By SoDak
Not sure where 2021 went. I was mostly in the basement slogging away at various work projects. I got away for a couple backpacking and hiking trips. Saw a handful of friends who were passing through town. Music helps sustain me. Below, I provide a list, in no particular order, of the music that I very much enjoyed this year.
Records:
Brian Fallon, Local Honey (2020).
This record was on my list last year. I continue to be enthralled with its beauty, Brian Fallon’s singing, and the songs. I think it is a perfect record. It moves me every time I listen to it.
Valarie June, The Moon and the Stars (2021).
I continue to be captivated by Valarie June’s records. Her voice is simply stunning; her vocal inflections warm my heart. This record has a broader appeal to a mainstream audience, yet it is still excellent. With each listen, I am more and more fascinated with it.
Labi Siffre, Crying Laughing Loving Lying (1972).
Not sure why I did not have this record before. I knew most of songs. In includes “It Must Be Love,” which Madness covered. The record has a warm 1970s production. Great folk, soft rock music.
Mdou Moctar, Afrique Victime (2021).
Mdou Moctar’s previous record was excellent. His new record is extraordinary. While he shares much with other Tuareg musicians, his songs often have a guitar sound that is more driving, cutting through and complementing the hypnotic sounds.
Son Volt, Electro Melodier (2021).
I am a Son Volt lifer. With each release, I am filled with immense excitement and satisfaction. The first song on Electro Melodier, “Reverie,” has a classic Son Volt sound. It brings comfort, and I quickly settle into the record. I also really liked “Living in the USA.” Despite my love for Son Volt, I would consider changing the order of the songs or even removing two or three songs, which are not as strong and disrupt the overall coherence.
Iron Maiden, Senjutsu (2021).
Null and I rocked out listening to the new Iron Maiden, as we were driving to Denver. We had huge smiles on our faces and marveled at the nuances within the song. Sharing this experience was one of my favorite musical experiences this year. While various folks have complained about the mid-tempo and long songs on this record, I love these aspects. I really like the vast space that Iron Maiden creates within such songs and the sweeping emotional response that they create. In fact, the back-to-back long songs that close out the record are beautiful. I also feel fortunate that I get to enjoy another record by Iron Maiden. I hope that there are more.
Joshua Ray Walker, See You Next Time (2021).
Joshua’s previous two records made my list of favorite music last year. See You Next Time is his third record. His song “Cowboy” is beautiful. While he plays great classic country and honky-tonk songs, his ballads really stand out, as they are often very tender, pulling at heart strings.
Moody Blues, In Search of the Lost Chord (1968).
I pulled out my Moody Blues records this year and got hooked again. Then, I purchased all of the records by them that I was missing. In Search of the Lost Chord remains my favorite Moody Blues’ record. It includes hits songs such as “Ride My See-Saw” and “Voices in the Sky.” I think their mix of psychedelic and progressive music really crystalized on this record. Also, the album cover is awesome.
James McMurtry, The Horses and the Hounds (2021).
In 1989, I bought James McMurtry’s first record, Too Long in the Wasteland. When I listened to it, I got chills, as his voice and the lyrics were haunting. His songs demand attention. He presents everyday stories with critical twists that hit the heart. He captures a world filled with struggle, difficulties, heartbreak, disappointment, and beauty. Through the years, McMurtry just gets better and better. Over the last couple decades, he has been making outstanding records. “Canola Fields” on the new record is a great start. “Jackie” is by far my favorite song. The guitar and melody are moving. I well up when I listen to this song.
Lucero, When You Found Me (2021).
I have been missing Lucero. It has been a long time since I really enjoyed a new record by them. Fortunately, When You Found Me is an excellent record. With the opening track, “Have You Lost Your Way?,” there is a great tension within the song. The sound is expansive and beautiful, while the guitar has a heavy foreboding feeling. Danger is present, holding my attention. Ben’s vocals are in the sweet spot carrying me along. This dynamic holds throughout the record. I get goosebumps and feel as if the songs are washing over me, as I float along. I really like “Outrun the Moon” and “Coffin Nails.”
Unto Others, Strength (2021).
Portland’s Idle Hands changed their name to Unto Others—not necessarily a good name. Their new record is addicting. Once I settle into it, I just wanted to listen to it over and over. They have refined a nice gothic-metal sound. There are touches of Killing Joke and Sisters of Mercy here. Great record.
