bidi-font-style: normal;">It’s Alive – </i>The Nederland,
CO sincere hippies put out a fine little live set giving newbies a chance to
find out what the excitement is all about.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">37.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Octa#Grape, <i style="mso-bidi-font-style: normal;">As Long As I Forget</i></div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">38.<span style="font: 7.0pt "Times New Roman";">
</span></span><i style="mso-bidi-font-style: normal;"><span style="mso-spacerun: yes;"> </span></i>Octa#Grape, <i style="mso-bidi-font-style: normal;">Emotional Oil – </i>Former Trumans Water singer Glenn Galloway issued a
full-length with his new band in 2013, but also two singles which seem to offer
better recording aesthetics.<span style="mso-spacerun: yes;"> </span>Rough-cut
stuff, perhaps, but Octa#Grape is someone we’ll be hearing more about.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">39.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Lorde, <i style="mso-bidi-font-style: normal;">Tennis Court – </i>Oh sure, you’ll want to
get the extra B-side here, simply because Lorde is everywhere at once and her
songs are all hypnotizing at first listen.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">40.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Ghost, <i style="mso-bidi-font-style: normal;">If You Have Ghost – </i>Dave Grohl produced
this covers effort from the Swedish parody metal band, Ghost BC, who cover
everyone from Roky Erickson to Abba to Depeche Mode. Fun in a very strange sort
of way.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">41.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>K-Naan, <i style="mso-bidi-font-style: normal;">Waiting is a Drug – </i>An impressive RSD
debut for a new R&B artist who covers Dylan and isn’t afraid to add found
sounds to his work.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in; mso-list: l2 level1 lfo3; tab-stops: list .5in; text-indent: -.25in;">
<span style="mso-list: Ignore;">42.<span style="font: 7.0pt "Times New Roman";">
</span></span><span style="mso-spacerun: yes;"> </span>Pixies, <i style="mso-bidi-font-style: normal;">EP-1 – </i>I’m including this at the end in
deference to Pixies fans, and because the new songs aren’t bad, but lately
everything Frank Black has done with Pixies has pissed me off, so this is
recommended with a big grain of salt.</div>
<div class="MsoBodyTextIndent" style="margin-left: .5in;">
<br /></div>
Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com2tag:blogger.com,1999:blog-2850977918787367334.post-22397646697474808492013-09-24T09:59:00.000-07:002013-09-24T09:59:11.764-07:00Janissary<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb2apNvtvE_puOFIUCIxTrdcj6X3uTw29Ad3-FQTwvymT-cj39KV0q0caAbun9Vxqv6eM7u53VUjpRbLtEth8XNEVnxGsvK2SCHAkIkN7YEl4ngvwiiyvFKC13hJqpOZcXp308utJtIw4/s1600/NairobiMall.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjb2apNvtvE_puOFIUCIxTrdcj6X3uTw29Ad3-FQTwvymT-cj39KV0q0caAbun9Vxqv6eM7u53VUjpRbLtEth8XNEVnxGsvK2SCHAkIkN7YEl4ngvwiiyvFKC13hJqpOZcXp308utJtIw4/s320/NairobiMall.jpg" width="320" /></a></div>
<i>Keep alive the memory of Ghanian poet <b>Kofi Awoonor.</b></i><br />
<br />
At the height of the Ottoman Empire's power, Orthodox Christians from the Balkan states willingly accepted Christianity's role as a vassal religion, since the Islamic rulers in Istanbul allowed relative freedom of religion. Some Christians even served in the Ottoman army as Janissary forces. True, a few Christian guerillas in the Carpathian hills tried to hold out against the sultan's power, but most of the acts carried out by these groups represented little more than banditry and indiscriminate terror, and had little impact outside specific villages in southeast Europe.<br />
<br />
When the imperial powers of Europe carved up the remnants of the Ottoman Empire at the end of the 19th century, they made clear that Islam now would be the vassal religion in the global empires of capitalist Christendom, and that this was largely the fault of Islam's own standard-bearers and their self-inflicted wounds, since Muslim nations had withdrawn from science, technology, and the Victorian Era's idea of "progress." Of all the Young Turks who attempted to re-define Istanbul to align with Western interests, only Kemal Ataturk made progress, largely through declaring an enforced secularism. Sure, there were plenty of Muslims in Anatolia, but they had to play the game according to secularist rules.<br />
<br />
