By SoDak
The year, for the most part, was filled with music. I was constantly trying to keep up with new releases, exploring older music, and focusing on listening to all boxsets that I had picked up over the last couple of years. I was able to enjoy quite a few concerts with friends, including Five-Inch Taint, Null, PaulySure, and Spooner D. Below, I provide a list, in no particular order, of the music that really captured my attention this year.
Records:
Midnight Oil, Resist (2022).
Love the Oils. So good to have a new record by them. See review that Null and I wrote earlier this year: https://tickleyourtaint.blogspot.com/2022/04/midnight-oil-resist-sony-2022.html.
Margo Cilker, Pohorylle (2021).
Margo Cilker plays a nice blend of country-folk music. “That River” is an excellent opening song, starting with the words, “that river in the winter, it can fuck me up.” My favorite song is “Barbed Wire (Belly Crawl).” The combination of the swirling vibe in the music with Margo’s voice is perfect. My wife and I have listened to this song hundreds of times. This past summer, we were able to see Margo and her band play in a small bar in Boise, Idaho. Outstanding performance.
40 Watt Sun, Perfect Light (2022).
I am thrilled that there was a new 40 Watt Sun record. It is filled with immense beauty. Super slow, big sounding songs with a gentle, yet aching, vocal delivery. Turn off the lights, turn the volume up, lay on the floor, and just feel these songs wash over you. Easily one of my favorite records this year.
The Twilight Sad, Nobody Wants to Be Here and Nobody Wants to Leave (2014).
Finally tracked down a copy of this record, as it was the only record that I did not have by The Twilight Sad. This record gives me chills every time that I listen to it. It is haunting, especially as the dark tones on the guitar mix with the vocals. When I walk around the neighborhood at night, I feel these songs in the shadows, waiting to envelope me. I have seen some live footage of the guitarist and vocalist playing, offering stripped down versions of the songs. Fucking amazing as well.
Praise, Leave It Behind (2016) and All in a Dream (2022).
I love the resurgence of excellent hardcore punk rock. Praise is addictive with their melodic elements, beckoning back to the sound of late 1980s and early 1990s Washington DC bands. I hope that I get to see them perform before too long.
Temple of Void, Summoning the Slayer (2022).
Null and I intend to write a review of this record. This is my favorite Temple of Void record yet. I am loving how much they have slowed down the heavy doom riffage, adding even more melodic elements within their songs.
Elder, Innate Passage (2022).
Elder continues their quest for writing even more perfect prog records. Outstanding rhythms, spiraling guitar riffs, and dreamy sequences.
Joy Oladokun, In Defense of My Own Happiness (Complete) (2021).
Should have picked this up last year. Guess, it is never too late. Joy incorporates folk, pop, R&B, and rock in these songs. Most songs have a wonderful singer-songwriter vibe. Other songs have programmed beats that fortunately are not distracting. Poignant personal and political lyrics.
Voivod, Synchro Anarchy (2022).
Fucking love Voivod. They continue their reinvigorated streak of top-notch records, capturing their unique style of prog-metal.
Arlo McKinley, This Mess We’re In (2022).
Like his previous release, this is a brilliant record. Arlo’s voice is rich and warm. Listen to “Stealing Dark from the Night Sky.” At times, there are elements reminiscent of Ryan Adams when he was at his best. Arlo’s show in Salt Lake City was stunning.
Spell, Tragic Magic (2022).
Every time that Spell releases a new record, I get so excited to hear how they continue to develop their sound. They still retain the heavy riffs, but the dreamy textures are more prominent. The vocals are quite melodic and clean. My wife remarked that the choruses on several songs are similar to Ghost, as far as the layers and harmonies.
Sumerlands, Dreamkiller (2022).
Moody, classic, straightforward heavy metal. Sumerlands recruited a new singer for this record. Like the previous album, this one is filled with epic songs.
Chris Squire, Fish Out of Water (1975).
