Three years ago, on a Saturday night in Manhattan, I saw Slowdive at Terminal 5. The night has since remained a benchmark in my memory for how much I fucking hate going to concerts in New York. At least, large general admission concerts where you pay so much to feel so uncomfortable.
So, only the return of Slowdive, with a their first new album in a long ass time, could bring me back; and on a Monday night no less.
Slowdive played at the brand new, baby-faced Brooklyn Steel, a venue so cool it has no signs. It's literally an old steel factory. As waves of young, gorgeous youth and aging hipsters lined up for security, regular ol' Brooklyn residents -- aka "normies" -- would drive by and stop to ask what was going on.
As I waited for my friends, I realized, with a slight bit of arrogant joy, that the majority of the people coming in were young, and -- more importantly -- short. Flashback to the fated Slowdive show of 2014: It was like going to Hoboken on a Saturday night. Wine moms and strange, tall men in dress shirts abounded. No offense to any readers right now, but the crowd was just insufferable. I don't think they realized a concert was going on.
Somehow, the people my age were more hardcore about Slowdive than the older crowd at the Terminal 5 show. As I would soon see throughout the night, people were calm, respectful, and excited to see the band on the stage. Throughout the night, people would yell, "Thank you for playing that song!" "You guys are great!" "Rock 'n roll!!!" Slowdive was as endeared to the audience as we were to them.
Anyway, more on the venue: As you walk in, the first thing that catches your attention is the detail. The only other place I can think of that puts that amount of detail into transporting you to a "place" is Disney World. And, honestly, I fucking love Disney World. The venue was just so cool. The atmosphere is laid back. The place is gigantic, so you don't feel uncomfortable. The bathroom is a dream -- endless clean stalls and no line. I promise I don't work for Bowery Presents. This is my honest opinion. And, maybe most importantly, I should mention, the sound was fantastic.
I got in just in time for Japanese Breakfast, a band I've been dying to see since I fell in love with their debut, Pyschopomp. Michelle Zauner was an electric force of energy and joy as she switched between personas of shoegaze rocker and frontperson to a band that was 100% her project and vision. She played a number of new songs from her upcoming new album, Soft Sounds From Another Planet, including its first single, "Machinist"
I first listened to "Machinist" on Spotify and was taken aback. Not only is it a bit removed from her initial shoegaze (it's incredibly poppy), but Michelle also sings through a vocoder. I liked it, but I didn't like it, if that makes sense. Anyway, she ended her set with it; and, as I watched her perform it, it clicked with me instantly. Michelle introduced it as a "love story with robots" and proceeded to perform her heart out, and I guess it was just so infectious to watch her excitedly perform this song. The entire room loved it.
So after a long-ish wait (I should mention the venue's bizarre choice to keep the place practically lights out throughout the whole night) and making some new friends in the crowd, Slowdive crept out onto the stage, opening with "Slommo," which is the first song off their new album and my most favorite of the new songs. Of the new songs, they also played their first two singles, "Star Roving" and "Sugar For The Pill," and the track "No Longer Making Time." Of a sixteen song set, it was definitely strange to find only four of the songs performed from a new release, especially because the entire album is incredible and I would've loved to have heard more of them live.
Photo: Allyson Dwyer
But of course they played the classics, a comprehensive and perfectly curated selection of their best songs from their first three albums; and they sounded flawless doing so. "Catch The Breeze" stood out to me as an older song that really blossomed when heard live. The crowd anxiously waited for songs like "When The Sun Hits" and "40 Days." I could listen to Neal sing "Dagger" on repeat, forever.
There were a number of technical difficulties -- especially for Neal Halstead, who at one point stopped singing during "Alison" and had a couple of false-starts on songs. He kept apologizing, and the crowd would yell out that they still sounded great. They could do no wrong. The band held the audience's attention, even as they closed with their cover of Syd Barrett's "Golden Hair." After Rachel Goswell sang her verse, she walked offstage, leaving the remainder of the band to build an explosive, harmonic ending that left my ears humming.
A majority of the songs during the show I also heard when they played Terminal 5. But it felt different this time. Maybe because, then, they had just reunited and were getting back into their groove. Maybe because I was less flustered by the environment around me. This time felt special -- as if Slowdive themselves were excited for the world to see their new-found joy and happiness. We all felt it.
I say this repeatedly, but one of the best things about running CoolDad Music has been the friends I've made over the last (nearly) five years. Allyson Dwyer is not only a valuable contributor here at CoolDad Music -- covering for me when I'm doing things like living it up with George Clooney in Italy -- but she's also one of my dearest friends. We met back when we would both write occasionally for Speak Into My Good Eye and have been buds ever since.
It's always a treat to get Allyson's take at the end of the year as she often opens my eyes to things that I may have missed, whether that be in the form of music I flat out ignored or just special details within some of the stuff I loved myself.
This was a huge year for Allyson in a lot of ways, so we didn't get to hear from her as much as I would have liked. It was definitely a case of quality vs quantity, and she's welcome to contribute here as much or as little as she likes.
So, with all of that out of the way...
Things Allyson Enjoyed in 2016
by Allyson Dwyer dollys, Low Year
The biggest mistake of my life was sitting on dollys. One day, CoolDad sent me the bandcamp to the collection of dollys completed singles album Low Year, and I don't think an album ever hit me harder than this one. There are a few reasons: I think dollys hit a really specific intersection of melody, composition and lyricism that isn't easy to accomplish or to find. While a lot of bands right now either aren't super focused on sounding highly produced (and that's totally okay), or too produced (also okay) this album finds a perfect balance of both. It's a tightly produced gorgeous album full of simple, short, well-written songs that are also flat-out excellent rock songs, especially live. And I am a huge sucker for perfect pop songs. I also can't talk about Low Year without mentioning the lyrics. Coming out of my own literal low year, there are some lines that are just too real. I still blast this album in my car. I probably listen to it once a week or more. I find new things each time. This is one of my favorites and will be for a long time.
Okay so I'm also a fool again because I waited too long to see or to hear Secret Mountain. I first saw them when they opened for Mitski, and I'll never forget when they started their set with the song "Shift Happens" in which the band does a pretty joyful opening dance together until they all hop up on stage to break into the song. Beyond just being adorable and excellent live, the song was stuck in my head for days and I listened to it on Bandcamp a million times. Now, whenever I see Secret Mountain are playing, I go specifically for them. Their whole album rules, by the way.
Mitski and Mitski's lyrics
Oh my god, what an album Puberty 2 is. It perfectly continues where Bury Me At Makeout Creek left off, but with the development of what is clearly an artist who looks to evolve and share that evolution of creativity with each new album. You can really sense hints of Mitski's music school background with the composition of some songs, and the production on all of them. These simple rock songs are embellished with little moments that, to me, move beyond being just rock songs, and become clear artistic choices by the artist. You can almost hear the vision coming together on this one. And the lyrics are just too good and perfect for this time in my life. Favorite line, from "Happy:" "I was in the bathroom I didn't hear him leave / I locked the door behind him and I turned around to see / All the cookie wrappers and the empty cups of tea / Well I sighed and mumbled to myself again I have to clean."
