Ian’s Favorite Music in 2023

By Ian

5: Spirit Possession, Of The Sign... (2023).

I am a fan of anything Ephemeral Domignostika (AKA Steve Peacock) does. The guy is a wizard on pretty much every instrument, but on this project he does vocal and guitar duties. The drummer’s no slouch either. I was lucky enough to catch them live in November. The way Ash Spungin beats the drums, shifting and changing the pattern ever so slightly each measure perfectly complements Peacock’s rabid, pick-less playing while he speaks in what I can only assume is tongues. 

4: Pile, All Fiction (2023).

At the beginning of this year, I lived in Rose Park at a little duplex caught between train tracks and two highway overpasses. Much of that time was spent walking in the less-than-half mile circle between these points listening to this album. Pile continually captures an emotional state that’s hard to describe. Where earlier albums like You’re Better Than This and A Hairshirt of Purpose captured a near serene form of explosive-to-withered adult angst, All Fiction sits neatly and provides a perfect sequel to the previous release Green and Gray. To me, it sounds like a benign acceptance of one’s own becoming. Coming to terms with where you’ve been and where you’ll go. 

3: Infernal Coil, Burning Prayer of Infinite Hatred (2016).

This year is the year I really, really, got into blackened death metal. Of Feather and Bone, Teitanblood, Altarage, and Knelt Rote among others have been some musical highlights for me this year. It’s everything I really want out of extreme metal. I remember listening to this when it came out, being floored with just how utterly nasty it was. I’ve been revisiting this band a lot this year, but where their 2018 full length Within a World Forgotten lost me, this EP more than makes up for it by sheer vitriol alone. The full length was mixed in such a way that the reverb works to the album’s detriment rather than complement it, unlike this one, which has a production that near perfectly matches the music. The track “Our Punishment” is a favorite of mine. Truly, my only gripe is that this EP wasn’t the full length. 

2: Bríi, Último Ancestral Comum.

Black metal, ambient, house, and traditional Brazilian music all crammed together into such an unbelievably solid and beautiful release it still blows my mind. This is the same guy behind Kaatayra, music that is of a similar style but leans heavier into the Brazilian folk side of things. I severely recommend both projects to any who will take me up on such things. It’s a swirling mass of sound that is so mind numbingly beautiful that trve kvlt dorks will seethe forever in their mother’s basements for decades to come. 

1: Headache, The Head Hurts but the Heart Knows the Truth. 

“People need to stop trying to be cool and they need to start trying to be hot.” 

Sometimes all you really need is an album that’s just chill, breezy beats with a nameless British male reciting various isms over them for some fortyish minutes. Sometimes profound, sometimes gloriously banal, this album seemingly has a little something to say for everything. Did I say the beats were good too? 

Jimmy “Explosive Diarrhea” B’s Favorite Music in 2023

By Jimmy “Explosive Diarrhea” B

2023 was a great year for music. It seemed like everything I purchased was above average, and I could have chosen thirty albums for this list. In fact, my initial list was more than thirty. I whittled it down to what you see below.

Jamie Branch. 

In 2023, I purchased two albums featuring Jamie Branch. Unbeknownst to me, Branch died in 2022 at the young age of 39. She was a huge talent, and it is this rather than her death that prompted me to place two of her projects on this list. Branch was one of the only trumpet players that I can listen to without covering my ears. The shrillness of the trumpet is something I have little tolerance for, but Branch’s music is so interesting that I am able to forget that someone is blowing a trumpet; I get lost in the groove.

Jamie Branch, Fly or Die (World War) (International Anthem, 2032).

Pink Dolphins, Anteloper (International Anthem, 2022).

Grupo Um. 

I was on one of the obscure online record seller websites, and I saw an interesting story about Grupo Um’s first album, Starting Point. The album was released in 2023 on Far Out Recordings, but it was recorded much earlier. The album was recorded in 1975 when Brazil’s government was in the hands of a military dictatorship. The story printed on the Far Out Recordings website (https://www.faroutrecordings.com/products/grupo-um-starting-point) hints that the band could not find a record label willing to release an avant garde jazz record during a time of social conservatism. This story is interesting, but the band is fucking great; the story just adds a little flavor.

Irreversible Entanglements, Protect the Light (International Anthem, 2032). 

I have been aware of IE for a few years, and have enjoyed all of their releases, but Protect the Light is my favorite. IE plays jazz, but they definitely have a non-traditional style. They include some latin/Brazillian rhythms; perhaps even a hint of hip hop; and their lyrics are political. 