This pattern was repeated over and over with Nassir in Egypt, the Baath Party in Syria and Iraq, and the socialist revolutionaries in Algeria. Islam as its own source of power was turned into the losing wing of a balance of power that grew more asymmetric by the day. Historians credit the Iranian Revolution of 1978-79 with giving pride back to at least the Shia wing of Islam, though too many devout within Iran spent more time sending out the baseej cultural police to deal with evil secular influences, than they did in careful consideration of whether Iran really needed The Bomb.<br />
<br />
The recent overtures by Iran to open dialogue with the West stem in part from a realization that vastly asymmetric power imbalances cannot be overcome by terror or by nuclear weapons. Organized rejectionist nation-states like Iran, North Korea, and Syria may still try to broaden their arsenals of WMDs, but they realize that at the end of the day, Western nations have the power to destroy them, and they are unlikely to ever overcome that asymmetry, no matter how many weapons they purchase. Better to strike deals and form counter-alliances than to bankroll terror. (True, some within the DPRK still believe in the utter nonsense called <i>juche </i>in North Korea, but they represent a minority that is shrinking every day.)<br />
<br />
That leaves the independent non-state actors, particularly the warriors who subscribe to a Salafist version of Islam. The front line is defined less and less by al-Qaeda, and more and more by localized groups such as al-Shabaab, Boko Haram, and Lakshar e-Taiba. These are the groups responsible for the deaths of more than 70 at the Westgate Mall in Nairobi, and for the death of 78 Christian worshipers at a church in Peshawar, Pakistan. Some analysts in the West would say that an indiscriminate, catastrophist terror against civilians is the only response a devout Muslim can make to extreme asymmetry in power. Sometimes, they will use analogies like the elephant assaulted by a thousand fleas.<br />
<br />
The problem with this analysis is that an elephant who tires of battling fleas one by one, always has the option of rolling on the ground and killing thousands at once. On a moral basis, those of us opposed to war do not like to see the use of any deliberate-assassination weapons, from drones to aerial carpet bombing to tactical nuclear weapons. But what the Western powers want to make sure the catastrophists understand is that Salafist warriors only remain alive at the discretion of Western leaders who choose to limit collateral damage. The asymmetry of power will never be overcome, in the Salafist's lifetime, or for a century or more to come. Iranian leaders understand they may finish a nuke or two, but will never have the strategic resources to challenge the overall nuclear arsenals of Israel or the U.S. Syria wants to depend on Russia, but Kremlin leaders and the military are only willing to go so far in challenging power asymmetries (though Putin loves to call Americans to task for their exceptionalism).<br />
<br />
It may seem cruel and counter-productive to tell a young, devout graduate of a madrassa school that Islam will remain a vassal religion regardless of what jihadists do, but facts is facts. There are no 50 virgins in paradise to reward the Shabaab member attacking a Kenyan mall. There will be no Third Caliphate. There will only be an Islam that will remain in a secondary position to Judeo-Christianity for a long time to come.<br />
<br />
Monotheistic religions that learn to make do, evolve to a language of love and inclusion. The devout who lash out against noncombatants only tighten the circle around themselves, while discrediting all their people and those who share their beliefs. The forces of the West do not have an exceptionalist monopoly on righteousness, but their power cannot be challenged by wanton crimes against the innocent. The wise Muslim activist can turn to nonviolent noncooperation methods and leverage the power of Gandhi. The catastrophist will sink in a mire of ineffective asymmetric warfare that only further ruins the cause of respect for Islam.<br />
<i><b> </b></i><br />
<i><b> </b></i>Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-65629445586139266182013-06-25T11:47:00.000-07:002013-06-25T11:57:28.120-07:00NRO: The "Other" Intelligence Agency<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWnFpxcZGhJ3WKfFAuXZZGQCkzugO5NMepkic7eh9q6h5VUsNlXGr68BNRfhvwvltkB4hQap-TJAOqjcGP0G97WziS6UCTrfSFo1HosbIsakl63hmVSyZA47D6ILdWEF7Tb2dk70mJaJ4/s1600/NROlogo.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWnFpxcZGhJ3WKfFAuXZZGQCkzugO5NMepkic7eh9q6h5VUsNlXGr68BNRfhvwvltkB4hQap-TJAOqjcGP0G97WziS6UCTrfSFo1HosbIsakl63hmVSyZA47D6ILdWEF7Tb2dk70mJaJ4/s1600/NROlogo.jpg" /></a></div>