Fucking hell, this is incredible. It could have easily been a Yes record. Chris Squire has become one of my favorite bass players. He sounds fucking great as usual. This record also made me realize how his background vocals are a crucial part of the sound on Yes records. Brilliant record. Wish I had learned about it many decades ago.
Alcest, Shelter (2014).
The last few years I have been playing catch up in regard to Alcest. I bounce between their black metal and their shoegaze records, depending on which one I buy. I continue to marvel at how incredible their record Spiritual Instinct is and regularly listen to “Sapphire.” This year, I picked up Shelter. I was not expecting to hear such a lush, dreamy, poppy record. It sits well next to albums by Sigur Ros.
Coffin Rites, Human Erase (2021).
This metal record will rip your face off, as it is fucking intense, relentless, and brutal. The singer’s vocals are truly impressive. It sounds like there are different people singing the various parts in songs. Nope. It is just one person.
Freewill, All This Time (2021).
I was excited when Freewill regrouped. They were a short-lived melodic hardcore band in the late 1980s. I treasured their demo tape. In 2020, their unreleased record was finally put out. While they no longer have the original vocalist, they have maintained their catchiness, mixing influences such as Dag Nasty with California hardcore.
Steve Von Till, No Wilderness Deep Enough (2020).
A stunning mix of beauty and darkness, on this mournful, ambient record. Steve’s voice is both gruff and tender, as the music swirls. Close your eyes, you may feel yourself slowly sinking into the earth.
Lindsey Buckingham, Gift of Screws (2008).
Listening to a Lindsey Buckingham record can be a strange experience. His talent is clear, but he can be super quirky. Pop songs reside next to fucked-up sounds. The way his voice mirrors his guitar tone fascinates me. In many ways, I think his Gift of Screws is one of his more cohesive records.
Shane Smith and the Saints, Germino (2019).
Shane Smith has been getting a lot of attention the last couple of years. The band does tear it up. I am obsessed with their song “All I See Is You.” On each of their records, they are putting out very good country music. The only downside is the God shit that is present. But, fuck me, they have some good songs.
Loney Hutchins, Buried Loot: Demos from the House of Cash and Outlaw Era 73-78 (2021).
Buried Loot is right. These demos are a treasure. There is quite a mix of songs on this collection, with singer-songwriter folk music, a mix of folk and country, country rock, and good story songs, including how coal companies create misery for working people. Great voice.
Be Well, Hello Sun (2022).
The Weight and the Cost from 2020 was a phenomenal hardcore record. This follow-up EP is strong, even if not as spectacular as the previous album. The fast, intense songs alternate with the more melodic songs, back and forth for six songs. Am hoping that this band stays around for quite some time.
Police and Thieves, Amor Y Guerra (2008).
This record is incredible. The 1980s Dischord influence is strong, but it feels fresh in various ways. I love the mix of Rites of Spring and Dag Nasty. I bought this before Praise, and only later realized that there is a connection between the bands. PaulySure needs to buy this record.
Lost Avenue, Fears (2018).
Lost Avenue, from Northern Ireland, are a punk rock outfit with slightly gritty vocals. Good catchy record.
Horrendous, Idol (2018).
Engaging death metal with progressive flourishes. Wonderful.
The Felice Brothers, From Dreams to Dust (2021).
The Felice Brothers continue to put out quality Americana records. They have crafted a distinctive sound that is laid back, while a plethora of words fill the songs.
Deafheaven, Infinite Granite (2021).
Took me a while to get around to this big album from last year. Infinite Granite sounds big. Compared to previous records, it has a stronger shoegaze influence, with textured, layered guitar parts. Good album to put on in order to get lost.
Brutus, Nest (2019).
Null introduced me to Brutus, sending me a live video of the song “War.” Brutus, from Belgium, play loud brooding music. They stretch out songs, with captivating vocals by Stefanie, the drummer. Her voice is powerful, like how Sinead O’Connor’s voice can capture your attention. Then, Brutus will kick into a pummeling assault that mixes punk with post-hardcore.
Eldovar, A Story of Darkness and Lift (2021).