Jethro Tull, The Zealot Gene (Inside Out Music, 2022). 

I won’t say very much about this album by a band who has made some of the greatest, and perhaps some of the worst, records in rock history. But, I will yell, Tull is back!

Mike Oldfield, Tubular Bells (‎EMI Import, 2023). 

I don’t live under a rock, so of course I had heard of this album, but I assumed it was some cheeseball thing that Grateful Dead fans listened to. I saw it on sale, so I grabbed a copy. I am really glad I did. The album can be rambling, and some of the spoken word parts are a little irritating, but I found myself fascinated by this musical journey. 

Old Spirt. 

Old Spirit is a solo project by Jason Hartman, a member of the Vanishing Kids and guitar player for Jex Thoth. Jason released two heavy metal albums under this name, both of which I purchased this year. These records are fascinating. Hartman does not hide his influences. I hear Celtic Frost, Mercyful Fate, and David Bowie. I love the variety on these albums. Additionally, I knew Jason could play guitar and bass, and I assumed he could probably drum a bit, but I had no idea he could sing so well. I really dig the variety on these records. I hope there is more to come.

Old Spirit, Burning in Heaven (Bright as Night Records, 2023).

Old Spirit, Old Spirit (Bright as Night Records, 2022).

Ozric Tentacles, Lotus Unfolding (KSCOPE, 2023). 

I had assumed it was over for OT when the members started releasing solo material. Fortunately, I was incorrect.

OXN, CRYM (Universal Import, 2023). 

Well, fuck me, I have no idea where to start with this one. This album leaves me speechless. It is Celtic music for sure, but it is also very, very dark. A lot of Celtic music, the Chieftains for example, has dreariness to it. The Chieftains music is dark, but you get a sense of some kind of happiness that has either just passed or perhaps it is on the way. OXN is different; OXN’s CRYM is absolutely soul crushing.

Raven, All Hell’s Breaking Loose‎ (Silver Lining Music, 2023). 

I have been a Raven fan since I was 14 or 15 years old, well, there was that time they released a hair metal album, but other than that I have been a fan. For those that do not know Raven’s history, they were one of the first NWOBHM bands. They were even on Neat records at one time—if you know what that is, you are a dinosaur. Anyhow, they called their version of metal “athletic rock,” which is kind of silly, but it makes sense. These guys are all over the place, both in terms of their stage presence and their music. There are a lot of fast changes in their music. Raven are talented dudes. I got to see the Gallagher brothers play at a festival in California a few years ago. My hope is that I will get to see them again some time. All Hell’s Breaking Loose is a great record.

S.G. Goodman, Teeth Marks (Verve Forecast, 2022). 

I won’t say very much about this album since I plan to review it at some point. I will say two things now. First, S.G. Goodman is a fantastic songwriter. Second, she has joined a very small club of bands and musicians who have made me weep.

Seven Impale. 

I am quite fond of progressive rock and metal. I can be quite snobby about both. I am particularly fond of European prog bands. For some reason, a lot of great modern progressive rock comes from Norway, and any metal fan knows that Norway is ground zero for metal. From my setup, you probably assumed Seven Impale are Norwegian; they are indeed Norse. 

Progressive metal has been around for a long time. We know the bands: Fates Warning, Savatage, Dream Theater, etc. Seven Impale sounds nothing like those bands. They have more in common with Eloy or Van Der Graaf Generator than they do those prog metal bands. Add equal parts late 1970s prog rock and metal and you are getting close to what Seven Impale sound like.

Seven Impale, Summit (Karisma Records, 2023).

Seven Impale, Contrapasso (Karisma Records, 2016).

Seven Impale, City of the Sun (Karisma Records, 2014).

PAKT, PAKT (Moonjune Records, 2021). 

Do you hate the Transiberian Orchestra as much as I do? Of course you do, you are a person with good taste. If I had realized before I bought this album that one of the members, Alex Skolnick, of Testament fame, was involved with that Christ-myth related abortion, I would have skipped it, but I would have deprived myself of a jazz treat. This is a great record of avant garde jazz, and I highly recommend it.

Octafish, |:Start30Stop:| (Starpatrol, 2023). 

This band is weird, and I have no idea how to describe them. Here are some key words: jazzy, discordant, metal, prog, groovy. 

Honorable Mentions:

Illegal Crowns, Unclosing (Out of Your Head Records, 2023).