Now that every member of Congress and the White House staff is avoiding learning anything about the National Security Agency, in favor of calling for the head of Edward Snowden (with the exception of <a href="http://www.denverpost.com/ci_23530383/udall-nsa-states-significant-errors-about-privacy-protections">admirable efforts by Mark Udall and Ron Wyden</a>), it is time to remind everyone that NSA is not the largest U.S. technical intelligence agency by budget. That honor goes to the even lesser-known National Reconnaissance Office, or NRO. The NRO, which spends in the neighborhood of between $15 and $16 billion per year, is the largest of any U.S. intelligence agency, at least in budget authority. Its staff is small, because its business is flying spy satellites, using partial budget authority of the Air Force.<br />
<br />
For the first 15 or 20 years following establishment of the NRO in 1960, the agency had an even more benign reputation among arms-control liberals than did the NSA, and for a very concrete reason. The early imaging satellites launched by NRO disproved Soviet bomber gaps and missile gaps, thereby making the case for smaller strategic nuclear budgets (admittedly, they did not seem very small in the height of the Cold War, but could have been even larger). This tendency to rely on "national technical means of verification" led to a knee-jerk assumption by many liberals that the NRO was benign-by-design. How could a spy-satellite agency be a subject of Constitutional debate?<br />
<br />
Those that ask this question do not realize how profoundly the NRO changed during the 1980s, and particularly in the aftermath of the Cold War. The NSA was on a mission during the Reagan years to limit the exposure of ground-based listening posts in sensitive locations like Iran and Turkey. The NRO could claim new frontiers in chip integration and RF antenna design that would allow the fielding of massive geosynchronous satellites with unfurlable antennas as large as two football fields, and "close-listen" satellites in low-Earth and Molniya orbits that would allow particular conversations (voice or email) to be picked up in specific regions of the planet. During the 1980s and 1990s, a vast array of NSA capabilities moved to space, courtesy of the NRO.<br />
<br />
In my earlier post on NSA, I pointed out that this move made it easy for NSA to expand to full broadband intercept of all communications. It is much harder to make a satellite turn itself off for one specific region, than for the same satellite to pick up everything globally, but make much of its intercepted content deniable except when other agencies of government specifically needed that information. Thanks to NRO, the NSA was scooping up everything from the Clinton era on - not just from the post-9/11 era. Bush's FISA Bypass flap was about making collected NSA information usable and only partially deniable - prior to 2002, the information was collected but was denied to exist. The constellation of NRO satellites also made it easier for signals intelligence to update itself for the TCP/IP packet-switching era of the Internet. Many ground-based NSA resources of the past were designed for circuit-switched, nailed-up connections between sender and receiver. NRO satellites could function just as well in the packet-switched anything-to-anything world, as in the circuit-switched telco world of the past.<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjQtb6xHNjqGn61VPuzyoEvybbzTn7OtYHx3AUPeRn5MRexJPXQ3QSHcl6PAd1dkzcjN4yVqGmYOzVzPaPOh_iDTI1UF0XQOu7AVkUSZTIvn9aXP-fb-3aA67bwd7a7UD836FK4VCVhHY/s1600/Menwith-hill-radomes.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjQtb6xHNjqGn61VPuzyoEvybbzTn7OtYHx3AUPeRn5MRexJPXQ3QSHcl6PAd1dkzcjN4yVqGmYOzVzPaPOh_iDTI1UF0XQOu7AVkUSZTIvn9aXP-fb-3aA67bwd7a7UD836FK4VCVhHY/s320/Menwith-hill-radomes.jpg" width="320" /></a>During the 1980s, huge new ground stations were built at locations such as Menwith Hill in England and Buckley Field in Colorado, specifically to download, analyze, and store this massive treasure-trove of data. The rationale for these satellite-downlink stations is similar to that for the NSA's new Utah Data Center opening this summer in Bluffdale, Utah -- the stations wouldn't be built if the agencies didn't have the data to fill them up.<br />
<br />