Elder and Kadavar joined forces on this record. All the dreamy, ethereal elements of Elder are present mixed with some of the added punch of Kadavar. Great blend between these constantly evolving bands.
Elliott Peck, Further from the Storm (2018).
Good quality, mellow country music, with strumming guitars. Elliott Peck has a nice voice that is comforting.
Bonnie Light Horseman, Bonnie Light Horseman (2020) and Rolling Golden Holy (2022).
Null told me about this band, which is a collection of “cool,” hip folks. Mellow songs, with good vocals.
Kendell Marvel, Solid Gold Sounds (2019).
On the cover, Kendall looks like he is kind of a bad ass. It is a little humorous. He is a songwriter, who has penned many songs for various country artists. The songs cover a wide variety of styles within this genre. Solid record.
Calling All Captains, Slowly Getting Better (2021).
From Canada, Calling All Captains are an excellent melodic hardcore band with poppy-hook sensibilities. Every now and then, they incorporate more post-hardcore elements.
Benjamin Tod, A Heart of Gold Is Hard to Find (2019).
Great record. Sparse recording—a guitar and voice. Confessional songs.
Maailmanloppu, Enaa Kivaarit Laulaa (2016).
Finish hardcore. Their sound should be clear just by noting this. Interesting enough, they incorporate some post-hardcore elements on some songs.
Somerset Thrower, Paint My Memory (2020).
Melancholic, melodic, contemplative hardcore.
Anxious, Little Green House (2022).
Super catchy, melodic punk rock, with lots of pop elements. Good energy.
Nuisance, Confusion Hill (remixed and remastered) (2021).
Nuisance’s 1991 Confusion Hill was remixed and remastered on this special pressing. I always loved this record with its hippy punk rock feel. The songs did sound much bigger and powerful whenever they played them live. With this reissue, the songs are much punchier. Since getting this record, my love of the record has been renewed.
Kieran Kane and Rayna Gellert, When the Sun Goes Down (2019).
Kieran Kane has been recording excellent Americana records for decades. More recently, he has been releasing records with Rayna Gellert. They complement each other with their understated approach to just writing excellent, mellow folky songs.
Lantlos, Wildhund (2021).
I think Five-Inch Taint recommend this band to me. Strange mix of postrock, shoegaze, and metal. Heavy, emotional, and foreboding.
Scowl, How Flowers Grow (2021).
Scowl is tearing it up. PaulySure saw them play at least six times this year. There is a great picture of him stage diving at one of their shows in Salt Lake City. Powerful punk rock. Yes, you need this record.
Custody, II (2020).
A very cool record by a Finish punk rock band that plays music inspired by Samiam, Solea, Knapsack, basically anything that Sergie Loobkoff has been in. I get it. I love it.
500 Miles to Memphis, Hard to Love (2021).
As time passes, the punk rock aspects of 500 Miles to Memphis are more prominent. They still have roots in alternative country, but they increasing kick ass.
Imarhan, Aboogi (2022).
This Algerian band gets better with every record. Here, they have a bigger sound, with additional layers within the songs that hold my attention. Great rhythms and strong choruses.
Flag Day Soundtrack (2021).
I have not seen the film, but the soundtrack is beautiful. It mostly contains collaborations between Eddie Vedder and Glen Hansard, but the standout track is Olivia Vedder singing “My Father’s Daughter.” It is so moving and beautiful; I sit transfixed whenever I listen to it. In fact, while the rest of the songs are good, I wish the record was simply sung by Olivia.
Paul Cauthen, Country Coming Down (2022).
Paul Cauthen continues to create distinct records blurring country, soul, and more. His voice is stunning. The record is spacious, chilling, and trippy. He is cool as fuck.
Brenton Wood, Very Best of Brenton Wood (2017).
The collection starts with “The Oogum Boogum Song.” It has always been catchy and makes me want to dance. Great soul music collection by this amazing singer.
Bush Tetras, Rhythm and Paranoia: The Best of Bush Tetras (2021).