Kenny Roby, The Reservoir (2021).
Kenny Roby of 6 String Drag has put out a quite a few solo records through the years. The Reservoir is his best one so far. Very good mellow, Americana music.
Opeth, Damnation (2003).
This year I returned to some earlier Opeth records. Damnation really satisfied me. This the first Opeth record with clean vocals and guitars throughout all of the songs. It is a beautiful progressive rock record.
Emma Ruth Rundle, Engine of Hell (2021).
Wow, Emma Ruth Rundle delivered another incredible record, but this time it is very, very mellow. This sorrowful record is perfect for those lonely, dark nights.
Temple of Void, Lords of Death (2020).
I really like how Temple of Void has developed as a band. Their roots remain firmly planted in death and doom metal, yet they incorporate some classic metal aspects into their songs. Heavy fucking riffs run throughout the record, but there is more texture and catchy aspects integrated within the songs.
Vokonis, Odyssey (2021).
Vokonis is a Swedish progressive metal band. I picked up three of their records this year. Their most recent record, Odyssey, is my favorite so far. Their sound falls somewhere between Pallbearer and Elder.
Jerry Cantrell, Brighten (2021).
Brighten is incredibly smooth, comfortable, and warm. Jerry’s 1970s influences are present in these songs, but he manages to make everything seem fresh. Love “Prism of Doubt.”
Bewitcher, Cursed Be Thy Kingdom (2021).
This year, the satanic, speed metal band Bewitcher released their third record. While they have slowed down a bit, they sound tighter than ever before. I also like the breaks in songs like “Valley of Ravens” with the slow, moody guitar solo.
Alastor, Onwards and Downwards (2021).
Really loving the most recent Alastor record. They have mastered their psychedelic doom sound. There are some great melodies. When there are keyboards, they complement and add nice textures to the songs. I have been really enjoying the song “Death Cult.”
Cannibal Corpse, Violence Unimagined (2021).
I welcome each new Cannibal Corpse record. I love the additional thrash moments on the record. George sounds great.
Dinosaur Jr., Sweep It into Space (2021).
So glad that Dinosaur Jr. regrouped in 2005. They keep putting out great records.
Pete Townshend, Empty Glass (1980).
This is fucking great—easily my favorite solo Townshend record. The bass player and drummer from Big Country play on some of the songs. “Let My Love Open the Door” continues to be so moving after all these years and despite hearing the song thousands of times. “Jools and Jim” is outstanding. Listen to it and rock the fuck out. For me, Empty Glass feels like the most cohesive Townshend record.
Turnstile, Glow On (2021).
Great modern punk rock record. I was surprised by some of the drum programming, which is not usually something that I care for, but it is mixed in well within the songs. The vocals are excellent.
Vashti Bunyan, Just Another Diamond Day (1970).
Gentle, beautiful folk music. It is simply lovely.
Carcass, Torn Arteries (2021).
Since reforming, Carcass is on a roll, writing amazingly precise, melodic death metal records. They remain at the top of their game.
Cryptosis, Bionic Swarm (2021).
I am a sucker for sci-fi thrash. Cryptosis delivers the goods, but with shorter and more varied songs than what is typical within the genre.
Terminalist, The Great Acceleration (2021).
Terminalist is another sci-fi thrash band, with elements of death metal, from Denmark. They integrate some creative mellow sections as a cool contrast to the overall fast-paced songs.
Frozen Soul, Crypt of Ice (2021).
This slower, heavy death metal band is wonderful. The way the drums and bass propel the songs is awesome.
Green Lung, Black Harvest (2021).
Five-Inch Taint mentioned that he loved this record. He has good taste. Green Lung draws upon 1970s metal, while writing very tantalizing melodic doom songs. Great harmonies as well. Perfection.
Mastodon, Hushed and Grim (2021).
It has been a long road back to Mastodon for me. When they started to become more melodic, I lost interest. I am glad that I left that disposition behind, as I have really been enjoying their records and very curious about the directions that they pursue. With each listen, I like Hush and Grim more and more. Their exploration and development as a band has been a pleasure to engage once again.
Melvins, Five Legged Dog (2021).
The Melvins always pique my interest. With their new record, they re-recorded, acoustically, a shitload of their songs. The record is still very heavy in a fascinating way. I like the fresh take on their catalog.
Triggerman, Learning to Lie (2012).