In the 1990s, organizations like Global Network Against Weapons and Nuclear Power in Space, submitted testimony to Congress on the potential problems of new classes of spy satellites. We were privately told by Air Force officials that the protests were appreciated, because no member of Congress ever raised these issues. Most members wouldn't know the difference between imaging and signals satellites in the first place, and virtually all members of Congress did not want to learn more about the NRO or NSA - rubber-stamping any new project was preferred. This led to huge scandals in the mid-1990s -- at one point, NRO Director Jeff Harris was removed from the agency because he could not account for $2.5 billion of the agency's annual budget.<br />
<br />
The NRO influence and budget continued to grow following Sept. 11, and continues to grow today. Its classified budget is believed to exceed $15 billion. The NRO launched <a href="http://www.space4peace.org/newsletter/Space%20Alert%2027.pdf">six satellites in the course of 2012</a>, of which citizens were allowed to learn virtually nothing, and the agency expanded staff at its Chantilly, VA headquarters and at Buckley AFB in Aurora, CO. What happens if a contractor is upset about satellite capabilities and decides to reveal information a la Edward Snowden? Do American citizens need to know each orbital plane and each frequency band of all of NRO's spy satellites? Perhaps not. But does the public deserve to know about the general class of advanced spy satellites like Advanced Orion and Advanced Jumpseat, and their possible role in violating civil liberties? Of course they do. But the attitude of the Obama administration, and 90 percent of the members of Congress, is that the public has no right to be asking about technical intelligence agencies in the first place, let alone the right to deserve honest answers.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCVSWBQsT7x-vazHoRFFtPBCs_A90jvJdZzpOQQMHdvWKHNwtWB0bI5NPdtUilEsYG-gshV6oL36Wx7YsDa0Hux96mzmB4HM0vIZcdppchmzCmGcnDXuDbG7-t91wCEvStywrhjSI93xo/s1600/SatelliteSIGINT.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCVSWBQsT7x-vazHoRFFtPBCs_A90jvJdZzpOQQMHdvWKHNwtWB0bI5NPdtUilEsYG-gshV6oL36Wx7YsDa0Hux96mzmB4HM0vIZcdppchmzCmGcnDXuDbG7-t91wCEvStywrhjSI93xo/s1600/SatelliteSIGINT.jpg" /></a></div>
<br />
<br />Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com1tag:blogger.com,1999:blog-2850977918787367334.post-15776862512368416742013-06-06T08:37:00.000-07:002013-06-06T08:37:10.137-07:00A Simple Primer on Global Listening<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcPpHM7I9C9ouZj9cih3BqPFnU-n3MGb2L0zfgwzmItPYR8XXsbydD-y_GREvj_wSj_TLm-S2YNKKrr3rbOXcmBDD6NouuKvJzVzfsdOuXxmxMbn8WEYHf0iCd9eIi8O5bnMHFaYIFlAE/s1600/CyberCommand1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="207" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcPpHM7I9C9ouZj9cih3BqPFnU-n3MGb2L0zfgwzmItPYR8XXsbydD-y_GREvj_wSj_TLm-S2YNKKrr3rbOXcmBDD6NouuKvJzVzfsdOuXxmxMbn8WEYHf0iCd9eIi8O5bnMHFaYIFlAE/s320/CyberCommand1.jpg" width="320" /></a></div>
When the UK <i>Guardian </i><a href="http://www.guardian.co.uk/world/2013/jun/06/nsa-phone-records-verizon-court-order?fb=native&commentpage=6">published direct orders</a> from the Foreign Intelligence Surveillance Court to Verizon on June 5, many readers did not have the slightest idea what they were looking at. The methodology used by the National Security Agency to conduct domestic surveillance is not new - what was new in the story was the direct proof that presidents from Reagan to Obama have consistently lied about what the NSA does, domestically and internationally. Authors such as James Bamford, Duncan Campbell, Desmond Ball, Nicky Hager, and Matthew Aid have been disclosing the details about this global system for years. It seems as though it's time for another refresher tutorial so that people understand what their government does on a daily basis, so they don't use ridiculous terms like "warrantless wiretap.":<br />
<br />
The United States exited World War 2 with plenty of new global bases, acquired in some cases from the UK, or established as U.S. forces drove the Japanese west across the Pacific. British authorities were worried about having signals intelligence fall out of the hands of Anglo-Saxon nations, so they talked the U.S. into signing the UKUSA Treaty in 1946, which apportions signals intelligence duties across U.S., UK, Canada, Australia, New Zealand -- and no one else. UKUSA remains highly classified today, 67 years later.<br />
<br />
The miserable status of signals intelligence collection during the Korean War spurred Harry Truman into creating the National Security Agency at Fort Meade, MD in 1952. The mere existence of NSA was not disclosed until 1956. It has since become the second biggest intelligence agency by budget, spending roughly $12 billion annually.<br />
<br />
