By SoDak
Below is a list of favorite records, which I spent a lot of time listening to this year. My list is not in any particular order. I cannot contemplate how to rank and order them, without driving myself insane.
Records:
Verbal Assault, Trial (1987, Reissue 2018).
Thrilled that Verbal Assault’s Trail was finally reissued, thanks to Atomic Action. My old cassette of this Rhode Island band was almost worn out. The reissue sounds fuckin’ great. Verbal Assault occupy the space between hardcore and Fugazi. They are intense and emotional. They have very catchy moments within most of their songs. I get goosebumps every time I put this record on. Love it, love it, can’t get enough.
Ural Thomas and the Pain, Ural Thomas and the Pain (2016) and The Right Time (2018).
Ural Thomas has been singing soul music since the 1950s and put out some singles in the 60s and 70s. Along with an outstanding band, he has released a couple records the last few years. This Portland band has a classic sound that warms the heart and makes you want to move. They put on a great concert, as Ural brought a big smile to my face. His voice sounds great, which is impressive given his age. I hope that he has several more records in him.
Jenny Don’t and the Spurs, Call of the Road (2017).
The self-titled record by Jenny Don’t and the Spurs was fine. But Call of the Road is outstanding. Classic country is mixed with some rock elements. Jenny’s vocals sound rich and full. At times, her voice sounds similar to Neko Case, on her earlier records. I would like to travel to Portland to see them play.
Hallas, Excerpts from a Future Past (2017).
Earlier this year, AntiChrist-iansen recommended the Hallas record, claiming that it was awesome. He was completely right. This Swedish band mixes metal, hard rock, and prog with ease, creating beautiful songs. Fans of the last Elder record will enjoy this one.
Alejandro Escovedo, The Crossing (2018).
I love Alejandro Escovedo. He is a brilliant songwriter, who follows his creative inspiration across music genres. His 2002 Austin City Limitsperformance, in which he has cello and violin players accompanying the rest of the band, was perfection. I have seen him in concert a couple dozen times and he has never disappointed me. Having said this, I have found the last four records to be rather mediocre within his extensive catalog. His new record, The Crossing, is not among his best, but it is a very powerful and solid record. The record offers a thoughtful reflection on issues related to migration and race. It is chilling and reflective. It offers a great critique of the reactionary and fascist tendencies that are rife within the United States.
Wipers, The Herd (1996).
I am guilty. When I was younger I only listened to the first three or four records by the Wipers. I loved this punk rock, garage band from Portland, but never followed up on later records. This year, Graywhale had a used copy of The Herd. I figured what the hell. I thought the record would be very polished like a couple latter songs I had heard by the later Wipers. This record was still raw and really peaked my interest. I am not sure why it connected with me, but I have been listening to it regularly this fall and winter.
Voivod, The Wake (2018).
I think Voivod put out a great trilogy of records in the late 1980s, with Killing Technology(1987), Dimension Hatröss(1988), andNothingface(1989). On these records they found their distinctive sound, blending metal and prog influences. While they put out other solid records through the years, they were definitely reinvigorated on Target Earth (2013) and Post Society (2016). The Wake continues this trajectory, drawing upon the best moments of the past, but with fresh insights and contributions. The current lineup is very powerful and seem to be having the time of their lives playing together.
Joe Ely, Full Circle: The Lubbock Tapes (2018).
Joe Ely has been a longtime favorite. He is part of the legendary Flatlanders with Jimmie Dale Gilmore and Butch Hancock. This record by the Texas singer-songwriter is a lost album that Lloyd Maines, Ely’s pedal-steel player, found in a box of old belongings. These recordings are from 1974 and 1978. They are stripped down songs, illuminating his talents, which continued to grow through the years.
Pig Destroyer, Head Cage (2018).
I am not that familiar with Pig Destroyer. Null shared their music with me when he was exploring more extreme music. Five-Inch Taint has been encouraging me to spend more time with them. I am glad that I did. Head Cage is fucking crazy, complex, fascinating, and intense. While Pig Destroyer is a grindcore band, they are quite dynamic. This record has continued to hold my interest in way that I was not expecting.
Marked Men, The Marked Men (2003), On the Outside (2004), and Fix My Brain (2006).
While there is nothing spectacular about the Marked Men, I was quite taken with their records this year. They play straight-forward melodic punk rock. They have obviously listened to a lot of Ramones and other classic punk bands. They satisfied my desire to hear music along these lines.
Greenleaf, Hear the Rivers (2018).