Not that it needs much "defending" as I noticed this album basically popped up on most year-end lists anyway. I really like "later" Kanye way better than his earlier poppy / highly produced stuff. I like the industrial, choppy, gothic vibes he has been delving into. This album is a bit of a mess. It's got a lot of ridiculous skits and mini songs and songs that seem like they were never meant to be on the album and gospel and whatever else. But some songs are just good enough to make the album worth it for me, like "Wolves," "Real Friends," and "FML" (a song I find incredibly creepy, and that makes me enjoy it). "Ultralight Beam" is worth it alone for Chance the Rapper's verse. It's a neat continuation of some of the sounds found from Yeezus, which is an album I think he may have a hard time topping for years to come.
Favorite tracks: "Wolves," "Real Friends," "FML," "No More Parties in LA"
Nick Cave, Skeleton Tree
Continuing on the gothic vibes, this album was one on heavy rotation for me. It happened when I heard "Magneto" at random on the radio, and I basically sat there like, "Okay, I absolutely cannot change this." Sometimes I can't explain what music makes me pause, but sometimes it will be the songs that are unpredictable and make me uneasy and I need to know the end. This is an album full of those songs. There has always been a theatricality to the way Nick Cave both delivers and presents his lyrics, and that has drawn me to him, especially on this album. I think we all know by now the story behind the album and why it is so intensely sad. And it would be easy to just praise an album because an artist shares that inner pain, but Nick Cave doesn't give it away so easily. Some songs aren't even exactly sad sounding, but just strangely numb meditations and the process of trauma. It almost feels like a distant companion to Blackstar.
Favorite tracks: "Magneto," "I Need You," "Skeleton Tree"
David Bowie, Blackstar
So it just seems this is the year of albums with dark backstories. This was my favorite album this year, and I measure that because of the number of times I know I listened to it. Which was a lot. As with the Nick Cave album, it's easy to just praise an album for the dark story it represents (and for this album especially, the wildness of it literally coming out before the artist died), but the album is just good, really good. It feels like a real album -- something that you need to listen to start to finish.
The album packaging, the cover. Physically owning it and putting it on adds to that experience. Wrapped up in the true story of this album's release, it feels almost too neat. But there is some very strange, pleasing aesthetic quality to the fact that the artist most known in our time for aesthetic would conclude his own life through a highly curated album release. Listening to this album feels like a big capital Statement. And I don't believe we can ever separate that from the music. It just so happens that the songs are, in fact, excellent. They're a weird, gorgeous mixture of futuristic, apocalyptic, nostalgic and cocky. They feel like far off, distantly related tracks to some of my favorite Bowie albums like Low, Heroes and Station to Station. The lyrics are disjointed and mysterious, and sung between tones of assured-ness and confusion. I don't know of many other albums that I would use this string of adjectives for, and that makes it the best to me.
Favorite tracks: "Lazarus," "Dollar Days," "I Can't Give Everything Away"
Japanese Breakfast, Psychopomp
This was one of albums that I first heard when it started playing in my car; and, as I was driving, a big smile came on my face because I knew I was going to love this album. In a year full of albums about mourning, both big and small, Pyschopomp felt the most like an album about coping through traditionally structured pop songs. Which is why smiling felt so weird once I really knew the "inspiration" behind this album. The album is mostly short, catchy, dreamy shoegaze tracks that tread a fine line between happiness and anxiety, but they're so catchy and addictive to listen to as well. My favorite, of course, is the darkest sounding track, "Jane Cum."
Favorite tracks: "In Heaven," "The Woman That Loves You," "Jane Cum," "Heft"
A Tribe Called Quest, We Got It From Here...Thank You 4 Your Service
Another strangely historic album that involves mourning: the loss of Phife Dawg, and the election of a demagogue as our president. The timing of this album could not have been more cathartic or therapeutic for me. "We The People" is the anthem of this year, and I would say going into 2017 as well. The album has a lot of perfectly selected contributors and collaborations, with appearances by Elton John, Kendrick Lamar, Kanye West, Andre 3000, Jack White, and even samples of Gene Wilder in his iconic role of Willy Wonka. The production of this album is a perfect reminder of the power of hip hop and its ability to blend influences to create new meanings and push the possibilities of music itself. It's fitting that the return of an iconic band comes at such a turbulent time, like a swift reminder that the fight was never really done and that we should not feel comfortable or complacent, especially now in the face of a very uncertain future.
Favorite tracks: "We The People," "Solid Wall of Sound," "Dis Generation," "The Killing Season," "Conrad Tokyo"
Basically the best music video movie/album combo and only album I bought on iTunes this year: Beyoncé, Lemonade
My list is full of already hyped albums. Oh well. Lemonade deserved the praise it got. For someone so polarizing, there is no other artist (mainstream or indie) who is releasing entire music video films. And not just films, but actual conversational, complex pieces. Beyoncé is making actual political art. Lemonade is like a stream-of-conscious poem that addresses racial tension in America (especially in the South), black female empowerment and disenfranchisement (both in terms of personal relationships and in relation to American history and our history of slavery. I challenge you to replace any song about her relationship to her husband with her relation to our country), and the act of empowering oneself through that disenfranchisement. It's purely a statement of being a black woman in the USA, and it's informative to its audience in a way that informs and elevates conversations. You think I sound stupid because she's just a "manufactured pop star;" but, again I ask, who else is risking that same commercial success to make these statements?
2016: The Year I re-discovered YMO and Yukihiro Takahashi
Okay, and finally, little aside here. Beyond new music, this was the year I re-discovered Yellow Magic Orchestra and also the solo works of drummer Yukihiro Takahashi. I was absolutely obsessed with Ryuichi Sakamoto (keyboardist and arranger of YMO) in high school (I was a very odd kid). I was vaguely familiar with his first band, YMO, but I guess they never clicked with me until this year. All three band members have influential, vibrant solo careers that spawn decades upon decades of exciting material. I seemed to naturally zero in on Yukihiro Takahashi, and his gorgeous mixture of synthpop, experimental electronic music, and off-beat singing. While I don't think many people share my current obsession, I figured it was worth a mention because this music meant so much to me. I highly recommend his albums Neuromantic, What Me Worry? and Murdered by the Music.
So, yeah. My favorite song I listened to this year that I probably listened to 10,000 times:
Thank you to CoolDad for being a dear friend of 3 years as of now and for letting me use his blog to rant about what sticks out to me musically. I hope to get out and hear way more music than I did this year. Hopefully, if I don't just re-listen to the same stuff over and over...
#TeamCDM are back at it to save the day again while a certain someone jet sets off to the land of baguettes and Ratatouille.
I had never heard of Prince Rama before. A quick Google and subsequent description of the band had my "hipster bullshit" detectors going off like fireworks (The quick Google search also gave me nightmare flashbacks of college and NYC and the dawn of MGMT); but after hearing a few of their songs on YouTube, I figured why the hell not. It was time I saw something new, especially with the strong recommendation from CoolDad.
Imagine how stupid I feel now. Kids, never judge stuff based on their publicity blurbs. Go see a band live. Especially when they offer to be a bit more entertaining than the normal rock bands we see in Asbury every day (Much love to our bands, but how often do we see something so poppy?).