When the U.S. was going through its base-building frenzy in the 1950s to establish a nuclear weapons infrastructure, it also built secret bases around the world to gather critical military intelligence everywhere on the planet. Many bases were in global hotspots like Turkey, Iran, and Pakistan. The most common form of ground-based SIGINT base at the time was a massive series of concentric dipole antenna rings, variously referred to as Elephant Cages, Flare-9's, Classic Bullseye, or Wullenweber arrays. Although the main focus was offshore, plenty of SIGINT bases were opened on domestic U.S. soil, in locations such as Winter Harbor, ME; Fort Gordon, GA; Medina Annex, TX; Two Rock Ranch, CA; and Skaggs Island, CA.<br />
<br />
In 1960, the Air Force established the National Reconnaissance Office to manage spy satellite programs. NRO subsequently became a DoD intelligence agency in its own right, and the largest intelligence agency by budget, currently spending around $16 billion annually. Throughout the 1960s, NRO concentrated on primitive imaging satellites aimed at missile fields in the Soviet Union, though that was to change as electronic integration improved.<br />
<br />
NSA got caught up in the mid-1970s probes of intelligence agencies, and was forced to reveal domestically-aimed programs like SHAMROCK, though few in Congress asked if its international programs really aimed at the Cold War targets that were supposed to be NSA's bread and butter. The so-called reforms Congress put in place created a new top-secret court called the Foreign Intelligence Surveillance Court. All the judicial members of FISC and all its rulings are top secret. The court is supposed to monitor the activity of the NSA. The public learned for the first time in 2005 that there is also a Foreign Intelligence Surveillance Appeals Court, but it did not convene until the 21st century, because the FISC never rejected an NSA request until the post-9/11 period.<br />
<br />
When FISC began rejecting some Bush administration requests, forcing the convening of FISAC, George Bush issued executive orders that allowed NSA to bypass FISA requirements and conduct domestic surveillance as it saw fit. Congress codified this procedure in its 2008 FISA "reforms."<br />
<br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLhS1qHnK2AgmRd_hgD_DHmgWfPKI4S30v2D63-MmzwMYZYUntA-MX4I3JgIdn0-RuvgLtCJ6_QrR7tMdFs6pSAbPCFWl1ABBlpTbfLYylSXjcaml6uccM83Rk4My06ZLLq00Ur-9PaPg/s1600/071105_menwith2_0.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="231" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLhS1qHnK2AgmRd_hgD_DHmgWfPKI4S30v2D63-MmzwMYZYUntA-MX4I3JgIdn0-RuvgLtCJ6_QrR7tMdFs6pSAbPCFWl1ABBlpTbfLYylSXjcaml6uccM83Rk4My06ZLLq00Ur-9PaPg/s320/071105_menwith2_0.jpg" width="320" /></a> Bobby Ray Inman, director of the NSA in the Carter years, believed in faster deployment of advanced integrated circuits into spy satellites. As a result, new satellites were fielded in the 1980s that allowed real-time digital delivery of images and electronic intelligence from phone calls and computer messages, directly from geosynchronous orbit to ground stations. NSA and NRO worked together to define new satellites such as Jumpseat, Ranger, and Advanced Orion, some of which sported unfurlable antennas as large as two football fields! As a result, NSA shut down many of its ground stations in the 1980s, and opened new satellite downlink stations in Menwith Hill, UK; Buckley Field, CO; Bad Aibling, Germany; and other locations. NSA also opened special ground stations at Yakima, WA and Sugar Grove, VA that intercepted communications from commercial satellites in orbit.<br />
<br />
Two policy changes took place during this time without input from the public or Congress: Because satellites in geosynchronous orbit cover the planet in an RF footprint by their very nature, <i><b>interception within the domestic U.S. became the rule, not the exception. </b></i>FISA rules or no, NSA was collecting everything globally - it simply could never acknowledge doing so. Also, the agency established to intercept military communications of adversaries slowly was tasked with intercepting all commercial and consumer/civilian communications on the planet. This was a massive expansion, requiring many more employees and facilities in the U.S. and abroad.<br />
<br />
In the latter years of the Clinton administration, a significant furor was raised over the code name Echelon, which referred to a specific Compaq Computer client-server architecture for tracking communications through the use of key words. Echelon was not the global network - this had been built over the previous four decades as a basic infrastructure of NSA and NRO missions.<br />
<br />
