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|| CIRCA RAD ||
Top 5 Albums Released by Women
“The last artist, Lida Husik, is a Portland local these days (she’s been making records for over 20 years) and collaborated with a Danish cellist and some other local musicians including Sara Lund from Unwound, Hungry Ghost and many other projects. It’s lush, layered and political, and the first thing Lida has released in many years. She came on Circa Rad in October to talk about the work and play some of her favorite records (Gene Krupa!, Earth Wind and Fire!). That was super fun.”
|| REVERSE COUPLE SKATE ||
Top 5 Reissues of 2016
Awesomely cheesy 80s pop! This collection of songs from a so-bad-it’s good 1983 teen sex comedy set in a video arcade gets the vinyl reissue treatment—even though it was never actually issued to begin with— thanks to several fans. The ridiculously catchy theme song alone is worth the price of admission.
4. Screamers, Bangers and Cosmic Synths (Triassic Tusk)
The debut release from a pair of Scottish DJs on their newly launched label Triassic Tusk features highly sought-after rarities from a number of different countries and connects the dots between multiple genres. (It’s also a great companion piece to #3 on the list.)
3. Boogie Breakdown: South African Synth Disco 1980-1984 (Cultures of Soul)
An endlessly listenable compilation of dance tracks recorded in South Africa during a time when the country’s Apartheid policies made it difficult for these artists to reach a wider audience. Consistently strong throughout, from the opening synth hook of The Cannibals’ “Hey Tonight” to Al Etto’s soulful plea to “Hold On To Love” as the closing track fades out.
2. Wayfaring Strangers: Cosmic American Music (Numero Group)
Another superb entry in the Numero Group’s ongoing Wayfaring Strangers series. The Numero Group released a number of great titles this past year, but Cosmic American Music (named after Gram Parsons’s term for the country music sound he helped pioneer) is the one we can’t stop revisiting. Standout tracks include the psychedelic twang of F.J. McMahon’s “The Spirit of the Golden Juice,” White Cloud’s Neil Young-esque ballad “All Cried Out,” & Ethel Ann Young’s “Gentle One.”
There’s a lot to explore in this beautifully mastered 65-track compilation that chronicles every 7” single Sun Ra released on Saturn Records, the label he co-founded. Manages the rare feat of appealing to both jazz scholars and neophytes—collectors will want to dig deep into this one, and the uninitiated will find a solid point of entry into this wildly prolific jazz composer and musician’s vast catalog.
|| HELLO CRUEL WORLD ||
Top Five Singer/Songwriter Records of 2016
2. PJ Harvey – The Hope Six Demolition Project (Island)
3. Cass McCombs – Mangy Love (ANTI-)
4. Thao & The Get Down Stay Down – A Man Alive (Ribbon)
5. case / lang / veirs – case / lang / veirs (ANTI-)
|| BACKROAD TO NOWHERE ||
By Tom Humphrey
Favorites of 2016 (many featured on this episode):
Jackie Lynn (Circuit des Yeux), Jackie Lynn (Thrill Jockey)
Marisa Anderson, Into the Light (Chaos Kitchen)
Shirley Collins, Lodestar (Domino)
Ural Thomas and the Pain, Ural Thomas and the Pain (Mississippi)
The Baird Sisters, Until You Find Your Green (Ba Da Bing)
Heron Oblivion, Heron Oblivion (Sub Pop)
75 Dollar Bill, Wood/Metal/Plastic/Pattern/Rhythm/Rock (Thin Wrist)
Willie Lane, A Pine Tree Shillings Worth of Willie Lane (Cord Art)
Ryley Walker, Golden Sings That Have Been Sung (Dead Oceans)
Angel Olsen, My Woman (Jagjaguwar)
Margo Price, Midwest Farmer’s Daughter (Third Man)
Sturgill Simpson, A Sailor’s Guide to Earth (Atlantic)
Chuck Westmoreland, Chuck Westmoreland (Black and Gold)
Favorite archival releases of 2016:
Terry Allen, Juarez / Lubbock on Everything (Paradise of Bachelors)
Betty Davis, The Columbia Years 1968-1969 (Light in the Attic)