I learned that Prince Rama is a concept by sisters Taraka and Nimai Larson, that they were "discovered" by Avery Tare of Animal Collective, and that they're now eight albums deep into this project. Looking over their past albums, it seems they're just now finding their voice. And clearly it's working, because the people who did show up to The Saint were pretty devout in their love for this band.
The night started off with a very subdued, calming performance by local artist Geena. Between songs, she spoke to the room like it was a natural conversation, using The Saint's small space as a living room to just strum on her acoustic guitar while her evening was just beginning. The night was still early, but for those there her voice captured the room.
Photo: Emily Bornemann
Following Geena was Wrinkles, a rock-dance band from Missoula, Montana. You don't hear that often; but their music was very much informed by their home turf, as they sang songs about mountains and snow and distance, all backed by a pulsing, electronic beat. They took the stage in what I can only describe as the youth pajama department at Target. Some members wore onesies. All of them wore different colored wigs. They were ready to have a blast.
Even with the room barely full, Wrinkles were full of energy. Each song was a show stopper for them, and they seemed to just be amused to be up on stage doing their thing. The members kind of hopped around, switching instruments and lead singers and places on stage. Later in the night, I would notice pretty much the whole band going crazy over Prince Rama.
Photo: Emily Bornemann
And I won't lie. By the end of the night, I would be too. Emily and I were pretty pooped and were thinking we would try to stay half the set before going to pass out somewhere, but that never happened. We were so transfixed by the whole thing that we just stood in place, sometimes turning to look at each other and laugh and nod our heads like "hell yeah."
The curtain opened, and the three members were clad in neon spandex and fishnets, leggings and neon face paint. Lead singer Taraka's face was bejewelled. Flower crown in hair, she spoke into the mic that modulated her voice to sound deeper, masculine. She looked and felt like a small powerful alien that had just landed on the stage with her band to bestow upon the room the power of music (Strangely, that reminds me of how Flaming Lips shows usually start).
Photo: Emily Bornemann
Photo: Emily Bornemann
I wish words could do this justice, but I doubt it. Looking up their live show on YouTube won't either. I tried. Simply put, Prince Rama is one of those bands you need to see live, and specifically now, when they're playing small rooms where they're able to make intimate connections with the audience. They've been around a while; but I wouldn't be surprised if, over time, they become something bigger. They have that kind of draw. And I feel like this band works best now, like this, in small spaces.
Aside from the spectacle of it all, their music (both recorded and as a live band) measures up to their appearance. The Saint wasn't even half full. But the people who were there, were there knowing every beat drop, every chorus to songs like "Bahia," "Those Who Love Will Live Forever" and "Now Is The Time For Emotion." At one point, Taraka jumped on the back of someone in the audience, who proceeded to run around the room with her as she sang. Somehow she ended up back on stage. She kind of just floated like that. Sister and drummer Nimai was just as mesmerizing, grinning as she stood at her drum kit, jumping up and down and hyping the audience up.
Photo: Emily Bornemann
After being begged for an encore, the band came out again wearing silky robes. Taraka had the room come sit up on stage while the band played an acoustic, more subdued song. It was the cutest thing I've ever seen at a show, and all of this coming from a band that I was ready to write off. I left feeling pretty converted.
[CoolDad Note: Thanks, as always, to Allyson and Emily for covering this show for me. As soon as I saw this on the calendar, I knew it was a good one. Maybe we'll get another thing or two up here from guests while I'm away. I'll post the rest of Emily's pictures when I'm off of this hotel wifi. Off to London in the morning. Au revoir.]
[CoolDad Note: After four straight nights back and forth to Brooklyn, away from the CoolFamily, including an 11:30pm, Sunday night change of a flat tire on the Garden State Parkway, I had to rest my old bones and stay in. The dream team of Allyson Dwyer and Dentist's Emily Bornemann have you covered when it comes to Mitski, though. Allyson gives us her review and Emily documented the entire evening with all of the pictures in this post. They're two of my absolute best buds and great at what they do. I can't thank them enough.]
Or Screw You Garfield. My Monday Was Awesome.
by Allyson Dwyer
A Monday show at The Saint? Could I do it? For this line up -- Algebra II, Secret Mountain, and headliner Mitski -- there was never really an option. I bought a ticket the day the show was announced.
CoolDad couldn’t make it to the show because he had partied so hard at Northside all weekend, so it was up to me and Dentist’s Emily (with CDM’s camera diaper bag) to pick up his slack.
And I think he missed a pretty damn good show. The place was jam packed, thankfully with mostly short people like me, making it an extra good occasion. The energy was high. Maybe it’s because I was up front, but something just felt special about the show. Like all eyes in the room were on the stage. I think because every single person in that room wanted to be there. And not just for one band, but for the entire bill.
The first opening band was Asbury Park’s Algebra II, a three-piece fronted by Asbury Park Feminist Collective’s Maggie Pakutka (Maggie had also toured with Mitski back when Mitski played the Lanes). Although having existed for three years, Algebra II joked onstage this was like their "tenth show” ever. You would have never known because they played so perfectly together. Self described on Facebook as "friendship rock/quiet grrl," their music was a gorgeous mixture of soft sounding melodies and rock-pop tunes infused with even a bit of country. The band was also collecting money to help those affected by the tragedy in Orlando, and I believe they've since raised over $200. A beautiful way to open the night, and I hope to see more and more of them.
Algebra II
Secret Mountain followed. I cannot tell you how unprepared, and then blown away, I was by this band, beginning with their first song, "Shift Happens." The one thing I kept thinking the whole time I watched them was that they were like a punk-lo-fi-indie jam band. The entire room, if not bouncing along, either knew the words or knew the right moments to dance to songs. Lots of freaking out and laughing and in-jokes between the band and audience. There was a lot of love in the room for this band, and it was hard not to feel that.
Secret Mountain
Time seemed to fly watching both bands, and it was time for Mitski. Taking the stage at around 9:30, Mitski and her band came right out and opened with "Townie." They followed that up with my favorite song of hers, "First Love/Late Spring." I didn't think the set could get any better just two songs in, but she and her band also played "Thursday Girl," an early favorite of mine from listening to Puberty 2 on NPR. It's incredible how, with just three musicians on stage, Mitski is able to reinterpret the production of her songs in new and interesting ways that give them even more depth.
Of course, she also played "Your Best American Girl," a track that has been talked about quite a lot and played just as much on SiriusXMU and other stations. To be honest, I was sad to not hear a live version of "Happy" because of how intuitive and new sounding the live versions of these songs were. But we were spoiled with so many other songs that I didn't even realize I missed it until writing this.
Mitski closed out the show solo, switching from bass to guitar, and singing the closing tracks to Bury Me at Makeout Creek and Puberty 2, "Last Words of a Shooting Star" and "A Burning Hill." These solemn songs are just as captivating -- if not more so -- than the songs she played with her full band. Just a moment between a really gifted lyricist and an audience dying to hear her sing those lines out loud.
One of the best times I ever had at Asbury Lanes, at any show, was the night Mitski opened for Screaming Females. The place was packed; and, when Mitski took the stage, I realized it was possible maybe most of the audience was there to see her. Even though I had to stand off to the side far away, her material immediately clicked with me. And now, not much later, I was right in the front, mouthing along and finding myself getting emotional at certain lyrics.