Angular, post-punk. I bought this collection mostly for the song “Too Many Creeps.” I love the bass line and the vocals.
Morgan Wade, Reckless (2021).
Morgan Wade has a fuckin’ great voice that demands attention. While the record is quite polished and has some mainstream country elements, the songs are excellent. The songs are still gritty. After listening to a few songs, I realize that I just want to listen to the record over and over. Absolutely wonderful.
Drug Church, Hygiene (2022).
Drug Church still makes me want to run around in circles until I collapse from exhaustion. The new record has driving riffs, but there are more moments that are a bit subdued for interesting vocal parts, adding to the tension within the songs. Their shows are thrilling, as everyone is bouncing to the beat.
Superchunk, Wild Loneliness (2022).
Growing older with Superchunk is quite a treat. They capture the various experiences, anxieties, fears, and pleasures of the moment. There is a calm that comes from hearing their music, almost as if they are friends with whom you are having a long conversation. “Endless Summer” addresses deep concerns regarding climate change. “Refracting” kicks up the pace, as we still like to rock out on these aging bones.
Vincent Neil Emerson, Fried Chicken and Evil Women (2022).
I am a little pissed that I missed seeing Vincent on this recent tour. Excellent country music.
Sunny Sweeney, Married Alone (2022).
This is the best Sunny Sweeney record that I have heard so far. Her voice is great. The pedal steel is wonderful. Excellent up-tempo songs and touching ballads.
End It, Unpleasant Living (2022).
The album starts with Patsy Cline singing “I Fall to Pieces” and then erupts in a barrage of hard-hitting hardcore. The record gains momentum from song to song. From time to time, End It throws in a metal voice just for a few seconds. These layers seem to add some humor to the direct lyrics.
Frayle, Skin and Sorrow (2022).
Five-Inch Taint gave me a copy of this CD. While the band describes themselves as doom, I hear a lot of shoegaze music within their songs. This combination makes them stand out. Heavy, plodding songs, with gorgeous vocals.
Tim Heidecker, Fear of Death (2020).
Five-Inch Taint also recommended this record to me. Many of the songs fall somewhere between 1970s country-rock and 1980s radio rock ‘n’ roll. Good lyrics overall.
Ian Noe, River Fools and Mountain Saints (2022).
Singer-songwriter Ian Noe delivers another excellent Americana record.
Charger, Warhorse (2022).
Matt Freeman’s Charger is a punk rock band that plays early to mid-1980s heavy metal. The Motorhead influence is strong. Additionally, there are health doses of Judas Priest and Running Wild, before the latter became a pirate band. One song even sounds like “Hell Bent for Leather.” Charger has found a sweet spot for their sound.
Messa, Close (2022).
Messa just gets better and better. Heavy, beautiful doom, mixed with global influences.
Christian Kjellvander, Wild Hxmans (2018).
This Swedish musician captured my attention many years ago. When I find his albums at a reasonable price, I eagerly buy them. Dark, tender, moody music that is comforting, especially in winter.
Charlie Parr, Last of the Better Days Ahead (2021).
Charlie Parr enriches the world with his music. I am more partial to his folk songs, but appreciate his blues songs. His voice touches the heart on each record.
Tracy Lawrence, Hindsight 2020 (2021).
Celebrating thirty years of putting out country albums, Tracy Lawrence released three records, collecting new songs and re-recordings of earlier tunes. I have grown to appreciate his music. One thing I like about these three records is that all of them are more consistent in production. They are more mellow, reflective, and capture an aging artist.
Ryan Culwell, Run Like a Bull (2022).
Pleasant country music. When listening to it, I try to ignore the religious stuff. When I accomplish this, several of the songs are much more enjoyable.
Sonja, Loud Arriver (2022).
Sonja play a cool mix of gothic and metal. It has a touch of ethereal vocals with catchy rock songs.
Kaitlin Butts, What Else Can She Do (2022).
Solid mellow country music. Good stories and singing.
Greg Sage, Sacrifice (for Love) (1991).