I picked up the most recent Greenleaf record within the past month. I think it is the best record by this Swedish hard rock band. They have big riffs and enjoyable grooves on most of the songs. The first song, “Let It Out!,” is a great opening track. It sounds incredible when played very loud. Recently, my wife was enjoying the record while we cooked dinner, suggesting that they would be a perfect band for Psycho Vegas. She is absolutely right. In fact, if they were added to the bill, it would encourage me to get my ticket for 2019.
First Aid Kit, Ruins (2018).
I have loved each record by these Swedish sisters. Their folk-Americana music is beautiful and soothing. At the beginning of 2018, I was quite captivated with this record. I recently returned to it after Five-Inch Taint mentioned it. Wonderful record. I am thrilled that they continue to deliver four full-length records into their careers.
Etae, Parfinouloder (2012).
This CD was a gift from my comrades in Mauritius. Several years ago, I spent a week working with and learning from so many wonderful people who live on this amazing island nation in the Indian Ocean. We spent the nights around a fire on the beach, sharing stories, and listening to music, as fruit bats flew overhead, casting massive shadows on the sand. My comrade Stefan plays guitar and sings in this band. The songs are filled with beautiful acoustic guitar parts, which then are joined by rich percussion, and enchanting vocals. A couple songs even have a psychedelic-trance feel.
Black Tusk, T.C.B.T. (2018).
I saw Black Tusk on one of their first tours and enjoyed them a great deal. I have picked up each record, as I enjoy their style of sludgy metal. Most records were solid, without big surprises—that is until this year’s T.C.B.T. This Black Tusk record is outstanding. There is a fire and intensity in the songs that I think has been missing. It moves between punk, hardcore, and metal throughout the record, creating a wide-ranging record. These Savannah boys delivered the goods on this album.
Palehorse/Palerider, Burial Songs (2017).
Not sure how I happened upon this Denver, Colorado, band, but I am sure glad that I did. There are four long songs on this record. Their music is very much in the vein of instrumental post-rock bands, but with vocals, which actually fit the music, blending in seamlessly. Great record. Hopefully, they tour the region, as I would love to see them perform.
Malcolm Holcombe, Come Hell or High Water (2018).
It seems that Malcolm Holcombe makes my list each year. I guess it is because he has been putting out new records regularly. There is something infectious about this North Carolina songwriter. At first, I was not sure if I would like his gruff vocals, which are also quite gritty. But, there is a strange comfort and lived-in aspect to his voice and songs, which blend folk, blues, and country. Greg Brown and Iris Dement join him on this record. If the past couple years are any indication, he will put out another record next year, which I look forward to enjoying.
Needles//Pins, Good Night, Tomorrow (2017).
I listened to this record a lot, while driving through the Rocky Mountains in Colorado. This Vancouver, British Columbia, band plays catchy punk rock that still sounds a bit raw due to some of the vocals. “All the Same” gets caught in my head quite often. The last several years, I think I am a sucker for bands that lean toward the Leatherface spectrum of punk rock.
Bombino, Deran (2018).
Bombino’s guitar and vocals are a bit hypnotic, as they swirl around each other, merging in unison from time to time. This Nigerian songwriter has been putting out strong records over the last ten years. Check him out.
Emma Ruth Rundle, On Dark Horses (2018).
On Dark Horsesis my favorite Emma Ruth Rundle record so far. The song “Darkhorse” is hauntingly beautiful.
Cloud Nothings, Last Building Burning (2018).
What the fuck? Cloud Nothings always had a raw, loose energy to them. They rocked more than most indie bands, but were not quite punk rock. But on Last Building Burning it seems that they are on the verge of exploding. There is a fire burning on these songs, making these songs more exciting than on the last record they put out.
Mammoth Grinder, Cosmic Crypt (2018).
Five-Inch Taint was very enthusiastic about the new Mammoth Grinder, so I picked it up. Fuck me, it is relentless. They have a distinct driving drum-bass element that propels the songs forward in a mad rush. At the same time, the guitar and vocals add an intriguing element to this death metal/hardcore mix, which makes me smile, as they lead me over the cliff.
Adam’s House Cat, Town Burned Down (2018).
Before they formed the Drive-By Truckers, Mike Cooley and Patterson Hood played in Adam’s House Cat. I had only heard about this record from 1990, but did not have access to it. This year the record was made broadly available. I was not expecting this to be such a strong record. Damn, it is very enjoyable, as you hear the influence of Tom Petty, punk rock, R.E.M., and the country music that surrounded them.