After that Lanes show, we talked a little bit -- mostly about Sailor Moon -- and she signed my copy of Bury Me at Makeout Creek. It's probably one of my most played and treasured records. And I can't wait to listen to Puberty 2 on vinyl over and over. And hopefully the next album around, Mitski will be back in Asbury Park.
You can see all of Emily's photos from the evening in CoolDad's Flickr galleries.
by Allyson Dwyer
A few weeks ago CoolDad sent me a link to the Soundcloud for Japanese Breakfast (a project of Michelle Zauner, previously of Philadelphia's Little Big League), and I promptly lost my shit. I guess my music tastes are predictable but again for those who may have forgotten, it has been given an official label in the past: "that sad dreamy shit" (credit to Scott LaRock).
I knew from the few tracks I heard that I had a new band to follow. And Japanese Breakfast's newest full length, Psychopomp, exceeded all of my expectations. At just 25 minutes, it is such a fully realized, tightly produced piece of art. And it's easy to listen all the way through, just to start all over again from the beginning. Why have a Netflix binge when you can re-listen to this 10 times in a row?
Through many reviews I've read of Psychopomp, I've learned that the album is a response to the passing of Zauner's mother. It's an album of grief, but through the personal lens of Zauner and how she is processing it. Many songs clearly do not have a direct line to her mother's passing -- as they stray to topics of sexuality, isolation and self-doubt -- but the original catalyst for the album always looms in the background.
That general overtone of sadness and mourning creeps in and out in the lyrics and music. The album's opener "In Heaven," is quite a bait-and-switch -- because it just feels like the perfect shoegaze song to drive-around to. In fact, I was driving when I heard it, and I couldn't help but bop along. But returning to the lyrics, you find such heartbreaking lines as "Oh do you believe in heaven? / Like you believed in me / Oh it could be such heaven / If you believed it was real."
One of the album's highlights is its natural, river-like flow. Songs bleed into one another in such a way as to again suggest that everything in grief is interconnected. "In Heaven" into "The Woman That Loves You," and "Pyschopomp" into "Jane Cum" are my two personal favorite moments of the entire album. "Jane Cum" may also be my favorite track. It has been since my first listen.
Beyond the circumstances, the album also points towards Zauner's pop-writing sensibilities. "Everybody Wants To Love You," which was originally written by Birthday Girlz (another band of Zauner's), is just a little over two minutes long, but it has an extremely memorable chorus (and some backing vocals from Radiator Hospital's Sam Cook-Parrott). "Heft" is a stand-out track, a hybrid of rock and pop that I could easily hear being played on the radio.
I kind of don't want to gush too much, but let's just say I demanded that CoolDad let me write this review. And now, as I write it, I find myself unable to really articulate what it is about the music -- beyond, "yeah, it's my 'thing'" -- that drew me in. But sometimes you just hear something. It clicks, and you just sense something within it that speaks your language. Which explains why the 25 minutes fly by every time, and I replay it once more.
Japanese Breakfast heads out on tour this month making two Brooklyn stops -- 4/14 at Silent Barn and 4/30 at Baby's All Right -- before returning to NYC with Mitski on 6/20 at Bowery Ballroom.
It's that time of the year where people catalog stuff. Memories. Clickable content. You like it! Admit it!
Lucky for you and me, 2015 was probably the absolute best year for music in a long, long time. And that CDM needs that millennial voice to keep the under-100 demographic clicking.
So many good things came out, to the point where it overwhelms my brain. And we were fortunate to have no sign of Iggy Azalea to ruin it! [CoolDad Note: I guess we put bad memories out of our minds. https://youtu.be/uV2uebhnqOw]
So I decided to just throw out some memorable things that happened to me in my own music-loving sphere.:
Best song that, when I heard it, I didn't change the station, and also actively listened to on Spotify
Drake -- "Hotline Bling"
Sometimes songs just come that make no sense (those awful lyrics) and are catchy as hell. I'm not shy of my love for Drake, which is odd considering how much I never cared for Jimmy on Degrassi. I'm heartless. But there's something about that production and the nakedly corny-no-shame approach to pop that this song just bleeds.
Best music video
FKA twigs' -- "M3LL155X"
These videos just dropped one day and blew everyone away. Seen as a companion to the EP, you really cannot separate the imagery of these videos from the songs.There was a lot of interesting discussion on Tumblr about M3LL155X and the best theory I read was that this EP can be read as a statement on FKA twigs's relationship with the music industry and how she wishes to make art that can be separated from her image as a sexualized dancer, her past work, and what is expected of her as a black pop musician. Basically, she is asking us to trust her and not expect something typical. The finale "Glass & Patron" is a firm sign that she will continue to make that art she wants on her terms.
Best Kendrick Lamar
Kendrick Lamar -- "Alright"
OK. This whole album is amazing (which I don't think needs my explanation) and it is worth all of its critical praise and spot as #1 on many, many best of lists. This song however, is just time-stopping. I have no doubt that in 20 years from now we will be remembering this song (and album) as an important cultural moment.
Worst Kendrick Lamar
Taylor Swift -- "Bad Blood" Featuring Kendrick Lamar
I don't think "Bad Blood" is necessarily a bad song but this version and the video were so embarrassingly bad. The song "meaning" is also just kind of lame and icky. Kendrick, Elle, Selena, Cara, etc: enjoy your friendship cliques.
Best breakup album
I have two: Screaming Females -- Rose Mountain (favorite track: "Hopeless"), Bjork -- Vulnicura (favorite track: "Family"). Two completely different takes, both masterfully done in their own right.
Best food
Vedge in Philadelphia. The pancakes at Ain Soph Journey in Tokyo. I ate these three times.
Best local show
Beach Slang closing out Asbury Lanes was perfection, but that perfection turned into pure bliss when James Alex invited members of Corrina, Corrina to play "Boxcar" and "Can't Hardly Wait" while the room sang along and confetti rained everywhere. I can't think of a better memory this year.
Best comedy show
Neil Hamburger, America's funnyman, at the Saint.
Best time I danced on stage with Shellshag at Asbury Lanes:
The filming for the season finale of The Chris Gethard Show.
Best show I had to pay a Ticketmaster fee for:
Bjork at Carnegie Hall. It was at noon and I had a front seat in a box. Sometimes I have good fortune.
Best show, period:
Downtown Boys at the Don Giovanni showcase. Mitski at the Lanes is an incredibly close second.
Most mediocre artist retrospective of a prolific Icelandic artist:
Bjork at The Museum of Modern Art
I have such mixed emotions on this retrospective. On one hand, I saw the dress that Bjork wore in the iconic video for Pagan Poetry, and on the other, it was such a tacky, Hard Rock Cafe-Planet Hollywood-esque move on MoMA's part. There was very little tying this retrospective into any kind of analytical, museum setting, but I guess it was still fun to see props, excerpts from Bjork's journal, and two original videos from Vulnicura: "Black Lake" and "Stonemilker" (at PS1 Moma), a 3D immersive video that used Oculus Rift.
Best pop song
Grimes -- "Realiti" (demo and album version)
Honestly this may, on technical terms, be song of the year for me. I find a way to listen to both versions at least once a day. It is one of the best songs she has ever done, and we have two versions to jump between. Blessed.