This gem from the leader of the Wipers is wonderful. It used to get plenty of play on college rock stations. The music is similar to other college-rock bands at the time that incorporated country and desert rock influences. The jangly guitar and touch of reverb are dreamy. Pretty mellow stuff by Greg.
Punch, They Don’t Have to Believe (2014).
I think I am in love with Brian Stern, as least all of his bands. I wish Punch was still around. They played an intense type of hardcore. Meghan’s vocals are excellent, adding an additional power to the songs.
Emerson, Lake, and Palmer, Trilogy (1972).
Consider 2022 the year that I finally get Emerson, Lake, and Palmer, I think. Anyhow, I spent a lot of time listening to their various records. I particularly enjoyed a long drive across Wyoming, blasting ELP CDs. They sounded larger than life, moving between the gentle acoustic song “From the Beginning” to the funky “The Sheriff” to the driving, frenetic “Hoedown.” I was completely taken with the various parts and layers within the songs. Plus, ELP can be super heavy at moments. Now, I need to tackle Brain Salad Surgery.
The Black Lillies, Stranger to Me (2018).
The Black Lillies continued to expand their Americana sound on this record. One thing that I found most exciting is that Sam Quinn from Everybodyfields is now in the band. The addition of another songwriter and vocalist added a nice touch.
Kassi Valazza, Dear Dead Days (2019).
Tender country-folk songs from this Portland musician. Great voice.
The Sadies, Colder Streams (2022).
The Sadies are brilliant. Throughout their career, they have mixed country, folk, rock, surf, psychedelia, and garage rock. They have distilled these influences into their distinct sound. They consistently release outstanding records. Wishing them the best as they move forward following the death of Dallas Good earlier this year.
Moon Tooth, Phototroph (2022).
Moon Tooth plays progressive metal with clean vocals. Every song has many catchy hooks.
Reckless Kelly, American Girls/American Jacket (2020).
I finally got around to listening to this two-disc release by Reckless Kelly. In the past, since their first record, I would immediately listen to each of their albums. Guess, I was just overwhelmed with other things. They have moved from an alternative country band to a more refined (not mainstream) country band. This is a very strong collection of songs, with each side having a distinct focus. Made me recall how wonderful they were when I saw them play at a honky tonk in Portland.
The Spinners, The Very Best of the Spinners (1993).
Almost my entire life, I can recall hearing the Spinners’s song “I’ll Be Around.” I love this perfect song, which is just over three minutes long. The vocals are uplifting. The music is beautiful. There are interesting changes and distinct layers within the tune. Every time I hear it, I am filled with happiness and hope. I need songs such as this as part of everyday survival. The rest of the songs on this collection are solid. Plus, the catchy “Rubberband Man” is included.
Bent Blue, Between Your and You’re (2020) and Where Do Ripples Go? (2022).
I am sucker for all the new bands inspired by DC-hardcore. Bent Blue have a more aggressive sound (with shouted vocals) than many of the other contemporary bands. Good shit.
Jade Dust, Jade Dust (2021) and Wild Geese (2022).
With each record, Jade Dust get better. Like many others, they are influenced by DC-hardcore bands from the 1980s. Fortunately each of these bands is distinct like so many of the Dischord bands were. Jade Dust records give me goosebumps.
Canal Irreal, Canal Irreal (2021).
Wayne clued me in on this band, otherwise, I would never have heard of them. I was excited just by the mention that Martin Sorrondeguy from Los Crudos was singing for this band. Canal Irreal is quite different from Los Crudos, but it still rocks. In some ways, they sound like a darker, menacing, and more aggressive version of The Wipers. The guitar sound is haunting at times. The bass and drums are relentless, driving everything forward. This is a real gem that seems to be hard to find at this point. If you can find it, snag it.
Eric Brace and Last Train Home, Everything Will Be (2022).
I loved the Last Train Home records, before Eric Brace started doing solo records. Have been very pleased that he has started to play with Last Train Home again. His smooth voice goes so well with the gentle sounds of the band. Comforting and pleasurable Americana music that feels like a hug.