Träd Gräs Och Stenar, box set (Anthology)
Catherine Ribeiro + Alps, Paix (Phillips)
Jon Angaiak, I’m Lost in the City (Future Days)
Gimmer Nicholson, Christopher Idylls (Light in the Attic)
The Family of Apostolic, The Family of Apostolic (Future Days)
Various Artists, Imagainational Anthem Vol. 8: The Private Press (Tompkins Square)
|| GALAXY MY DEAR ||
Top 5 LPs:
- Ramzi – For Haku (RVNG)
- Motion Graphics – s/t (Domino)
- Georgia – All Kind Music (Palto Flats)
- Chino Amobi – Airport Music For Black Folk (NON)
- Kaitlyn Aurelia Smith – EARS (Western Vinyl)
Top 5 Singles:
- 2 Bit Crew – Hoop Dreams (2 Bit Crew Recordings)
- Mark Ernestus’ Ndagga Rhythm Force – Walo Walo (Ndagga)
- Bruce – Trouble With Wilderness (Idel Hands)
- Beatrice Dillon & Rupert Clervaux – Two Changes (Paralaxe Editions)
- Jeremy Hyman – Couch (Future Times)
Top 5 Reissues/Comps:
- va – Digital Zandoli (Heavenly Sweetness)
- va – Space Echo [The Mystery Behind The Cosmic Sound of Cabo Verde Finally Revealed] (Analog Africa)
- Roberto Musci – Tower of Silence (Music From Memory)
- V.O. – Mashisa (Invisible City Editions)
- Lifetones – For A Reason (Light In The Attic)
Top 22 Post-Punk Albums
- Belgrado – Obraz
- Escarlatina Obsessiva – Drusba
- (Tie!) Sneaks – Gymnastics and Lithics – Borrowed Floors
- Aviaries – Aviaries
- Rosalux – Rosalux
- Naked Lights – On Nature
- Perralobo – Grita Cuando te Quemas
- Bellicose Minds – The Creature
- Soft Kill – Choke
- Sculpture Club – A Place to Stand
Top 10 Notable Albums
Ahh, we do love our outliers around here. This often thunderous, roaring duo out of Athens GA has naturally over the years garnered a reputation for ferocity, but it always seemed that behind that lash lay some ‘sublime’ waiting for its moment. That opportunity arrived in full flush this year with the release of the band’s third album Versus. Still hurtling forward breakneck, EC have simply found a wider road on which to hone their brand of beer-spilling punkiness. Long, indeed, may they run.
Stunned, we were. To have Patrick Fitzgerald from Kitchens of Distinction basically ring up and ask if we’d like to cover his new project with former Family Cat linchpin Paul Frederick, here are the files tell us what you think, well, we aren’t ones to hesitate in a scenario such as that. Fact is, we dove in head first and boy was that water fine. One can never be certain how the results of a privately-held dream match-up – even one you hadn’t actually considered – will turn out but from the first note of Pop Tarkovsky it was clear there was no reason to hold our breath. Brilliant start to finish, subtle in all the striking ways that the melding of those two source bands’ essences would suggest, it even contained a track of such era-transcending prowess (“Platform Shoes”) it was instantly added to our desert island playlist. Our only complaint? That track isn’t available via YouTube or Soundcloud but no matter, the, as we put it, “beauteous pop glare” of “Commandant, Commisar” is a more-than-worthy alternative.
Reading Adia Victoria’s quick bio on Wikipedia one comes across this tell-all snippet: “Her family also left the Adventist church before Victoria attended high school, which allowed her to explore music she hadn’t been exposed to before, like Kurt Cobain, Miles Davis and Fiona Apple.” And right there in that short sentence not only do you get a neat triangulation of influences that at least form a persuasive basis for the ‘gothic blues’ that Ms Victoria has more or less patented, but you’re also availed of the dramatically contained personal background the release from which provides the singer’s drive and verve. Equal parts sinuous, swampy, confessional, and tempestuous, Beyond the Bloodhounds rocks its universal blues in a powerfully unique voice. One of 2016’s most breathtaking arrivals.