This hardcore punk band is quite melodic. At times, they sound like Dag Nasty, but their songs are more diverse. This record sounds great driving across the open plains.
Enforced, Kill Grid (2021).
Very solid thrash record. Their best record so far.
Hailu Mergia and the Walias Band, Tezeta (2021).
Another great release from Awesome Tapes from Africa. Instrumental Ethiopian jazz.
Memoriam, To the End (2021).
Null sent me several of the Memoriam records, as he was so excited about them. I had to give them a serious listen. Memoriam is excellent. Accessible death metal, with good lyrics. One of my favorites is “Failure to Comply.”
Fotocrime, Heart of Crime (2021).
I do not spend much time listening to music with drum machines, especially when it is the foundation of all the music. But for some reason, Ryan Patterson’s Fotocrime project satisfies me. It harkens back to some 1980s bands that I liked. This record is moody and haunting.
Monolord, Your Time to Shine (2021).
Monolord’s riffs echo in my head. The opening pounding notes on Your Time to Shine drag out, almost testing my patience. Then the shift happens, moving to a slow, building riff. I really like the melodic elements in this doom band.
Billy Joel, Glass Houses (1980).
Billy Joel makes a regular appearance in my conversations with Null. This year, I returned to Glass Houses, as it been quite a few years since I last spent time with it. I realized that this record is firmly imprinted in mind. Great collection of songs. The band kicks ass. The production is also quite impressive. Well worth repeated listens.
Robert Plant and Alison Krauss, Raise the Roof (2021).
It is possible that this collaborative record is better than the first one that they did. The blending of their voices on several of the songs is spectacular.
Trade Wind, Suffer Just to Believe (2014).
Catchy, melodic hardcore/rock music.
The Slow Death, Punishers (2017).
Straight forward punk rock with gruff vocals. Very satisfying.
Sweet Jesus, You Destroy Yourself (2015).
Hard-driving punk/hardcore that serves up a solid kick in the ass.
Stumbling Pins, Common Angst (2016).
Null gave me this record by the German punk rock band Stumbling Pins. Catchy, emotional, and wonderful.
Hayes Carll, You Get It All (2021).
Another great record from this singer-songwriter in the Americana genre.
Rotting Out, Ronin (2020).
I am late to finding out about Rotting Out. The record rocks, with ten, mostly short, hardcore punk songs. As the record plays, I start bouncing around the room.
Svalbard, It’s Hard to Have Hope (2018).
I have been going backwards in Svalbard’s catalog, after hearing their record, When I Die Will I Get Better?, from last year. It’s Hard to Have Hope is also excellent. The mix of hardcore, post-rock, and black metal is seductive. Great lyrics. Check them out.
Ursut, Dararnas Paradis (2012).
Contemporary Swedish hardcore that sounds like it could from many of the classic bands from that country in the 1980s. Short, unrelenting songs.
Bambara Mystic Soul: The Raw Sound of Burkina Faso, 1974-1979 (2011).
I love most of the Analog Africa records that I have. Five-Inch Taint recommended this one to me. Excellent collection of Burkina Faso artists, with a nice range of traditional to funk songs.
Witnesses, To Disappear and to be Nothing (2019).
Doomy songs with ethereal flourishes. Heavy and beautiful.
Midland, The Sonic Ranch (2021).
Midland continues to satisfy me. Much of their music has a smooth country-rock sound, reminiscent of 1970s AM. Really like the opening song, “Fourteen Gears.”
Vintage Caravan, Monuments (2021).
Monuments is my favorite record by the Icelandic band Vintage Caravan. The record has better production than their previous releases. Good 1970s sounding hard rock, with psychedelic touches.
Eyehategod, A History of Nomadic Behavior (2021).
A History of Nomadic Behavior is my favorite Eyehategod record yet. While I liked them before, I am a convert now. The record is ugly and discordant. Yet it has great hooks. I hope I get a chance to see them play again, as I would love to be assaulted by these songs while at the front of the stage.
Lydia Loveless, Daughter (2020).
While Lydia Loveless’s recent record is a bit of a change, as it includes some programmed beats and shit like that, it is still very strong. Her voice is always captivating and moving.
Abuso Sonoro, Herencia (2001).
In the last few months of 2021, I really desired more intense hardcore punk. Abuso Sonoro is a Brazilian band that delivered what I needed. It sounds like the singer is almost shredding her vocal cords.