Unleased, Dawn of the Nine (Nuclear Blast, 2015).

London Brew, London Brew (Concord Jazz, 2023).

Visitor 2035, Visitor 2035 (MIG, 2023).

Null’s Musical Obsessions 2023

By Null

My consumption of music has slowed down quite a bit. I have spent a lot of time listening to albums I already own and love, which I do not get to listen to enough. There are many. I primarily buy my music on CD, but this year I did buy quite a few new vinyl records. They are very expensive. It is ridiculous. I am no music snob or audiophile elitist. I bought a lot of cassettes too, and, yes, they still sound like crap. I still love them. Having said that, I do have a portion of this list that pertains to vinyl only. I heard some vinyl that made my jaw drop this year.

The world is a dark and mysterious place. I could not make it without music.

Wyse Blood, And in the Darkness, Hearts Aglow (SubPop, 2022).

I came upon this album by chance, but immediately recognized that there was something unusual and unique about it. It has the warmth of songs I would hear on 1970s AM radio as a child, but it was clearly a modern record. The strange poetry in the lyrics seemed whimsical, but culminated into a barebones reality check for the times in which we live. This record is more than what it seems. “They say that the worst is done / But I think the worst has yet to come.”

Obituary, Dying of Everything (Relapse, 2023).

I bought this album on a whim. I knew nothing about Obituary and had never heard any of their previous albums. Apparently, they have been at this for almost three decades. It is like the perfect pop album in the sense that every single riff is killer—every single riff. The singer utilizes a bunch of different voices, which reminds me of HR from Bad Brains. From what I can gather, the lyrics are vague enough to be open to interpretation, even the more social, or political, lyrics. This album is so great that I was afraid to listen to any of their previous stuff, because they might not be as good. I will tell you one goddamn thing; I will be getting the next one. I fucking love Dying of Everything.

Scuba Drivers, Scuba Drivers (1986-1989) (Nineteen Something, 2016).

I first heard a song by this French punk rock band on a Nineteen Something Records compilation. Eventually, I bought the album that contains everything they recorded, including compilation tracks, EPs, live tracks, etc. The songs are so catchy one hardly notices the DIY recordings; the sound is perfection. 

LANE (Love and Noise Experiment), Where Things Were—Last Sessions 11/21 (Twenty Something, 2023).

LANE rose from the ashes of one of my favorite punk rock bands, Les Thugs. Like Les Thugs, they wrote songs about love, loss, life, and the prospect of a better world. I need this band. In their short six-year run, they released three incredible albums and one EP. Where Things Were is their third and final album, as they broke up this year. This last one feels the most emotional. It could be because I know it is their swan song. It is hard to believe that this was the remnants of a forthcoming album. They sound like a band at their peak.

Samiam, Stowaway (Pure Noise, 2023).

Stowaway is my favorite Samiam album. I listened to it a lot this year. See my review from earlier this year: http://tickleyourtaint.blogspot.com/2023/11/samiam-stowaway-pure-noise-2023.html

Billy Bragg, The Roaring Forty / 1983-2023 Box Set (Cooking Vinyl, 2023).

Billy Bragg released a new box set this year to commemorate his 40-year career in music. Though I have the vast majority of the songs included, it has been great moving though this 14 CD box set. I am reminded of how many amazing and moving songs this man has written. I love the romance, honesty, intelligence, humor, and sharp political commentary of his lyrics and their melodic and, very British, deliver. I also love his unapologetic socialist anthems. I love this man. A lot of love. Love, love, love.

The Highwomen, The Highwomen (Elektra, 2019).

I absolutely fell in love with this album. Everything about it is great. Everything.

Amanda Shires, Take It Like a Man (ATO, 2022).

I cannot remember if I came to this album or The Highwomen first, but I listened to this album quite a bit when I first bought it. Note: Amanda Shires is in The Highwomen. Take It Like a Man starts out very sexually charged, but it quickly turns into a heartbreaking and emotional rollercoaster. I am susceptible to these things. The song “Everything Has It’s Time” closes the record. It sounds like a perfect duet for Neil Diamond and Barbra Streisand to follow up “You Don’t Bring Me Flowers.”

Memoriam, Rise to Power (Reaper, 2023).

I have been a big fan of Memoriam for several years now. I fell in love with the guys first and the music second. They are old peace punks in a slow death metal band. I feel the sorrow of humanity in their strange tunes. I bought the deluxe box set for this album. It contained a cassette, purple vinyl, poster, comic book, digi-pack CD, and probably other stuff. Nerd stuff. 