Best inconsistent album that I don't understand as #1 on many year end lists
Grimes -- Art Angels
Art Angels is indeed, full of straight up bangers that are the best of the best, but not the entire album. I think I am the only person not crazy about "Flesh Without Blood," which I find really...boring (please don't yell at me). But tracks like "Butterfly," "Venus Fly Trap," "Realiti," and "Kill V. Maim." are like drugged out, new age jock jams. And they rule.
Best Beyonce of the year
In a year that was filled with Nicki Minaj, I was insanely underwhelmed by her album The Pink Print. But her track "Feeling Myself," featuring Beyonce, and its video (Tidal exclusive, lol), are like a precious gift that we need to preserve and love forever.
Best Netflix show with the absolute best soundtrack
Master of None. Upon CoolDad's recommendation, I finished this show in one sitting on a Saturday, with a to-do list in front of me that I never touched. I don't think this show needs my bump for people to watch it, but it really was one of the best of the year. And the soundtrack was a perfectly compiled mix of rap, pop, electronic, classic rock and indie, R&B, country, vintage Indian and French music, jazz, corny ass Italian restaurant music, and the best use of a Beach House song ever (see: show title).
Best old-ish critically acclaimed TV drama I watched
The Wire. If you haven't, find someone's HBO Go password and watch this, like, now.
Album of the Year
Joanna Newsom -- Divers
Of course I'm going to choose this as my AOTY, but did you know that I am not choosing it by default for my love of this woman? Divers is one of the most gorgeous albums I have ever listened to. And this is the woman who made Ys, which IS probably the greatest album by any living human. How do you top Ys? Well, by continuing to challenge yourself and make music that isn't looking back nostalgically on past records. The most exemplary track of the record, my personal favorite and of the year, is the finale, "Time, A Symptom" which I would describe as an orchestral sci-fi epic. These songs have already, in such a short time, begun to mean so much to me. I know I will listen to this for years to come. Now I hope I don't have to wait 5 years for another album. Although maybe there's a reason we must wait.
There is so much more music I loved this year. But this here is 2015 to me. Happy 2016!
Album Review by Allyson Dwyer
I heard Mal Blum for the first time when Blum and the band were right in front of me, on stage at the Knitting Factory Brooklyn. It was February, at the annual Don Giovanni Showcase, and I knew I was going to love everything they did by the end of the first song. Beyond Mal Blum's charming and funny stage presence, I was taken aback by Blum's immediate honesty in just what these songs were: musings on recent bouts of depression and the struggles to get through the episodes. Stinging pretty close to the heart, these songs and Blum's lyrics really spoke to me. Blum mentioned that many of these songs were from an upcoming album about that very subject, and I've been waiting since.
Now it's autumn. Since time just seems to pass by so quickly and my identification with the topic at hand hasn't altered, the wait didn't feel so long. You Look A Lot Like Me is a little bit more upbeat in its formal, mastered form than I anticipated from the live versions, but -- with that adjustment -- it's an album of ten very precise, fully-formed songs that seem more sure of themselves than they let on. And with Marissa Paternoster involved (as co-producer with Kyle Gilbride, second guitar, and backing vocals), there is a hint of additional personality there that embellishes what I heard back in the cold of February.
The album opens with the fantastic “Archive,” which ends with the anxiety inducing: “We're gonna die / and maybe it's gonna be alone / we're gonna die and it's gonna be alone and no one is going to find the things we left behind / because we never thought to leave a fucking archive.” The track is like a self-deprecating prologue -- an announcement of Mal Blum's state of mind when this album came about -- indicating that perhaps this album is just that, an “archive” of this period in Blum's life. And Blum was wise enough to leave that information behind for us, to document this part of a personal story.
You Look A Lot Like Me is full of poppy, bittersweet musings that poke at not just Mal Blum's depressive episodes but also at Blum's personality in relation to others during this time. There's that frequent, underlying current of self-deprecation, such as on tracks like the catchy “Better Go.” In a way, Mal Blum's lyricism reminds me of the raw revelations Rivers Cuomo would share when admitting to his deepest embarrassments and insecurities way back when Weezer was about that. This play of self-doubt against the backdrop of pop continues on tracks such as “Robert Frost,” and “Cool Party.” They sound as though Mal Blum went through an experience, then immediately ran back to jam in the safety and comfort of a garage or bedroom.
“Reality TV” is a standout track, featuring the great mixture of Mal Blum's clever lyrics (“I watch reruns of the Jersey Shore / Snooki drank too much / Now she's on the floor / It's a feeling that I've felt before / But it wasn't televised”) and the strongest influence from Paternoster. Following is “Iowa,” one of my personal favorites. While the rest of the songs on this album feel like they're being sung while snug in Blum's bed, this one is like walking down a NYC street with no coat: “Blow like a blizzard / the wind in the trees / blow like blizzard / me and my needs / blow like a blizzard / and please, pass over me.”
Things take an almost spiritual turn with “Better Than I Was.” The Don Giovanni description of You Look A Lot Like Me states that the album was written during a low period for Blum but recorded during a high. With a line like, “something inside of me says / I'm better than I was,” it all comes into focus, at least for me as a listener. For all of Blum's blunt lyricism, there is a subtle journey on this record -- one that doesn't have a complete ending. But in its documentation, its archiving, this period in Blum's life has been given reason and purpose. By sharing those experiences, Mal Blum makes some of us feel a little less alone.
Last year, when Screaming Females stopped by the Lanes, they had an opener from Nashville for whom Mike and Chris of SIMGE had extensive, high praise. That band was PUJOL, and they were one of the best live discoveries I had ever come across. From the opening lines of their first song, I didn't want to stop listening to them. I am a solid fan of Daniel Pujol's intriguing mixture of hyper-conscious, anxious lyrics and punk rock freak outs, live or recorded.
So funny that this track, “June Bug,” is a playful mixture of both. Prepped to be released as an exclusive split release with fellow Nashville band, Meth Dad, for Record Store Day, the track sounds like it was primitively recorded in the hollow halls of a hole-in-the-wall club during rock's coming of age. Think The Beatles playing in Germany before they got big, or when bluesy rock songs demanded you do an innocent dance just so the band could rock out. The number one thing this track does is remind me how amazing PUJOL are live and how much I wish they were playing up here again.
Pressed by Daniel Pujol himself, "Junebug" was purposely recorded live and will be done “relive” on actual Record Store Day, recreating the live recording at Queen Ave in Nashville (wow I wrote live a lot). This is a fun little spin on the weird release antics done for the sake of the loved-and-hated holiday known as Record Store Day. It's a one of a kind of approach that I would actually line up for. If you're unable to, however, the track will be available digitally for two weeks.
Marissa Paternoster at Asbury Lanes. Another fantastic shot by Mike Petzinger.
Words by Allyson Dwyer, Pics by Mike Petzinger, Bonus Pics by Gentleman Jim
I could end up being the Wally Pipp of vanity music blogging. The skill with which both Allyson Dwyer and Mike Petzinger have covered for me -- and now add in some extra special coverage from Gentleman Jim Norton -- may have put me out of a job for good. Even if that doesn't happen, we've barely skipped a beat here thanks to the talents of some of the great friends I've made while running CoolDad Music.