Mutilated Tongue, Fuel the Flame (2019).
Mutilated Tongue also satisfied my hardcore desires. Brian Stern of Dead and Gone, Talk Is Poison, Look Back and Laugh, as well as numerous other wonderful punk bands is in Mutilated Tongue. Ferocious.
Warish, Next to Pay (2021).
My favorite Warish record yet. They sound tighter and have a fuller sound. Good, rough, hard-rock tunes.
Yes, Time and a Word (1970) and Fragile (1971).
I have been avoiding the dive into Yes’s catalog for a long time. Of course, I was familiar with various hit songs, but I felt that giving them serious attention would demand too much effort. I am glad that I finally left behind that concern. Throughout the pandemic, I picked up all the Yes records that I did not have, including their newest release. I fell in love with the band, and greatly enjoy the various phases. Two of favorite records are Time and a Word and Fragile. Chris Squire is un-fucking-believable as a bass player. He is definitely among the greats. Now, I can hear and recognize how Yes has influenced so many bands that followed.
Jello Biafra and the Guantanamo School of Medicine, Tea Party Revenge Porn (2020).
I had been wanting another record from Jello and team. The new record is wonderful. It should have come out earlier, during the Trump nightmare, given the lyrics. At the same time, the horror show continues, so the songs still resonate.
Ayalew Mesfin, Let Me Die Loved (2020).
If you like Mulatu Astake, get Ayalew Mesfin’s records as well. Extraordinary Ethiopian psychedelic jazz. Excellent.
Accidente, Discography 2014-2016 (2019) and Canibal (2020).
Accidente has enriched my life the last couple of years. This Spanish punk rock band is very catchy and has good political lyrics. Blanc’s vocals are delightful. From time to time, I am reminded of Joyce McKinney Experience.
Cameron Knowler, Cameron Knowler (2021).
Mellow, instrumental songs, mostly based around either an acoustic guitar or banjo.
Amends, Tales of Love, Loss, and Outlaws (2021).
I was introduced to Amends by the hardcore punk label and distribution hub associated with Revelation Records. This Australian band has some punk elements to them, but they are firmly rooted within Americana music. I love this shit. Outstanding.
Domkraft, Seeds (2021).
Damn good psychedelic doom. Let go and ride the riff.
Mean Caesar, Mean Caesar (2018).
Raw melodic punk rock from London. Has Leatherface elements.
Cress, Propaganda and Lies (2003).
Cress plays raw punk rock. There is a strong Crass influence, mixed with some crust bands. I needed an infusion of this type of political punk rock.
Hooded Menace, The Tritonus Bell (2021).
This Hooded Menace record has a stronger traditional metal influence than previous records. It really caught my attention. Still enjoying the hell out of it.
Herzel, Le Dernier Rempart (2021).
It has been nice to hear more French metal bands, beyond Gojira and Alcest, who are great. Herzel do not push the boundaries. They are a traditional metal band, singing in French. No real surprises, but very enjoyable. Maiden influences are apparent here and there.
SNFU, A Blessing But with It a Curse (2021).
This was the surprise release this year. There were five leftover songs from around the time that In the Meantime and in Between Time was recorded. So glad that these songs were released as an Ep. Has fast, mid-tempo, and slower songs. All of them are great. This is a needed pallet cleanse after the last SNFU record. It is a better farewell to Chi Pig.
Bronx, Bronx (2021).
Bronx are a great live band. They just get up on stage and rock. They are fun and get the crowd bouncing. Their new record captures the live feeling, as it sounds great and makes me want to move.
Khemmis, Deceiver (2021).
I really like how Khemmis has continued to develop their style of melodic doom. The vocals are quite soaring on this record and the heaviness of the music remains.
Knocked Loose, A Tear in the Fabric of Life (2021).
Jack Rafferty has been praising Knocked Loose for quite some time, noting that they are a band to take seriously. I finally picked up the new Ep. This album of grief rips. It is very heavy and intense. The discordant elements add texture and an ugliness to songs. I am a convert.
Genesis, Selling England by the Pound (1973).
For decades two of the taint ticklers, Jimmy “Explosive Diarrhea” B. and Null, have been encouraging me get more into Genesis. The former prefers the early Genesis and the latter prefers the later records. So far, they do not overlap in what they like. This year I enjoyed listening to their whole catalog and seeing how they changed. My favorite record was Selling England by the Pound.