While some of you reading this might at this point glance up at the title of this piece and think ‘Umm…but…didn’t the Monochrome Set emerge right in the fevered middle of the original post-punk years?,’ all we can do is but gently concur before pointing out that A) the Bid-led lads from London arrived on that scene with a sound so sui generis that it rather set them apart in a league of their own, and B) said sound has only evolved over the ensuring decades to the point that, had you not known of the time and place of their origins, you’d never have guessed they were contemporaries of the Gang of Four, the Pop Group, Magazine and all the rest. Still effusing a level of wryly suave pop intelligence that defies age and to some extent logic, the work that informs the band’s lucky thirteenth album Cosmonaut could comfortably nestle in anywhere on the The Monochrome Set’s storied discography, just as Eligible Bachelors would sound not out-of-place had it been the one released in 2016. In short, the term here is ‘agelessly moderne.’
Probably the most common statement to be found in the reviews I’ve written for SEM over the years is prefaced by some iteration of “The great thing about this gig is finding out about artists you’ve never heard of before,” and this record certainly fell with astounding force into that group. A Swedish-born, Seattle-seasoned songwriter/guitarist of rare sensibilities, the overall impact of A Village: Natural Light was one of a kind of fraught reverie. Haunting, elegiac, and more than anything else masterful in a way that brought the kind of shivers we might imagine had it been Bill Callahan and not Justin Vernon that had created For Emma, Forever Ago, there wasn’t anything else I heard this year that brought my heart to its knees like this record did.
Look, I’m still so speechless about this precocious debut that I’ve little choice but to quote the review, since it seems almost miraculous that I was able to wring any words at all out of my paralyzed, jaw-agape brain immediately upon hearing I,Gemini :”There is undiluted wonder here, taking the form of wounded, subverted fairy tales, intensely (and playfully) disassembled shanties, of sinister trip-hoppy pop tales built equally out of innocent beauty and knowing winks of irony. Indeed the prevailing response hearing this record through front to back is one of scarcely being able to believe it.” Lavish words certainly for any artist(s) but when taking into account the ages of the two young women responsible here – Rosa Walton was 16 at the time I Gemini appeared, her best friend (since toddler-hood) Jenny Hollingsworth 17 – they barely begin to cover the wonderment. 2016 wasn’t lacking for its unexpected shocks, but at least with this one was the type that came accompanied by wonder and joy.
Without doubt one of the surest pop hands the rock world has ever seen, even as the cast of the work and the demeanor of the man rather intrinsically dismiss such hyperbole, Pete Astor, from his days fronting the Loft and then the Weather Prophets on a fledgling little label called Creation, has never to any appreciable degree let us down. However, there’s a difference, no matter how hair-split, between making us happy with the likes of Diesel River or Judges, Juries and Horsemen and bringing us to the brink of full-on sublime as he has on both the valedictory Songbox in 2011 and the glowing, maturely exuberant Spilt Milk that, umm, dropped last January. What this latest album did was make clear that, with someone like Astor, whose decades-spanning career has made it a given that we expect resiliently crafted songcraft every time out, a new one better make us gasp – contentedly, mind – with newfound appreciation. Spilt Milk did just that, and made it seem seamless and easy.
Yeah, this is kind of a hard one. Nearly every proclamation of just how shit 2016 was begins with the January 10th revelation that the Thin White Duke had slipped into the beyond, a place that he himself may find very suitable but the inaccessibility of which leaves the rest of us in the profoundest of lurches. Making it especially difficult was the then-very recent release – on the man’s 69th birthday, no less – of his latest record, a work that in the wake of his passing made more mortal sense than we ever hoped it would, even if we didn’t realize that until faced with its reality. What it left us with was a document-cum-performance piece that necessarily overshadowed anyone else’s attempts at anything even close to similar by several magnitudes of wow. ★ floored us for the couple of days we had it in our grasp before its import became so monumental. Then it left us in this strangely rewarding bottomed-out place the parameters of which we could scarcely measure. In his final act, David Bowie slyly inserted an extra word into that common referent mentioned above, becoming, in death, the Thin White Arch Duke. Arguably, he also became, in death, the most alive person in the world. An extraordinary feat that we can be most sure we won’t see equaled in our own now-poorer lifetimes. The record itself, while not comparing to the unmatched dark glory of his Berlin trilogy or even, some might say, his Ziggy years, took on a far greater prominence due to its presentation and portent. It may not have been the best record of 2016, but it was probably the most breathtaking artistic act of our generation. Respect beyond mere respect.