Worriers, Survival Pop (2017).
The melodic, slightly punk songs of Worriers are catchy as hell. Lauren Denitzio’s vocals pull at my heart strings. Their songs are quite simple, energetic, and good. Lately, I have been enjoying “Future Me” and “Self-Esteemed.”
DVNE, Asheran (2017).
Last year Jack Rafferty recommended DVNE to me. I really liked the record, but was bummed that it was not available in a physical form at the time. This past summer DVNE played at Psycho Vegas. They were great. To my satisfaction, they had records and CDs with them, so I was finally able to enjoy the music on my stereo. This record is a journey filled with metal, prog, and post-rock elements. The vocals are generally clean, with sweeping melodic moments.
Urinals, Negative Capability...Check It Out! (1996) and What Is Real and What Is Not (2003).
The Urinals, who are from California, formed in the 1970s. They are one of the bands that influenced the Minutemen, which can be heard on many of the songs. They reformed in the 1990s. Their short, stripped-down punk rock songs are deeply satisfying. The lyrics are interesting. Good stuff on these records.
Murder by Death, The Other Shore (2018).
Murder by Death can be quite haunting. On The Other Shore, they present a tale about the ravaging of the planet earth. This time their Americana approach is laced with western-space influences. They are always eclectic and distinct. The opening song, “Alas,” sets a great tone for the record.
Haunt, Burst into Flame (2018).
Haunt are an enjoyable throwback 1970s/80s metal band. They have a classic sound to them, which was quite satisfying to me this past year. I think this is their best release so far.
Steve Forbert, The Magic Tree (2018).
Steve Forbert has been putting out records since the late 1970s. He has a limited voice, but it works well for the songs that he writes. He is a good storyteller. Solid record.
Whitey Morgan and the 78s, Hard Times and White Lines (2018).
Was looking forward to this record. Whitey throws down classic country-honky tonk songs. This record kicks some serious ass. Kloghole needs to finally give Whitey Morgan a listen.
Leon III, Leon III (2018).
Leon III is a side project for some of the Wrinkle Neck Mules folks. The raspy voice is evocative and moving. The pedal steel is haunting. This is a gentle Americana record for dark evenings by the fire. I am eager for more records by the Wrinkle Neck Mules, but this is a satisfying record to hold me over until then.
Napalm Death, Coded Smears And More Uncommon Slurs (2018).
This double CD collects songs from various compilations and bonus tracks. As is to be expected, it is unrelenting and brilliant. I would never have guessed that I would become such a Napalm Death fan, but I cannot get enough. This record is fucking awesome. It also shows the range of music that the band plays. They rule.
Quiet Slang, Everything Matters But No One Is Listening (2018).
On this record, the leader of Beach Slang presents a collection of songs that are stripped down and more mellow. The Replacements influence is still evident on most the songs, but whatever. It sounds good. I like the strings, piano, and gentle guitar. The vocal effect is a bit much at times, since it is present on most songs, but it does create a specific sound for the record. This is also a good record for watching the snow fall on a winter night.
Flesh Eaters, No Questions Asked (1980) and A Hard Road to Follow (1983).
This past year, I returned to a couple Flesh Eaters records that I had not heard in many years. I was completely enthralled with them in a new way. This band that formed in the late 1970s around Chris D was quite distinct. They offered a raw mix of punk with roots rock, blues, and other influences. Chris’s voice is distinctive and leaves me wanting to hear more. From time to time, members of X and Dave Alvin have played on Flesh Eaters records. In 2019, there is going to be a new Flesh Eaters record. I am looking forward to it.
Colter Wall, Songs of the Plains (2018).
On this record, Colter Wall presents a collection of songs that sound as if they could have been on a mellow country record from the 1960s and 70s. There is minimal instrumentation. His voice is a focal point, which works well.
Drug Church, Cheer (2018).
I have been obsessing over this record. Drug Church play slightly discordant punk rock that is still melodic. From time to time, there will be chords and riffs that are similar to Sonic Youth, such as on “Unlicensed Hall Monitor.” I like the various vocal styles, including the strained voice on many of the songs.
New Model Army, Night of a Thousand Voices (2018).
New Model Army remains one of my favorite bands. Each year, they close out the year with a special concert. Last year, they played a couple shows in a small theater, where they set up in the middle. They provided the audience a book of lyrics, so everyone in attendance could sing at full voice with the band. While these are never going to be the definitive versions of the songs, the effect is really quite emotional and moving to hear everyone singing along to songs that mean so much to them.