Method of Doubt, Staring at Patterns (2021).
Fortunately, I was able to get one of the printings of this record. Good hardcore, with a very cool Rites of Spring feel.
Moonkisser, Summer’s Fleeting Majesty (2020).
Moonkisser are a melodic, post-hardcore band from Portland, Oregon. Great six songs on this record.
Remission, Enemy of Silence (2018).
Remission are from Chile. The opening track, “Drifting,” sounds like it could be on a Verbal Assault record. I am a sucker the guitar tone.
Her Head’s on Fire, College Rock and Clove Cigarettes (2022).
Her Head’s on Fire includes former members of The Bomb, Dead Ending, Garrison, The Casket Lottery, and other bands. They play straightforward, catchy punk mixed with alternative rock, with more driving guitars.
Lee Fields, Sentimental Fool (2022).
Lee Fields kicks ass. Record after record is filled with exceptional classic soul music. Just go buy his records and enjoy the marvelous singing and feeling of this music.
Willi Carlisle, Peculiar, Missouri (2022).
Five-Inch Taint introduced me to Willi Carlisle, by sending me a link to his performance of “Tulsa’s Last Magician” on Western AF (see below). Check it out, as it is exceptional, tears and all. Willi is an incredible lyricist. Sit with his words, as they demand attention and appreciation. Great mix of folk and country.
Celebration Summer, Against the Gun (2020).
This DC band would pair well with Hot Water Music. There are also touches of Fuel. Four great songs on this EP.
Kelsey Waldon, The Gold Mine (2014) and No Regular Dog (2022).
Kelsey Waldon consistently puts out great folk-country records. It makes sense that she is on Oh Boy Records. She fits well alongside John Prine, as far as how he fell between genres. Great voice. Well-crafted songs.
Archers of Loaf, Reason in Decline (2022).
Here is the return of Archers of Loaf. They have nailed it, putting forward an exceptional record. In fact, I think this is my favorite record by them. I really like how Eric Bachmann’s voice has developed through the years of his solo work and time in Crooked Fingers. Everything sounds great. Fingers crossed for more new music by them.
Le Orme, Uomo di Pezza (1972).
Really wish I knew about this band earlier. The early records by this Italian progressive rock band are incredible. The operatic vocals and driving bass are mesmerizing. I think Wes Anderson should incorporate the song, “Gioco di Bimba,” into one of his films. The quirkiness would fit well.
The Phoenix Foundation, These Days (2003).
Finish, melodic hardcore. Would be good to see them play with Hot Water Music.
Eloy, Ocean (1977) and Silent Cries and Might Echoes (1979).
German progressive rock band Eloy has been around since 1969. Their first record was released in 1971. I have been listening to their 1970s records. They incorporate both symphonic and space elements. These two records are masterpieces by the band. They sound great when played loud.
Nektar, Magic Is a Child (1977).
While I really love Nektar’s earlier records, such as A Tab in the Ocean and Remember the Future, this year I was quite taken by Magic Is a Child. Many of the songs have an interesting mix of prog with some mainstream flourishes here and there, as they incorporate some Beatles elements. At other times, the guitars are still heavy and bombastic, between the mellow moments.
Sweat, Sweat (2020).
This four-song seven-inch gets me bouncing around the room. Energetic punk rock. Check out “Jokes on Me.”
The Cult, Under the Midnight Sun (2022).
The new Cult record was a welcome surprise. It is dark, haunting, and moody, with many of the gothic elements that are on Dreamtime and Love. The record sounds great and the voice is located in a great spot within the mix.
Death Cab for Cutie, Asphalt Meadows (2022).
The discordant elements on several of the songs are captivating, as they mix with the lush, smooth singing in a powerful way. The added punch with the pulsating rhythm create a distinctive feel to this record.
Rocky Votolato, Wild Roots (2022).
Wild Roots is a concept record, filled with songs about Rocky’s life and family members. I really appreciate Rocky’s more mellow, introspective songs. His voice is intimate, gentle, and touching. This fall, Rocky played a house show in a neighboring town, where the depth of these songs was on full display with just his guitar and voice. Stand out songs include “Evergreen” and “Becoming Human.”