This show was a tough one for me to miss. I love Screaming Females and ROMP live, and I was excited at the prospect of finally getting to see Mitski. Family vacations are important, though; and this one's been fun so far. And, honestly, this week's takeover has been about as close to being at these shows for me as I ever thought I'd get.
Enjoy Allyson's recap and Mike's photo highlights. Don't forget to keep scrolling to get the insider, backstage view from Gentleman Jim Norton.
Time for my audience with the Pope.
Screaming Females, Mitski, and ROMP at Asbury Lanes
words by Allyson Dwyer
photos by Mike Petzinger
backstage photos by Jim Norton
Hey! It's me again! At the time of this writing, CoolDad is in Venice riding a gondola with George; and he said he might not ever come back. CoolAllyson Music takeover imminent.
Back here in New Jersey, the Italy of the US, Saturday was perfect. It felt like the real first Spring day of the year. And for me, it was one of those days that is the right mix of lazy and fun, starting with an awesome breakfast, some writing, good coffee, drinks, and a show at my favorite venue, Asbury Lanes.
The line-up was a dream: ROMP, Mitski, and Screaming Females. The show also marked the release of the Asbury Park Feminist Collective's second annual Women's History Month 'zine. Rachel Casey and members worked really hard on it, and I contributed my own little blurb on why Sailor Moon means so much to me. It was really fun to read and even more fun to see the various bands up on stage give a shoutout to the group. Plus, they had free Matzo!
I picked up SIMGE's Chris Rotolo in my slick ride, aka Flareon, and headed over to the Lanes with the intention of buying a lot of vinyl. I assisted sound man Gentleman Jim Norton in selecting some badass female-fronted music for a playlist. Not too long after, New Brunswick-based and CDM fave ROMP took the stage with their joyous pop-punk. I had only heard ROMP's EP, having not yet caught them live. The band has a dedicated following, and the crowd was full of excited sing-alongs and bobbing bodies, everyone wearing stickers that said “ROMP is...” - fill in the blank. They're an incredibly special band, both for their catchy music and their lovable live show.
Next was Mitski, an artist who I had been waiting to see since I saw the show announcement. Mitski's Bury Me At Make Out Creek got much deserved high praise last year and she's recently signed to Don Giovanni. I wasn't the only one excited, she had some very dedicated fans, all in the front of the crowd, singing along passionately word for word. Adding even more excitement was the fact that Mitski's guitarist was Maggie Pakutka, local resident and member of the Feminist Collective.
Mitski was a force on the stage that couldn't be denied. While she spoke softly and kindly about how wonderful the night was, and how much she loved the internet; she would transform through her songs into another being. On tracks such as “Drunk Walk Home,” her voice would erupt like an unexpected volcano; and, as soon as the song ended, her demeanor would soften and she would return to her composed self. Her album is already so intimate; but live, these songs feel even more intimate. In those moments when she lost herself, as she did when she sat down to chant into the caves of her guitar strings, I forgot there were hundreds of people around me. And even afterward, when I went up to buy her album, we talked for a little bit; and she signed the sleeve and took the time to write a personal message. Her thoughtfulness is part of what makes her special.
The crowd began to surge toward the stage for the appearance of Screaming Females. They had packed the house, no different than the last time they came to the Lanes. But, in contrast to last time, this crowd wasn't as responsive, or even as invested in the show. As the band came out and played not just new songs, but classics like “It All Means Nothing” - most people were barely phased. I know people just want to be somewhere on a Saturday night; but if you feel like having a conversation louder than Marissa Paternoster's guitar solos, go to the back room bar. Don't stand next to me at the stage.
But yes, if you need to know, Screaming Females were wonderful. I personally love Rose Mountain, and I love the tight, poppier direction of the production. Many were worried that this was going to take the edges off the roughness that is Screaming Females. But fear not. None of that has changed the band. If anything, these tighter songs have only given them a jumping off point from which to play around and experiment on stage. That is the brilliance of seeing them on this tour.
The band closed out their set with a favorite of mine, “Boss,” and proceeded to extend it with a very long, very intense finale. Marissa passed her guitar into the audience to continue playing, and I saw Chris right there in the midst of it having a blast.
As the set ended, the lights came up, and the band members jumped right off stage into the crowd. Another wonderful night at the Lanes.
Here are some more photos by the talented Mike Petzinger. Keep an eye on Mike Petzinger Photography for more.
And here are some backstage shots of Screaming Females and ROMP by Gentleman Jim Norton.
Mal Blum played the She Shreds / Don Giovanni Showcase last Friday. Great photo by Mike Petzinger.
Words by Allyson Dwyer
Yesterday, I gave you Mike Petzinger's photo highlights of last Friday's She Shreds / Don Giovanni Showcase featuring Mirah, Mal Blum, Worriers, Slothrust, and Aye Nako at Knitting Factory Brooklyn. As promised, here's Allyson Dwyer's take on the event.
The same pair covered the Screaming Females show at Asbury Lanes for us, and I'll get you that tomorrow. For now, here's Allyson. Now, it's time for a limoncello with George.
She Shreds / Don Giovanni Showcase at Knitting Factory Brooklyn
by Allyson Dwyer
CoolDad is in Italy, probably on a yacht with George Clooney drinking fancy wine and wearing designer scarves; so I'm stepping up to do his dirty work. Usually the designated beer runner, I've finally graduated to covering shows while CoolDad HQ CEO laughs from a distant private yacht.
On Friday, I headed into Brooklyn by my lonesome to check out the She Shreds release showcase with Don Giovanni Records. In between sets, DJ SAD13 (aka Sadie Dupuis of Speedy Ortiz) spun tunes. As with the record label's previous three showcases this year, it was held at the Knitting Factory.
I arrived just in time for the beginning of Aye Nako's set. I had listened to Aye Nako, having come across them on a random Spotify playlist, and was excited to catch them live. The Brooklyn-based band had a wonderful dynamic on stage – lo-fi power pop-punk musings, with lead vocals traded off between guitarists Mars and Angie. Roommates, they shared that they have the best name for a dog ever...Broccolini. Holy shit! So cute.
I caught up with Mike Petzinger and other friends, and then got up front to check out Slothrust. I had never seen them before, and I was blown away. From Brooklyn via Boston, they are a band you have to experience live. Watching them play is like watching a perfectly edited, timed short movie. Leah Mallbaum's neurotic lyrics are made unique by her precise guitar playing and calculated-yet-warm voice. My clothes literally floated above my skin to Kyle Bann's basslines, and the hair on my neck rose to each soaring, rising crescendo of a song. Since, their album has not left my car stereo.
Next up was Lauren Measure's Worriers, a band I have seen quite a few times now. It felt like seeing old friends. Sadly, the night was going to be the last that guitarist Rachel Rubino would be playing with the band for some time. But they played their hearts out to an absolutely packed and enthusiastic room. The band are working on a new album. I'm excited to hear more and, of course, to see them again.
The fantastic Mal Blum and band took the stage to play tracks off her recent Tempest In A Teacup as well as new songs from her upcoming album that will be her first for Don Giovanni. Saying I'm excited for this new album is an understatement – and so hearing some of the songs again made me very happy. Plus, Mal Blum is just such a wonderful personality. Her stage presence is just another part of what makes her music so warmly inviting and familiar.