Following Sept. 11 and passage of the Patriot Act, George Bush used the FISA Bypass as a cover for allowing the NSA to implement Stellar Wind, a program to put packet-sniffing equipment inside telephone switching centers inside the U.S. This equipment, manufactured by Narus, Cisco, Blue Coat, and other companies, allows IP packets used in Internet communications to be probed deeply for both traffic analysis and content analysis. Meanwhile, NSA was trying to shift from the circuit-switched telephony world of the past to the IP-based world of the future by implementing global programs that also allowed automated filtering and data mining of massive amounts of traffic. Programs such as Trailblazer and ThinThread did not always work so well, though they cost a bundle.<br />
<br />
U.S. wireline phone companies were not too crazy about being lured into this, but agreed to have interception equipment placed in the heart of their networks. When Joe Nacchio was ousted from Qwest Communications, he claimed in a court hearing that NSA had forced him out when he refused to have such equipment added to packet switching networks.<br />
<br />
The latest kerfuffle involving NSA, FISC, and Verizon illustrates the fact that NSA needs to work a lot harder with wireless cellular networks. Some communications can be picked up using wireless methods, some phone calls and texts transferred to the wireline network at base stations can be intercepted at central switching centers, but NSA also needs the call records maintained by wireless operators to perform detailed traffic analysis.<br />
<br />
Of course, there is far too much traffic collected for the NSA to be able to analyze using human agents. That's why automated data mining and filtering tools like ThinThread are so important. And this is why the NSA was running out of storage space in the Baltimore-Washington corridor to store all that global communication it had intercepted. NSA asked Congress for the money four years ago to create a new Storage Station Freedom in Bluffdale, Utah to store the massive amount of voice and IP traffic it collects abroad, and here at home. The Bluffdale facility is slated to open in late July of 2013. But of course, you're unlikely to hear about its grand opening, as it's merely one more element of NSA's daily business you are not allowed to know.<br />
<br />
<br />
<br />
<br />
<br />Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com0tag:blogger.com,1999:blog-2850977918787367334.post-34618317303634876932013-05-23T21:04:00.000-07:002013-05-23T21:04:04.677-07:00That Damnable Revolving Door<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf9-n_0ekZ9Ijga7wZkAuDRjVH99Dh0uM5zJ92QsCovztqeBFUgip8MVg57VgsvoTWFTpBgxQAHY487mIpuKb6pHd1ccSQS-nGwstA5JWN66L04XTVqhXRvPDES0YvEIIexoA3Kqn0AIM/s1600/Gasland2.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="178" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjf9-n_0ekZ9Ijga7wZkAuDRjVH99Dh0uM5zJ92QsCovztqeBFUgip8MVg57VgsvoTWFTpBgxQAHY487mIpuKb6pHd1ccSQS-nGwstA5JWN66L04XTVqhXRvPDES0YvEIIexoA3Kqn0AIM/s320/Gasland2.jpg" width="320" /></a></div>
So <i>Gasland II </i>premiered in Colorado Springs tonight, with an appearance by director Josh Fox, and sure, there were plenty of updates about the people of Dimock, PA, Pavilion, WY and many other places that were just as grim. It is obvious the U.S. is declaring shale areas to be "National Sacrifice Zones" in which it is deemed cheaper to buy out the homes of all who live near fracking sites, making them sign nondisclosure agreements in the process, than to adopt regulations to insure that fracking is either conducted safely, or not at all.<br />
<br />
What is more disturbing are the number of ethical sacrifices people are willing to make on a regular basis. We see this most explicitly when energy companies and developers of LNG port sites talk in public about how wonderful it will be when the North Pole ice cap melts, so energy barges can travel unhindered among northern ports in Canada, Scandinavia, and Russia. We see it when energy companies hire Iraq and Afghanistan veterans who worked for PSYOPS and military intelligence divisions, who reorganize PR departments so they are managed like a counterinsurgency campaign against the "terrorists" who would oppose fracking. This kind of activity makes me lean to generalizations to insist that anyone who works for the extractive energy business is morally suspect.<br />
<br />
And then we have the problem of the revolving doors. Leading Pennsylvania and New York state government officials, as well as federal government officials, quit their posts to work for the companies they regulate. Of course, you say. That's as prevalent in the military industrial and resource management sector as it is in energy. That still does not make it right.<br />