Jeannie C. Riley, Harper Valley PTA: The Plantation Recordings 1968-70 (2013).
In 1968, Jeannie Riley had a hit with the Tom T. Hall song “Harper Valley PTA,” which spoke about the hypocrisy of the self-righteous “moral” folks in town. This collection includes five of her impressive country records. Jeannie’s voice is strong and powerful. It is filled with swagger and defiance. There are several songs very similar to “Harper Valley” extending the story.
Vieux Farka Toure et Khruangbin, Ali (2022).
Fucking beautiful collaboration between Vieux Farka Toure and Khruangbin, where they cover Vieux’s father’s songs. The hypnotic guitar is enthralling.
Thomas Zwijsen, Nylon Maiden series.
Throughout much of the year, I have been listening to various CDs released by Thomas Zwijsen. In particular, he has a series of CDs where he performs arrangements of Iron Maiden songs on classical guitar. He captures the beauty and vocal melody in powerful ways. Blaze Bayley sings on the occasional song, adding a nice connection to the Maiden family.
Wrong War, Once Upon a Weapon (2022).
Love this newer band. They play hardcore punk rock in the vein of Articles of Faith and Dead Ending. Pissed off, powerful music to get your out of your seat.
Immolation, Acts of God (2022).
I am a newbie to Immolation. Have been enjoying this pummeling death metal. The drums are relentless, setting up the assault of all the other instruments and voice.
Berthold City, When Words Are Not Enough (2022).
Berthold City is a straight-edge hardcore band from Los Angeles. They sound more pissed off than many of the classic bands in the genre, but still contain some of the great aspects of such groups. Fortunately, they stay away from the metal hardcore sound.
Hammered Hulls, Careening (2022).
Outstanding album featuring Alec MacKaye who sang for Ignition. His singing and yell remain as strong as ever. His voice demands attention, which pairs well with the social commentary within the lyrics. The record is exciting, as it feels both classic and new at the same time. I am hoping the band has some longevity, as it seems these punk rockers are reinvigorated.
Songs:
Danbert Nobacon, Kira Wood Cramer, and The Axis of Dissent, “Climate Emergency (Parts 1 and 2),” from Mesmerica—Expect a Circus (2020).
Danbert, of Chumbawamba fame, continues to write sophisticated political critique and satire. The opening track on Mesmerica, which is a collaboration between Danbert and Kira, is mesmerizing as it addresses how global capitalism is driving humanity off the climate cliff. The climate emergency demands revolutionary action.
Fish, “Garden of Remembrance,” from Weltschmerz (2020).
In the 1980s, Fish was the vocalist on the first four Marillion records. Following this, he has put out many solo albums. In 2020, he released Weltschmerz, which is supposed to be his last record. I do not have this record yet, but I recently heard his song “Garden of Remembrance.” Almost every day, I listen to the song, and it fucks me up each time. It is absolutely moving, as the lyrics seem to be addressing how dementia is affecting a couple. The video is also quite stunning, as it was filmed right before the Covid lockdowns took place in the United Kingdom. Give it a listen.
Painted Willie, “Kill It,” from Ragged Army (1984).
Finally picked up the Painted Willie seven-inch that I was missing. For many weeks, each morning, I would just play the side with “Kill It.” The propelling, pounding guitar riff got my blood pumping. There is a desperation and danger in the song that is exciting.
Concert/Festival:
I enjoyed quite a bit of live music this year.
This included taking a trip with my wife and her sister to see Superchunk (twice), Bad Religion, Jawbreaker, Descendents, Face to Face, and Samiam, all within a week.
I also attended the wonderful Rapid City Punk Rock Family Reunion, where the following bands played: 11 Strap, Painful X-tremities, Black Dots, Logjam, Mothermayi, Someday Best, Straight from the Heart, American Heavy Metal Weekend, Social Joke, Libido Boyz, and War//Plague.