The night was building up for Mirah, an artist each band gushed about being excited to play with. It seems that everyone has a history with her music. I have a few of her albums, but I haven't yet made that deep connection with her in a way that others, like her peers, have. With a long drive ahead of me, I headed out for the night after just a few songs. I heard from Mike Petzinger that, for many in the audience, it was like a religious experience. I can certainly identify. I have a few artists who would, no doubt, do that for me (All Praise Queen Björk).
Stay tuned for another takeover, in which I visit Saturday's Screaming Females show at the Lanes. I know, I'm hella interesting. Xoxo.
When I saw that Vulnicura had been released, I immediately turned to Allyson Dwyer for a review. I know her to be a Björk super-fan, and I was sure she'd been listening to the record since 12:00 AM on the date of its release. She'd already committed, though, to doing a review for Speak Into My Good Eye. You should check that one out before reading any further.
Allyson's love for Björk knows no bounds, however. It could not possibly be contained by a single review; so, to my surprise, she submitted something here as well. Allyson just had that much to say. After you've finished up over at SIMGE, take a look at her continued take on the latest from Björk.
Björk, Vulnicura, 2015
by Allyson Dwyer
Last week, my 2015 got just so much better when it was announced that Björk was releasing her new album, Vulnicura, a whole two months early. And in the week that I have had Vulnicura, it has not left my ears for very long, save for the moments when I decide to take a jump over to my all-time favorite album, of all time and of all wintery-days, Björk's Vespertine.
The premature release has led to a lot of my own personal comparisons between Vulnicura and Vespertine and the fact that both revolve around a central relationship. Vespertine, which was made a little over ten years ago, is an an album that experimented in microbeats and quiet compositions to encapsulate the intimacy of a budding new relationship and the creation of a new home. That very same relationship is the subject of Vulnicura, but it's about the ending this time and the ways in which Björk tries to give texture to many the shades of pain she experiences from such a wound.
The album gives these textures so wholly that, at times, it is truly hard to experience. For me, so much of this pain is experienced by just remembering the ecstatic and contemplative love of Vespertine. Where Vespertine's “Cocoon” is a blissful ballad about a relationship's consummation; Vulnicura's “History of Touches” is the antithesis: a knowing moment in which Björk has joyless sex and looks back on a time when such moments had a different tone to them (“every single fuck we had together / is in a wondrous time lapse / with us here at this moment”).
In the build-up to this album, many people were expecting a return to the purely-poppy side of Björk, especially considering the announcement of producer Arca, who previously had worked on Kanye West's Yeezus and my personal favorite from 2014, FKA twig's LP1. I was even pulled into the lure of thinking that Björk's vocals on top of the sounds of something like LP1 would be music heaven. But what I found instead was something so much more rewarding: an confessional, heart-exposing experimental pop album that is purely Björk's vision. The producers on hand only enhance what is ultimately Björk's work.
The ways in which she has surprised me on Vulnicura are moving, cathartic and rewarding; and in each listen, I am finding something new. I haven't felt this much joy of “living” in an album since Joanna Newsom's Ys (okay, and Have One On Me which was definitely a Joanna Newsom break-up album). Save for the first two tracks, Vulnicura is without many traditional song structures, and rather functions through melodic lines and instrumentation. Björk finds her way through her heartbreak by playing around with sounds and structures. When concise words aren't enough, she represents the complexity with the absence of words and sometimes even a lack of music entirely.
The biggest standout track to me, and the heart of Vulnicura, is “Family” (“Is there a place where I can pay respects for the death of my family?”). I pretty much cry and/or tear up every time I listen to this track. I can't relate to the experience of watching your family fall apart (well maybe not from the perspective of a matriarch), but the music itself is like nothing I have ever heard. Literally, the sound itself moves me and says all that is needed for me to understand what she means.
So does Vulnicura change my Vespertine experience? Absolutely not. No. I am building a new experience, a Vulnicura one. I am excited that it is 2015, that 2015 began with this masterful work, and that I will be listening to it, studying it, and finding new sounds within it as I continue to grow with it. As part of Björk's discography, this will be a highly memorable one that people will be talking about for years. I will too.
I generally feel like I have no authority on what's considered good in the fight for best rock / indie / punk album of the year, but I do know I love pop albums, pop stars, and good bops. Here's some stuff I genuinely loved and will probably listen to more than the last Arcade Fire album in my lifetime:
Charli XCX, Sucker
This is on the list automatically because of "Boom Clap," which is honestly the best pop song of the year. I know it didn't get much radio play, which is a shame because it's short, sweetly sugary, adorable, and I never get sick of it. It's pure, bubbly pop and doesn't take a lot of commitment outside of sounding and feeling good. That's the mark of a perfect pop song for me. Sucker has gotten pretty much high praise from most musical outlets, so I'll let you dig into that yourself.
Sia, "Chandelier"
This song reminds me that it was a pretty good year for pop-writing. "Chandelier" is anything but generic. It really commands the radio when it's on. It has my favorite lyrics of any mainstream hit ever. I mean, they're heartbreaking. It's a heartbreaking yet uplifting song, and the image it conjures up really hits a nerve in me.
Lorde, "Yellow Flicker Beat"
This is just a song, not even an album. Lorde didn't release an album this year despite "Team" being on the radio a lot (no complaints there). This track, recorded at the Lakehouse Recording Studio in Asbury Park (yaaas!!) and appearing on the new Hunger Games soundtrack, is a show-stopper. I used to actively not like Lorde, but now I am a full-on stan. She is a powerhouse and she amazes me with the way she challenges pop music with her intelligent production / lyrics. I mean, how awesome is the line, “But I got my fingers laced together and I made a little prison / And I’m locking up everyone who ever laid a finger on me?"
Taylor Swift, 1989
Looking back on what I said about 1989, I don't think it's as strong as I remember it being. I've been visiting it less and less, but when "Blank Space" plays on the radio I get excited and sing along (not "Shake It Off," though, that song can shove off.). There are so many solid, good songs on 1989 that I don't mind having it in my rotation, and so it's firmly one of the best pop albums of the year. If "Style" were to come on, I would get excited. That tells me this is a good album.
Mariah Carey, Me. I Am Mariah...The Elusive Chanteuse
I'm going there. The Elusive Chanteuse, Mimi herself, is a national treasure, whether totally ignoring the existence of Ariana Grande, or forgetting her own lyrics on stage, this is the woman who gave us such amazing songs as (the good) "Shake It Off," "Honey” and "Dreamlover."
She deserves some recognition for giving us a new album of high pitched notes. It's a shame there was barely any promo for this album because songs like "Make It Look Good," "Money," and "Meteorite" could have easily been big comeback hits.
Lana Del Rey, Ultraviolence
I feel like listening to Lana Del Rey is like a rebellious act, because she gets so much unnecessary hate for being seen as manufactured. My big answer to that is, "Who gives a shit?" Ultraviolence is a daring pop album because it's nothing like her previous star-making album Born To Die, but it still has all the classic Lana Del Rey themes: drugs, L.A., rich daddies and old America.