Roger Waters, The Lockdown Sessions (Legacy, 2022). 

SoDak turned me on to this record. We sat together listening to it for the first time. My tear ducts opened several times, as I was so moved by these intimate recordings. Hearing “Two Suns in the Sunset,” originally from The Final Cut, just blew my mind. It has always been one of my favorite songs. This version is unbelievable. 

Louis Michot, Reve du Troubadour (Nouveau Electric, 2023).

Louis is the leader of The Lost Bayou Ramblers. I can only describe the band as a DIY, Cajun, punk rock, psychedelic folk rock band. There is a great documentary about them called On Va Continuer! The Lost Bayou Ramblers. My dear friend, Corey, loves them. He turned me on to Louis Michot’s solo album. It is all over the map in the most wonderful and mellow way. This album is a piece of diverse magic that chills me out. They lyrics are translated in the album sleeve. It is all good stuff. Get it here: https://louismichot.bandcamp.com/album/r-ve-du-troubadour. 

Jerry Cantrell, Degradation Trip: Volumes 1 & 2 (Roadrunner, 2023).

Jerry Cantrell is a really unique, weird, and unusual songwriter. It is still shocking to me that his band, Alice in Chains, ever became popular, as they became more uncompromising with every release. Clearly, they make music for themselves. If you like it, great. If you do not, that is great too. The same is true for Jerry’s solo albums. Degradation Trip was Jerry’s second solo album originally released in 2002. Volume 2 was difficult to get your hands on. Finally, this year both volumes were released together. It is a long movie in a very different world that somehow makes perfect sense to me. Somebody needs to sing about the darkness so we can head toward the light.

Superchunk, Misfits & Mistakes: Singles, B-Sides, and Strays (2007 – 2023) (Merge, 2023).

I always love it when Superchunk throw together a compilation of collected tracks. It makes for a great listen of diverse styles that really speak to their strength as a band. There are so many songs on this compilation that I discover something new every time I listen to it.

Alice in Chains, The Devil Put Dinosaurs Here (Capitol, 2013).

I have been listening to this album non-stop since 2013. I cannot quit. They layers are still unfolding.

Portobello Bones, Horma EP (Crash Disques, 1998).

This EP is great. It is by a French punk rock band somewhere between Fugazi and The United Sons of Toil. The lyrics on this EP come from testimonials from Amnesty International. I know little else about this band, but I want to find more of their stuff. I have a feeling it will not be easy.

Vanilla Blue, Sweetheart LP (Nineteen Something, 2023).

A bunch of old, melodic punk rockers come together to strut their stuff. It won’t blow your mind, but it is solid and full of instantly likable midtempo tunes. Quite a few tunes build up to an emotional peak. This is their second album. The first one is great too.

Ratt, The Atlantic Years (BMG, 2023).

This box set compiles the first 5 Ratt CDs, which were released between 1984 through 1990. Out of the Cellar was the first “metal” record I ever bought. Yes, they were part of the “hair metal” scene. And yes, their videos were stupid. However, the weird thing about Ratt is that their albums are really catchy. They wrote pop songs under the guise of metal. None of these albums will change your life, but they are good for a road trip or cleaning the house. I mean that in the best way. It is just fun.

The following albums pertain specifically to vinyl releases.

Grateful Dead, Without a Net (Live 1989-1990). 

I have heard this album off and on for two decades. It has personal meaning to me that would not mean much to anyone except those that were there by my side. When I put this expensive, fat piece of wax on the turntable I was blow away by the sound.

Billie Holiday, Songs for Distingué Lovers (1958 – Verve vinyl remaster 2023).

Verve put out this fat remaster. The band is incredible. The sound is mind-blowing.

John Coltrane Quartet, Ballads (1963 – Verve vinyl remaster 2023).

This album is up there with Miles Davis’s Kind of Blue. Even people who hate jazz like Kind of Blue. Dare I say this is a better album? I have listened to this quite a bit, but not nearly enough.

Miles Davis Quintet, The classic Prestige records on vinyl: Cookin’ (1957), Relaxin’ (1958), Workin’ (1960), and Steamin’ (1961).

Despite the different release dates, all these albums were recorded in 1956 with the same band. I have wanted to listen to these on a record player my whole life. I met my goal this year. Is there anything better than “My Funny Valentine” from Cookin’, or “It Never Entered My Mind,” from Workin’?