Really, again, we just don’t know how so much astonishing work can emerge from corners of the music world that we didn’t even know existed. In reality I’d heard the name ‘John Howard’ before but not to the extent I could pick him out of an audio lineup. And then Nick Halliwell from Occultation sends me this record and what the hell? How can this be so intensely idiosyncratic, so intimate yet blindingly universal? How is this not a recorded document proclaimed throughout the creative world as a masterpiece of personally explicative expression on a par with Leonard Cohen? How can a song cycle that’s built on Rumi’s “Quatrains,” that so carves out its own niche of conflicted rhapsody that one can imagine the Sufi poet himself smiling with a discreet glow up through the centuries, not be widely and loudly hailed throughout the land and brought before the keepers of The Canon to be immediately enshrined in their metaphysical hall? And why all these extravagantly rhetorical questions when all we’re talking about here is a damn record? Well, because the glories of this record are of the most rarefied type, they live quietly but with emotional abandon inside the subtlest intuitive architecture imaginable, where the sheer is layered like a fine opium haze over the opaque, where innuendo and explicit desire share the same shadow. But what about the music, you ask. I’ve just described it, I answer. If it appears I’m speaking in riddles be assured they’re only that until you’ve heard Across The Door Sill. You can read the review for more detail but the only real answers lie in the listening. Records like this are impossible to make. The only motive for attempting them at all arises from a feverish, possibly fanatical artistic impulse, which is why so few try and precious fewer succeed. I’m done talking. Buy the record.
There are those artists who so lay themselves out on the line that in response the writer tasked with covering whatever album or book or painting or stage performance etc, to the best of their ability, ends up pouring the all of him- or herself into their own attempt at coming to terms with what’s before them. Kristin Hersh, at least as much as anyone I’ve encountered and I’d argue more than, is such an artist. Ever since the dawn of the Throwing Muses there’s been a burning in her work, of bridges, of midnight oil, of candles at both ends. Oftentimes of her own heart. There’s a sense of tenacity clinging to the spaces inside her songwriting that suggests that whatever she needs to do to get ‘it’ across, she’ll do it, she’ll go there. Fearlessness, not unwisely, is often equated with foolishness and one senses that Ms Hersh would agree while simultaneously confessing that it’s never stopped her. And for that, we are ever grateful. Wyatt at the Coyote Palace, a story inside a story, a treatise on survival out on the edges backgrounded by her autism-spectrumed son’s otherworldly fascination with an abandoned hotel near the recording studio that had been overtaken by coyotes, surpasses all measures of what was previously considered confessionally brave within the rock idiom, and does so with a kind of allegorically spiritual sleight-of-hand that utterly stuns. The fact that she was responsible for every sound on the (deeply involved, double-length) album, which included not only field recordings but also a hardbound book – her third outing in this format – filling in details of the gritty narrative with an essential diarist’s elan, only adds to the immensity of the project undertaken, to the promise fulfilled. I can only hope that something that reflects this level of commitment and true artist’s desire shows itself in 2017. That, at least, will help calm my anxieties.
|| CHOR BAZAAR ||
Top 5 Videos
In no particular order:
- Patake by Sunanda Sharma
- Ya Watan by Alsarah & The Nubatones
- I Love You Baby, I Love You Doll by Parekh & Singh
- Afterhours (Charlie Hype remix) by TroyBoi feat. Nina Sky & Amar
- The Amorous Adventures of Shakku and Megha in the Valley of Consent