The Lungs, Psychic Tombs (2020).
With a touch of early 1990s hardcore punk, The Lungs tear it up. With vocals that are often a controlled yell, hitting the words in a wonderful rhythmic way, there is a great tension through this record.
Gulch, Impenetrable Cerebral Fortress (2020).
Five-Inch Taint recommended this punk rock gem. The songs are at times a bit quirky in some of the timing and beats, making the songs quite memorable. There is plenty of great intensity, as the songs pick up speed, I smile and start banging my head faster.
Gerry Hannah, Coming Home (2014).
Gerry Hannah was a member of the Canadian band, The Subhumans. In 1990, his song “Living with the Lies” appeared on the soundtrack Terminal City Ricochet on Alternative Tentacles. This folky song captured my attention, given its simple sincere lyrics: “Are you numb to the truth from living with the lies?” Gerry spent some time in jail from revolutionary activities associated with Direct Action. Was thrilled to finally find a copy of his album Coming Home, which includes some songs that he wrote while in prison. This record has a low-fi folk rock vibe. The songs are catchy and poignant.
Karmian, Surgere et Cadre (2018).
Null spent a lot of time listening to death metal on cassette this year. I benefited from his explorations. He found this wonderful Swedish death metal band from Italy, whatever that means.
Nomeansno, Tour Ep 1 (2010) and Tour Ep 2 (2010).
I still miss Nomeansno. Toward the end, they released two Eps on vinyl, primarily sold at shows. I have been listening to them a lot. These final records are as good as anything they put out. They were one of the great punk rock bands.
Riddy Arman, Riddy Arman (2021).
Jack Rafferty introduced me to Riddy Arman a year ago, when he sent me a Western AF video of her playing “Spirits, Angels, or Lies.” Her introduction to the song was touching. The song is excellent. Was eagerly anticipating her debut record. While a bit uneven, this is a solid record. Looking forward to following her career.
Lock Up, The Dregs of Hades (2021).
Lock Up includes members of Napalm Death and At the Gates. Excellent brutal grindcore.
Buck Owens.
Omnivore Recordings put out a series of Buck Owens records on CD. Have been waiting for some label to do this for years. Love Buck and the Bakersfield sound. Solid country music, with tasteful touches of rock and surf music here and there.
Nazareth.
As a kid, the only Nazareth record that I knew was Hair of the Dog. Kloghole greatly expanded my exposure to Nazareth records twenty some years ago. I finally decided to dive deep and picked up every Nazareth record, in part just due to curiosity. They are much more diverse than I was expecting as far as their sound and vocal stylings. Dan McCafferty has an amazing voice, and he can change it from song to song. On certain songs, it is very clear that he strongly influenced Axl Rose. Solid classic rock and roll.
Concert/Festival:
Managed to make it to Punk Rock Bowling in Las Vegas in September. Had a great time sharing the outdoor experience with Spooner D. Was awesome to see some live music again. Some of my favorite performances included: Descendents, Circle Jerks, Devo, Menzingers, Leftover Crack, Dillinger Four, Youth Brigade, Youth of Today, Municipal Waste, Queers, Aggrolites, English Beat, Bronx, and Field Day.
Films:
Gordan Lightfoot: If You Could Read My Mind (2019).
This was one of the best music documentaries that I watched this year. It offered a good overview of his life and music. I appreciated Gordan’s critical reflection regarding himself and assessment of his growth. Good to be reminded how excellent his music is.
Count Me In (2021).
Excellent film regarding drumming and rock drummers, driven in part by a narrative by Stephen Perkins from Jane’s Addiction. Great exploration and discussion. Well worth watching.
Song Exploder, series on Netflix (2020).
This long-running podcast that investigates and dissects specific songs took another step, producing eight episodes for television. While I only knew a few of the songs, I very much enjoyed the interviews with the musicians, the consideration of the context of writing the songs, and the analyzing of specific elements within the songs. I am hoping that this series continues.
Finding the Funk (2013).
This film is too short. Strangely, it does not include the music that is being discussed, which is a big problem. But it was still worth watching, as the history of this style of music is quite fascinating.
It All Begins with a Song (2018) and Tennessee Whiskey: The Dean Dillon Story (2017).
Both films focus on the craft of songwriting, spanning from country to pop music. Enjoyable.
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