Smashing Pumpkins, Siamese Dream (1993).

I was a fan of this record back when it came out in 1993. It is the soundtrack of me falling deeply in love in a godless universe. I always thought the guitar sound was fucking incredible, not to mention the drumming. Billy Corgan’s voice always bugged me a bit, but I loved the lyrics and fell for the romance and beauty in the words. I bought the new remaster on 180-gram vinyl and it melted the house. Melted the fucking house. My girlfriend (the one I was falling in love with) and I were yelling things like, “Holy shit!”  to each other from different rooms in our house as the songs maneuvered through waves of sonic, heartbreaking, psychedelic, catharsis. We had it cranked. 

Concerts:

Willi Carlisle—I ran into Five-Inch Taint from this blog, and we took a picture with Willi.

Jawbreaker—I still have not fallen in love with their albums, but after seeing them live I get it.

Samiam—I talked to several members of the band before the show and gushed over their new album.

X—They really set the house of fire, as if they know their days are numbered.

Jade Jackson—I finally saw this great singer-songwriter live. It was in a bar and all she had was an acoustic guitar. SoDak and I loved every minute of it. I do not feel she gets the credit or support she needs. She should be touring with a full band and blowing the roof off of joints all over the world. Her albums are great. 

The Cure—I saw this concert with SoDak in Salt Lake City. I genuinely lost my shit and cried twice during the show. I first saw The Cure during the Disintegration Tour in 1990 as I was preparing to graduate from high school. Their impact was even more moving 33 years later. There were direct references to the state of the world and climate change in the first, unreleased, new song they played. Robert Smith looks ridiculous, but he is not the fool in the room. He never has been.

Books:

Most “rock” books bore me, even if I love the artist. None of it is on par with Dostoyevsky or Marxist Sociology, but I’ve been loving Greg Graffin’s Punk Paradox book. He is the singer and cowriter of Bad Religion songs. It is autobiographical, well written, and parallels my life in many ways. I can relate to it on many levels. Check it out.

Dave’s Favorite Music in 2023

By Dave

Elvis Costello, “Radio Radio,” single (1978).

Husker Du, Warehouse: Songs and Stories (1987).

Glass Jaw, Bivouac (1992).

Hum, Downward Is Heaven (1998).

Paw, Dragline (1993).

Paramore, After Laughter (2017).

The Replacements, Pleased to Meet Me (1987).

Black Sabbath, Heaven and Hell (1980).

Obituary, Cause of Death (1990).

Kill All Redneck Pricks, band documentary (2011).

Five-Inch Taint’s Favorite Records of 2023

By Five-Inch Taint (also known as Jonnie Dames Rio)

Here are my favorite 50 albums from the year:

Sunrot, The Unfailing Rope.

Drain, Living Proof.

Sermon, Of Golden Verse.

Night Demon, Outsider.

Wednesday, Rat Saw God.

Drayton Farley, Twenty on High.

Witch Ripper, The Flight After the Fall.

Boygenius, The Record.

Buggin, Concrete Cowboys.

Year of the Knife, No Love Lost.

Jesus Piece, …So Unknown.

Dreamwell, In My Saddest Dreams, I am Beside You.

Fiddlehead, Death is Nothing to Us.

Zulu, A New Tomorrow.

Militarie Gun, Life Under the Gun.

Hellripper, Warlocks Grim & Withered Hags.

Gel, Only Constant.

Blood Ceremony, The Old Ways Remain.

Frozen Soul, Glacial Domination.

Baroness, Stone.

Tomb Mold, The Enduring Spirit.

Dream Unending, Song of Salvation.

Dream Unending & Worm, Starpath.

Scowl, Psychic Dance Routine.

Ulthar, Anthronomicon/Helionomicon.

Poison Ruïn, Härvest.

Mitski, The Land Is Inhospitable and So Are We.

Judiciary, Flesh + Blood.

Zach Bryan, Zach Bryan.

Jason Isbell and the 400 Unit, Weathervanes.

Dean Johnson, Nothing for Me, Please.

William Prince, Stand in the Joy.

Myrkur, Spine.

Sunny War, Anarchist Gospel.

Tyler Childers, ‘Rustin’ In the Rain.

Margo Price, Strays.

Dying Wish, Symptoms of Survival.

Restless Spirit, Afterimage.