Produced by Dan Auerbach of the Black Keys, it's a moody album -- slow motion rock mixed with Phil Spector wall of sound type stuff -- with one of my favorite lyrics this year: “Well my boyfriend's pretty cool / but he's not as cool as me.” The most pop-sounding song on the album is the catchy "Florida Kilos," which was written by Harmony Korine. If you loved Nicole Atkins's Slow Phaser (another favorite of mine), you may like this album as a pop companion.
Beyoncé, Beyoncé
I am so confused: Is this considered a 2013 or 2014 album? I want to say 2014 since the songs off this album dominated the year, but let's be real. The best songs on Beyoncé aren't even the radio hits. This album isn't just a huge success. It's a well-curated complete album, one that isn't about the singles. As a whole, I can listen to it (mostly, if you remove Jay-Z's verse from "Drunk in Love" and take out "Pretty Hurts" as the opener) from start to finish, which is hard to do in this day.
Tracks like "Haunted," "Blow," "Mine," "Rocket," "Blue" and "***Flawless" are not just pop songs. They are heart-stopping moments on an album with a vision. I honestly believe this is the pop record of the decade. The recently released "7/11" off the re-packaged album is also a really fun single, and the "***Flawless" remix featuring Nicki Minaj is up there with best songs of the year for me.
Azealia Banks, Broke With Expensive Taste
This is the best rap album of the year. I don't follow every rapper, not even well enough to make this claim, but I have no reservations calling Azealia Banks's long-awaited debut album one of the best rap debuts ever. Despite her ability to say amazingly smart, insightful things (see: calling out Itchy Areola...I mean, Iggy Azalea) just to mess it all up again (see: the rest of her Twitter), her vision as a musician can't be denied. The album truly bends all genres, from latin and salsa to club and house, to punk, to industrial, in perfect execution. There's even the tongue-in-cheek, retro-inspired collaboration with Ariel Pink, "Nude Beach A Go-Go."
Oh, and her lyrics, mixed with her flow, are just breath-taking, absolutely beautiful. Banks said herself that album closer, "Miss Camaraderie," is the song she was born to make. I am really excited to hear her future albums.
And... my favorite album of 2014:
FKA twigs, LP1
Is this considered a pop album? At the rate twigs is blowing up, I would say she is going to be mainstream real soon (unless hardcore Twilight fans have something to say about it). Either way, I have no reservation in saying this was the album I listened to the most this year, and not just because Pitchfork told me to.
This is a gorgeous, ground-breaking album that I believe has no definable genre. It just contains the music it does in order to create the most gravitating tracks. It's daring, subtle, quiet, moody, sad, self-reflective. If you don't know who twigs is, you will by these songs. I call it the spiritual successor to my favorite album of all time, Vespertine (by my queen, Björk). Intimate tracks that are explored through experimental beats. Personal favorite tracks include "Lights On," "Pendulum," "Video Girl" and "Give Up."
Favorite non-pop albums include releases from Beach Slang, Perfect Pussy, Black Wine, PUJOL, Ex Hex and Priests in case you thought I was super lame from this post. Happy 2015!
So, I'm eventually going to own 1989. That's just a fact. The cooldaughters haven't asked for it yet, and I haven't volunteered. It's not that I don't like Taylor Swift. I actually find her kind of harmless, if a little bland. It's just that I know that I'm going to know every lyric to almost every song on 1989 within a few weeks, and I'd like to put that off for as long as possible. Let's just say that I don't want to spoil it by getting into it too early. Yeah, that's it.
As we rode the train back from the Slowdive concert the other night, Allyson Dwyer and I talked about her love of pop. We were discussing it again later, and I just blurted out, "Then review 1989 for me!" She took me up on it. In taking a break from the stuff she does for Speak Into My Good Eye, Allyson allowed me to put off listening to the record -- other than in snippets on the radio -- until the cooldaughters actually procure their own copy (or convince me to procure it for them). You can check out her thoughts below.
Thanks, Allyson.
Taylor Swift, 1989
by Allyson Dwyer
I read somewhere that the period known as “adolescence” doesn’t technically end until 25, which is the age where your body stops awkwardly growing. Does this make 25, not 18 or 21, the year we become adults?
Taylor Swift was born December 13, 1989, the same year as I was. I turned 25 this past July, and to say I had a mild freak out would be an understatement. I’m still a kid, I think. I don’t live with my parents anymore. I have a job, a college degree and, to my misfortune, some nice student loans. But I still think like a 17 year old. I am pretty sure I am still 17. I don’t have a lot in common with Taylor, but I can tell from her decision to take her new album, 1989, into full-pop mode, that she may feel the same as I do.
The album is full of tracks inspired by the recent trend (especially in indie bands) to sound like a hybrid of 80s synth pop/rock – tight sounding songs that are more interested in the aesthetic of the sound than the substance (but I’m always the first to admit these songs are addicting). Taylor had also apparently stated she was inspired by the music of her birth year, by artists such as Madonna and Annie Lennox. To me, I hear more inspiration from such contemporary artists as Lorde (“I Know Places”), HAIM (“I Wish You Would”) and Passion Pit (“New Romantics”) on this album, with hints of stylized call-backs to some of the unique production choices that made the 80s just so corny and fun.
The album opens with “Welcome To New York,” a track that has been met with a lot of mixed responses for a number of reasons. I really can feel that Taylor meant for this track to be that “new city, new beginning” big opener, but it really does come off like a poorly written, disingenuous track. Along with “Shake It Off,” its probably my least favorite because of how desperately out of touch the lyrics and sounds are.
Thankfully, the album moves onto a number of tracks that are absolute car-hopping-bops, such as “Style,” “All You Had To Do Was Stay,” and (Target-exclusive) “New Romantics.” “New Romantics” is an especially perfect pop song, one that would have made a perfect album opener instead of “Welcome To New York.” With lines like, “’cause baby I could build a castle/out of all the bricks they threw at me,” the song feels like an anthem for this new, aggressive Taylor, as well as a call-out to all of her fans, the “new romantics” who are always down and out in love.
Then there are tracks like “Wildest Dreams,” and “You Are In Love,” which show a side of Taylor that is more mysterious and risqué. These songs return me to my high school self, embracing those sweetly-sick teenage feelings of fantastical romances. “This Love,” despite my having no idea what she is singing throughout half of it, builds to a really nice harmonious ending that hits that “1980s movie theme ending” sound. These songs have a lot of emotional texture and don’t ring as false as so many pop-love-ballads do.
Of the handful of songs I know I will return to, there are just as many really generic songs that I don’t see myself listening to often, if at all. A lot of the album owes its identity to the stylized production. Yet in some songs, I hear some really wonderfully biting, dark, sarcastic, self-conscious lyrics (“Blank Spaces” especially) from Taylor that make me wonder where she’ll go next. It would be great to get an album from her that has more than 1 song that doesn’t focus on relationships. I can see her evolving and doing interesting things with these small sparks of ideas, in other genres and styles. I don’t see 1989 as her best yet, but as a stepping stone to a future album that will be uniquely her own.
But maybe she’s like me, and she’s looking for any excuse to not be seen as or to feel like an adult, for the time being. As a fellow 1989-er, I'd say that’s the case. But someday, we both will need to own up and realize we have a lot more going for us than we think.