War on Women, War on Women (2015) and Capture the Flag (2018).
Musically there is nothing too distinctive about War on Women. They sound like a classic hardcore-punk band from the late 1980s and early 1990s, which is awesome as far as I am concerned. It is just nice to hear such direct pissed off political and feminist lyrics.
Alcoa, Bone & Marrow (2013) and Parlour Tricks (2015).
These two records put out by Bridge Nine are quite pleasant. Alcoa is a side project of a member from the hardcore band Defeater. Here, he plays Americana songs, which are quite touching.
Steve Perry, “No Erasin.’”
While this will not qualify as cool, I was quite pleased to hear that Steve Perry was returning to music. I grew up with Journey records that meant a great deal to me. “No Erasin’” was the first single from his new record Traces. The day it was released I listened to it a lot. At first, it was evident that his voice was not as strong. There were moments where I would have expected his voice to soar, hitting the high notes. But time has passed, people age, and voices change. The vocals were a bit constrained, but he makes it work within the song. Nevertheless, I found the song to be memorable, and I kept listening to it, over and over. The song grew on me. While I am still settling into the new record, I would be lying if I did not admit that this song was an obsession this year.
Concerts:
I managed to attend over sixty concerts this year, including several festivals. I love sharing these experiences with fellow comrades of the taint. Thank you.
Some of my favorite performances this year included: Richard Thompson (solo acoustic), Booker T, Mammoth Grinder, Superchunk, Jawbreaker, Tyler Childers, Nikki Lane, Wolf Parade, Son Volt, Fireburn (I am still bummed that Todd Youth died. He was very nice to talk with after the show.), Killing Joke, Murder by Death, Lionel Richie, Dale Watson, Ural Thomas and the Pain, Red Fang, Protomartyr, and Preoccupations.
In regard to festivals, the following were some of highlights for me:
Crucialfest: Russian Circles, Zig Zags, Mutoid Man, Pig Destroyer, Neurosis, and Iceburn; Psycho Vegas 2018: Dengue Fever, Elder, Bell Witch, Cough, DVNE, Lucifer, Tinariwen,
All Pigs Must Die, American Nightmare (amazing, thanks PaulySure for recommending them), Voivod, Eyehategod, Glaare, and Pallbearer
The Rapid City Punk Rock Family Reunion was also awesome. In particular, Born to Suffer, Dissent, The Black Dots, Social Joke, and War//Plague were awesome.
Films:
Sir Doug & the Genuine Texas Cosmic Groove (2015)
Great documentary about Doug Sahm, his music, and his life.
Rumble: Indians Who Rocked the World (2017)
Very interesting film about indigenous peoples and their contributions to rock music throughout the years.
Burn the Place You Hide (2016)
I loved St. Thomas’s records. I only knew a little bit about this Norwegian musician’s life. This is a solid film about Thomas Hansen, his music, and his struggles.
Turn It Around: The Story of East Bay Punk (2017)
My wife and I greatly enjoyed this documentary. It was a little odd watching it, as so many of the people in it played shows in Rapid City, South Dakota, and/or stayed at my house or with my friends. The film is an important historical documentation of the East Bay scene.
The Godfathers of Hardcore (2018)
I expected this film to present the history of Agnostic Front. Instead it was focused on the lives of Roger Miret and Vinnie Stigma. The film was well done, offering an in-depth reflection of these two guys and their lives.
Books:
I read quite a few autobiographies of musicians this past year, as well as many books in the 33 1/3 series.
In particular, I enjoyed Dave Dictor’s MDC: Memoir from a Damaged Civilization and Keith Morris’s My Damage, as they provided glimpses into their lives and their punk rock scenes. The usual accounts of alcohol and drug stories are present, but beyond this, there are some good tales.
I really enjoyed Rachel Lee Rubin’sOkie from Muskogee (2018). She provides an insightful analysis of Merle Haggard’s first live record, illuminating the humor, sarcasm, and focus on labor and class relations. She does a wonderful job addressing the various hypocrisy of music critics (and others), who have written about Merle.
John Darnielle’s Master of Reality (2008) was an enjoyable quick read. In order to reflect on Black Sabbath’s third record, he wrote a fictional story of a young man locked away in a psychiatric ward. This person is not given access to music, which he indicates is what makes him feel better. He is encouraged to write a journal, which he uses to explain to staff why Master of Reality is his favorite record. The story is sad and humorous, with great details that reminded me of how much music has meant to me, especially as a kid.