Horrendous, Ontological Mysterium.

Cannibal Corpse, Chaos Horrific.

Radiant Knife, Pressure.

Domkraft, Sonic Moons.

The Keening, Little Bird.

The Otolith, Folium Limina.

Fuming Mouth, Last Day of Sun.

End, The Sin of Human Frailty.

Cattle Decapitation, Terrasite.

Samiam, Stowaway.

Wayfarer, American Gothic.

Mutoid Man, Mutants.

SoDak’s 2023 Music Obsessions

By SoDak

It was a rough year on many fronts. Fortunately, there is always more music to explore. As with my entire life, my tastes are all over the map. Below is a list, in no order, of the music that I really enjoyed this year. 

Records:

Drayton Farley, A Hard Up Life (2021) and Twenty on High (2023).

Drayton Farley put on an incredible show this year. The band was tight. His voice sounded incredible. Every song was excellent. The comparisons to Jason Isbell are obvious, which is fine by me. Give Drayton a serious listen. He writes killer songs. Check out “Pitchin’ Fits,” “American Dream,” “Norfork Blues,” and “Stop the Clock.”

Hermanos Gutierrez, El Bueno y El Malo (2022).

This instrumental record is beautiful and moving. It transports you to the desert and makes you want to wonder off through the sands and across the rocks of the borderland. The songs are sparse, yet creatively full and captivating. You should just go buy this record. 

Gaslight Anthem, History Books (2023).

This record marks the return of Gaslight Anthem. It is a work of perfection. The sequencing of songs works well, moving back and forth between more rocking and mellow ones. The songs are very reflective as one would expect from this band. Bruce Springsteen makes an appearance on one song. I really love “Spider Bites,” “History Books,” “Positive Charge,” and “Michigan, 1975.” 

William Prince, Earthly Days (2018), Reliever (2020), and Stand in the Joy (2023).

Five-Inch Taint told me about William Prince. This Manitoban singer-songwriter has a strong voice that is comforting. The songs are slow and contemplative. I love driving down an old country road listening to his songs. Check out “Only Thing We Need.”

Riverside, Id.Entity (2023).

This Polish prog-rock band continues to develop and refine their sound. Their most recent record is quite catchy. There are plenty of Rush elements on some of the songs. One of my favorite songs is “Self Aware.”

Samiam, Stowaway (2023).

This year there was finally a new Samiam record, and it is awesome. Fast, melodic punk rock. Great hooks. Love it. 

Horrendous, Ontological Mysterium (2023).

Last year, I listed Idol from 2018 by Horrendous on my list of obsessions. This year, Horrendous top their previous efforts with Ontological Mysterium. This death metal band is quite unique, given the progressive elements within their songs. I love the bass runs that jump to the front here and there. The production is exceptional, very clean, allowing listeners to hear all the distinctive parts. 

Poison Ruin, Härvest (2023).

Hooray for Poison Ruin. This is a great punk/postpunk record, with touches of metal here and there. It is reminiscent, at times, of the Wipers. The low-fi production gives the record a classic feel. 

Ahab, The Coral Tombs (2023).

Jimmy “Explosive Diarrhea” B encouraged me to pick up the new Ahab record. I am glad that he did, as this German doom metal band is fascinating. They have a classic low, guttural growl, but mixed with clean, melodic elements. The latter remind me of the awesome vocals in 40 Watt Sun, just with completely different music.

Roger Waters, The Lockdown Sessions (2023)

Null and I returned from the record store, and I put Roger Waters’s EP on the stereo. We were both stunned by the brilliance of Roger’s presentation of a handful of songs from across several Pink Floyd records. The record is very cohesive, tender, and powerful. His vocals and the backup singers sound great. The songs are chilling and feel very immediate. This record is very different than his re-imagined Dark Side of the Moon. The Lockdown Sessions is a must have record. 

Thee Sacred Souls, Thee Sacred Souls (2022).

Beautiful, uplifting soul music from California. Give “Easier Said Than Done” and let yourself swoon. 

Jason Isbell, Weathervanes (2023)

Jason Isbell continues his streak of excellence. He is a master of the craft, writing extraordinary songs. 

Hunger Artist, Samsara (2023).

Samsara was recorded in 1989, but never released, until now. It was recorded at Inner Ear Studios. The DC-influence can be heard. I will write up a review of this punk rock record. Excellent release. 

Superchunk, Misfits and Mistakes (2023).