My other favorite concerts included seeing: Drug Church, Mudhoney, The Church, Gatecreeper,
Justin Hayward, Jason Boland, Margo Cilker, Hot Water Music, Modern Life Is War, ZZ Top, Zombies, Son Volt, The Psychedelic Furs, X, Verbal Assault (finally), Air Supply (yes that’s right), Roger Waters (fucking incredible), Iron Maiden, Built to Spill, Arlo McKinley, White Buffalo, A Flock of Seagulls, Chemical Fix, Destiny Bond, Oingo Boingo Former Members, Off!, Zulu, Soen, and Oceans of Slumber.
Films:
Dio: Dreamers Never Die (2022).
Ever since hearing that this film was being made, I was eager to see it. Great presentation of Dio’s early life, including his time in Elf, Rainbow, and Black Sabbath. For the Dio band, the main story covers the first three records, which is interesting. I wish more time was given to the rest of his life, which is several decades, as he made many incredible records during this time. Overall, it is a great film.
Nothing Compares to You: Sinead O’Connor (2022).
Like so many documentaries, the story mostly focuses on the first few records. Nevertheless, the arc here is quite fascinating, given all the challenges that Sinead confronted.
Crock of Gold: A Few Rounds with Shane MacGowan (2020).
Despite some annoying scenes with Johnny Depp, employing a fake accent, this exploration of Shane MacGowan’s life is quite extraordinary. There is plenty of excellent footage of The Pogues performing live, both rowdy songs and tender ballads. It does make me wish there was more Shane MacGowan music in the offing.
The Sparks Brothers (2021).
The Sparks have always been a mystery to me. I have plenty of friends who are diehard fans. I have given a couple records a listen here and there, but I have not been hooked by their music. Nevertheless, this documentary is excellent. Plus, it actually covers much more of their history, unlike the approach taken in other films noted here. The two brothers are truly markable, hardworking, and creative. I admire the hell out of them.
Beastie Boys Story (2020).
I watched this mostly due to my wife’s interest in the Beastie Boys. I really like the presentation of the film, as the two surviving members share reflections, between various clips. Their critical reflection regarding themselves and their lyrics was wonderful.
American Utopia (2020).
This live performance of David Byrne was outstanding. He presented songs from throughout his catalog and included a great cover. Between many songs, he reflected upon the importance and meaning of various songs, offering a critique of police violence, anti-immigration, and fascism.
I Called Him Morgan (2016).
A tender and tragic story regarding jazz great Lee Morgan and his partner Helen Morgan.
Creem: America’s Only Rock ‘n’ Roll Magazine (2019).
I love that a documentary was made about a rock magazine. Interesting story of how the magazine was established, run, and developed. The most fascinating parts focus on the various writers for the magazine, their conflicts, and their obsessions.
Mr. A and Mr. M: The Story of A&M Records (2021).
Insightful story regarding this record label and how they positioned themselves.
Bitchin’: The Sound and Fury of Rick James (2021).
Very good film, which highlights Rick James’s creativity. Plenty of funky shit here.
There Will Be Quiet: The Story of Judge (2015).
Short film covering the initial history of Judge and the various bullshit that surrounded and distressed the band.
Poly Styrene: I Am a Cliché (2021).
A major thread within this film is Poly Styrene’s daughter exploring her relationship with her mother and going through various archives. While I understand how this is part of the emotional hook and connection, I did not find this aspect to be very interesting or useful. The rest of the film is much more engaging, plus there is some great footage of X-Ray Spex.
Triumph: Rock & Roll Machine (2021).
This Banger Film was a longtime in production. It was finally released on DVD the end of November. I very much enjoyed the stories of the various members of Triumph. I never saw them play but heard of lot of their music when I was young. In the film, there is plenty of footage, capturing the cheesy aspects of rock music, with all the over-the-top exaggerated performances. But at the core of the film remains the music and lives of the members. Wish there was more exploration of the latter stages of the band. Seems like documentarians like to skip huge parts of artists’ lives.
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