<br />
Yes, yes, all business is prostitution to a certain extent, and one can't fault everyone who leaves a nonprofit or government post to go into for-profit industry. But any move to greater prostitution along the "misrepresenting for profit" line should be taken with due consideration for what kind of ethical lapses might be made. I've seen many in my field of journalism go into corporate PR as traditional journalism disappears. Obviously, working for Cisco or Dell can't be seen as being as damaging as working for Lockheed-Martin or Halliburton, but one would hope that people draw firm lines in the sand as they start sliding down the slippery slope of moral rationalization.<br />
<br />
One thing that Fox showed in his sequel to <i>Gasland </i>is that few in the Obama administration, including the president himself, have made admirable ethical choices. Those mid-level EPA officials, as well as former EPA Administrator Lisa Jackson, finally had to <a href="http://www.huffingtonpost.ca/2013/01/07/lisa-jackson-epa-resignation-keystone_n_2425926.html">leave the agency </a>when the desire to cover up blatant fact on fracking-fluid contamination got in the way of good science. And we won't even get into the cesspool that is Congress. I left the movie feeling that there really is no one, at local, state, or federal level, that can stay in government without compromising basic values. And so many of them choose the revolving door. Where are the people who will stand up and say, "I will state facts based on the research conducted, make regulatory decisions as they need to be made, quit my job if money gets in the way of my ethics, and refuse to join the companies I formerly regulated." The ranks of such people are dwindling by the day. And what we are left with is independent people working in retail, the arts, non-profits, etc. who look at government and transnational corporations and say "I want nothing to do with any of you."<br />
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCNx6BarmaqECEvQ4UIktqLPNn0of5hZ6nshqzkTaCqfRMevouw2hETZ5KnC0DBI9jx9R7Viu2l-y7II-krOvXBZuFZc8Wa-XAtg1X3g8ypU6WZUvaBXRSvfqn_t0zxYIzpM_8uHwfH0/s1600/981760_10151460860473876_210370090_o.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="180" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiwCNx6BarmaqECEvQ4UIktqLPNn0of5hZ6nshqzkTaCqfRMevouw2hETZ5KnC0DBI9jx9R7Viu2l-y7II-krOvXBZuFZc8Wa-XAtg1X3g8ypU6WZUvaBXRSvfqn_t0zxYIzpM_8uHwfH0/s320/981760_10151460860473876_210370090_o.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Wes Wilson (formerly of EPA) and Josh Fox</i></td></tr>
</tbody></table>
<br />
That's the kind of line I'll draw. I simply won't have any track with people who will sacrifice their morals for the sake of making what they call a living wage. The revolving door is a death wage.<br />
<br />Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com2tag:blogger.com,1999:blog-2850977918787367334.post-63941532150632305352013-05-14T17:12:00.001-07:002013-05-14T17:12:56.398-07:00Proceed At Own Risk<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkGWqfoQiLAvfx2ZpDA56S2pLLhAwx3yw6sYL3P9ag_bNQn_dN0wZDMIhcejVdzhVwzihPGt-REHF_rtICJSyl27mBcvxefEpUkvK5yYiSHPVu4QMbnuyUS3npifvi0Ut44GwYbJmoeXI/s1600/US-embassy-employee-Ryan--010.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="192" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjkGWqfoQiLAvfx2ZpDA56S2pLLhAwx3yw6sYL3P9ag_bNQn_dN0wZDMIhcejVdzhVwzihPGt-REHF_rtICJSyl27mBcvxefEpUkvK5yYiSHPVu4QMbnuyUS3npifvi0Ut44GwYbJmoeXI/s320/US-embassy-employee-Ryan--010.jpg" width="320" /></a></div>
Benghazi, IRS vs. Tea Party, Ryan Fogle, Justice Dept. vs. Associated Press.... is the Obama White House facing the same cascade of scandal that ensnared the Nixon, Reagan, and Clinton administrations in turn? Perhaps, though one must subtract the Republican reality distortion field that surrounds at least two of the scandals. It might also speak to a Justice Department that has always seemed incapable of serving the needs of justice (not just under the deplorable Eric Holder, but perpetually, harking back to the days of John Mitchell).<br />
<br />
But the biggest source for scandal is the proverbial living-room elephant that neither major party dare name: the fundamental incompatibility between global imperial national-security state and bottom-up democracy, which has served as a drag on a constitutional republic since 1947. A nation that runs according to the parameters of the National Security Act of 1947, NSC 68, Patriot Act, FISA Bypass, and various cryptography and atomic energy statutes, is simply not one that can be managed according to the rules of a democracy.<br />