From time to time, Superchunk puts out compilations that collect their singles, B-sides, and other goodies. Fifty songs appear on this collection—just great punk fucking rock music. Love the chunk. 

Cannibal Corpse, Chaos Horrific (2023).

Cannibal Corpse is a force to be reckoned with, as after all these years they continue to write incredible songs. The new record starts off with a ripping bass line. The guitar riffs are mind-blowing. They still set the standard for death metal.  

Brennen Leigh, Ain’t Through Honky Tonkin’ Yet (2023).

This is Brennen Leigh’s best record yet. Solid country, honky-tonk songs. Check out “Running Out of Hope, Arkansas.” 

Peter Gabriel, I/O (2023).

This release was very recent. It has been a long time since Peter Gabriel has released a record of new songs. There are two mixes of this record, one that is the “bright-side mix” and the other the “dark-side mix.” The record contains everything that is classic about Peter Gabriel. His voice sounds great. The percussion is wonderful. Very strong release. 

Mondo Drag, Through the Hourglass (2023).

Finally. I have been waiting for a new Mondo Drag record since 2016, which is around the time that I last saw them perform. Great mix of guitars and keyboards on this this prog-psychedelic record.

Fiddlehead, Death Is Nothing to Us (2023).

Finally got around to checking out Fiddlehead. I was a little resistant, silly as it sounds, because there was another punk/hardcore band with the same name in the early 1990s. Anyhow, the new Fiddlehead, as far as the band and record, is great. It is filled with compulsive energy. Really great punk/hardcore.  

Militarie Gun, Life Under the Gun (2023).

Another, catchy punk rock/hardcore record. Short songs that make me want to jump around on these old bones. 

Etran De L’air, Agadez (2022).

This band from Niger puts on a hypnotic show that captures the vibe of the record. The full drum kit, along with the cool beats, adds a distinct sound to the songs.

Kassi Valazza, Knows Nothing (2023).

Enjoyed listening to this record on a road trip to the Mt. Rainer. This singer-songwriter sounds similar to Kate Wolf—slow, moody folk songs. 

Crown Lands, Fearless (2023).

This Ontario, two-piece band draws very heavily on Rush. The influence, perhaps imitation, is clear in the vocal style and music. Yet, while listening to the record, I get more and more excited about what is being created. Listen to the whole record to take it all in. 

LANE, Teaching Not to Pray (2018), A Shiny Day (2019), and Where Things Were (2023).

Null is obsessed with LANE, and rightfully so. The connection to Les Thugs helps cement this for Null. Anyhow, he has been praising them for years. I was heartbroken that they are breaking up. Where Things Were collects their final recordings. This fall, Null and I spent an afternoon assembling an exercise bike for his mother, as we also contemplated our own mortality. The soundtrack for that day was LANE’s final record. The three guitars, and how they play off each other, is exceptionally moving, especially when combined with the vocals, which sound full of mourning, loss, and hope. I list three of their releases that I have been spending a lot of time with, but it is worth ordering all their records. Get them from Nineteen Something. They ship orders quickly from France and the shipping is very reasonable. We all need more of LANE (Love and Noise Experiment). 

Baroness, Stone (2023).

The new Baroness record sounds great. There is a nice variation between the songs, which makes the progression of the record quite interesting. 

Year of the Knife, No Love Lost (2023).

Fuck me, the new Year of the Knife is punishing. The songs are intense and punch you in the face. Madi’s vocals are great. Very good metallic hardcore. Wishing all the members a full recovery after their accident earlier this year. 

Zach Bryan, American Heartbreak (2022) and Zach Bryan (2023).

Yes, there has been a ton of attention focused on Zach Bryan. He is immensely popular. At the same time, he is really fucking good. He maintains an edgy feel, even with very clean production. If you have avoided listening to him given the mainstream attention, he is worth checking out. 

Black Dots, EP2/EP3 (2023).

This Colorado punk rock band continues to write great songs. I believe that Null is going to write a review of this record. Buy this record. 

Yes, Mirror to the Sky (2023).

Many of the classic Yes members have died, including the legendary bass player Chris Squire. Yet, Yes carries on. I really like the new record, and the previous one, as they seem more inspired and creative than the band has been in quite some time. Steve Howe is playing really well. Might as well enjoy them while we still can. 

Eloy, Echoes from the Past (2023).

Eloy is another progressive rock band still operating. Their most recent record is a strong offering.

Dead Silence, Diving Back In (2023).