<br />
Since so many Americans enjoy specific perks from the U.S. maintaining its top-dog role in this game of King On the Mountain, I'm not too optimistic about taking this discrepancy to a direct vote. A majority may well favor ditching the Bill of Rights in order to keep their toys, But here's what I would demand: If the nation is going to accede to the existence of covert divisions of acknowledged agencies, or entirely covert agencies and operations, <i><b>then those agencies must operate from the principle that the risk they take through plausible deniability remains with the agency itself. Journalists cannot and must not be prosecuted by learning what they can of agencies' missions.</b></i><br />
<br />
Frankly, I was a little surprised when the Obama administration did not attempt some form of prior restraint when pictures of sloppy Moscow CIA agent Ryan Fogle (above) appeared worldwide on May 14. Of course such an effort would be futile in a Web and social network age, but it doesn't mean that the White House (particularly Attorney General Eric Holder) wouldn't try. After all, the U.S. Supreme Court ruled in the mid-1980s that the Intelligence Identities Protection Act, which made it a crime to publish the names of CIA agents, was perfectly constitutional. Later that same decade, the USSC said that covert agents with CIA, DIA, or Special Ops Command need not behave with any constitutional constraint when operating in other countries. And all indications are that the USSC will approve the warrantless monitoring, operated globally by NSA and NRO on a 24/7/365 basis, and approved by Bush in 2002 and given ex post facto validation by Congress in 2008, under something called "FISA Bypass."<br />
<i><b> </b></i><br />
This impunity and arrogance to protect government from the eyes of probing media may have gotten a thumbs-up from all three branches of government, but it is still unconstitutional and wrong. Eric Holder has prosecuted nine journalists under the Espionage Act. The only time such prosecution is warranted is when a journalist is handing over information to a foreign power. Publishing something the government wants to keep secret is not a crime - it merely means that the covert agency is not doing its job. Whether the media source is WikiLeaks or a small Baltimore newspaper covering the headquarters of NSA, it is not legitimate to prosecute that source for leaking secrets.<br />
<br />
Our laws actually are worse than that. IIPA and FISA would criminalize the dissemination of secrets that originate with the government. But under the Atomic Energy Act of 1954, all information on fusion energy and H-bomb technology is "born secret." That means that if you figure out in your head the architecture of the H-bomb, the government can classify your brain. Many people think that this law was tossed out after <i>The Progressive </i>won its H-bomb case in 1980, but all that happened was that the Justice Department dropped its prosecution when it became untenable. The Atomic Energy Act still stands. And sections of various cryptography acts passed over the last century make it a crime to publish information about electronic monitoring -- <i>even if such information is informed speculation coming from a reporter, and is not based on government information.</i><br />
<br />
The only way to move to a just society is to demand that covert agencies take their own responsibilities for maintaining secrets, and not get the Justice Department involved in prosecuting those that would expose government behavior. The second and necessary step is to de-link all government branches and agencies from the strictures of the national security acts passed in the Cold War years of the 1940s and 1950s. Oh, so you thought Obama was leading us in that direction? Haven't seen much sign of Gitmo closing, have we? Haven't seen any Espionage Act cases against journalists dropped, have we?<br />
<i> </i><br />
The global imperial infrastructure is not going to end tomorrow. There are hundreds of U.S. military bases, intelligence bases, and embassies the size of military compounds, flung worldwide across every continent, which are not going to close tomorrow. But the time to begin the process is now. Ending the Republican and Democrat reliance on the national security state would help ease the budget crisis, and make our nation more genuine in its supposed interest in democracy. But it sure is hard to see any interest in moving in this direction from either major party in mid-2013.Loring Wirbelhttp://www.blogger.com/profile/11764834150305763077noreply@blogger.com3