Dead Silence were formative for me. This seven-inch box set represses all the Dead Silence records after they reformed in the 1990s, as well as a couple songs that had not previously been released. The packaging and booklet are impressive. This is a gem for fans of political punk rock. 

Celebration Day, Patience in Presence (2022).

This contemporary DC hardcore band sounds like those who preceded them in the 1980s. Love it. 

Theon Cross, Fyah (2019).

Jimmy “Explosive Diarrhea” B sent me this excellent CD by Theon Cross. Top-notch jazz led by a tuba player. Fucking great stuff. Thanks Jimmy. 

Airbag, All Rights Removed (2011) and Disconnected (2016).

These Norwegian progressive rockers put out consistent, catchy records that are very accessible. There are strong Pink Floyd influences as far as the dreamy guitar playing. Beautiful music. 

Knife, Heaven into Dust (2023).

Rippin’ speed metal out of Germany. It rocks and stabs you in all the right ways. 

Buggin’ Concrete Cowboys (2023).

High energy hardcore. Makes me wish I was much younger, so I could stagedive with PaulySure. 

Avkrvst, The Approbation (2023).

Avkrvst are a new Norwegian band making atmospheric, heavy, melodic, dreamy music. When there are vocals, they are mostly clean, but an occasional growl happens. Very dynamic and contemplative. 

Kvelertak, Endling (2023).

Kvelertak still kicks ass. Massive, heavy, catchy riffs. There are some different songs and vibes on the record. 

Will Johnson, No Ordinary Crown (2023).

Will Jonson of Centro-Matic fame is a remarkably consistent musician, writing exceptional Americana songs that are dark, moody, and moving. I welcome each record by him. His well is very deep. 

Tanya Tucker, Sweet Western Sound (2023).

I have been really pleased with the resurgence of the country singer Tanya Tucker. Her worn voice sounds great. I hope there are many more records from her. 

Channel 3, After the Lights Go Out (1983).

After seeing Channel 3 play this past summer, I have been enjoying going back to their records. Great frenetic punk rock. 

Uriah Heep, Chaos and Colour (2023).

Uriah Heep has had some ups and downs through the decades. Their twenty-fifth studio record is a solid hard rock record. I am hoping that I can see them play the next time they are in the United States. 

White Lung, Premonition (2022).

Great catchy punk rock from Canada. Nice to finally have another record from them. 

Crossed Keys, Saviors (2019).

Very good melodic hardcore from Philly. 

Tinariwen, Amatssou (2023).

Tinariwen remain a consistent band, gradually expanding their sound. They continue to be awesome. Just listen to it. You will start dancing. 

Marillion, Misplaced Childhood (1985) and Clutching at Straws (1987).

This is the year that I became a fan of the neo-prog band Marillion. They generally have good lyrics. Musically, there is an early Genesis influence, but Marillion has a bigger and heavier sound. It is worth giving these records a serious listen.  

Wobbler, Hinterland (2005) and Dwellers of the Deep (2020).

Wobbler is one of the bigger Norwegian bands playing retro-progressive rock. This year, I really feel in love with their records. 

Truth Cult, Off Fire (2020) and Walk the Wheel (2023).

Truth Cult is an exciting hardcore band from Baltimore. I regret that I missed them on their recent tour. 

Mankind?, Discography (2021).

I have a soft spot for anarcho-political punk rock from the early 1990s. Mankind? Included both male and female vocals. The former were mostly yelling. The latter were a bit screeching. The music is simple and straightforward. I am sure this an acquired taste, but it does satisfy me. Plus, it is good to have a kick in the ass from time to time. 

Sundown, Keep Moving (2004).

More catchy, melodic hardcore, with cool guitar hooks. 

Diaz Brothers, Diaz Brothers (2020).

Great punk rock out of the United Kingdom with a Leatherface influence, especially how Dickie Hammond played guitar. 

Lee Fields, Sentimental Fool (2022).

I need to see Lee Fields perform. Amazing soul singer, making one great record after another. 

Mama’s Broke, Narrow Line (2022).

Excellent folk duo, playing banjo, guitar, fiddle, and mandolin. 

Ruby the Hatchet, Fear Is a Cruel Master (2022).

The new Ruby the Hatchet really grew on me as the year progressed. Plus, I loved their concert this year. Very catchy metal songs, such as “The Change.”

David Huckfelt, Room Enough, Time Enough (2021).

David Huckfelt played in The Pines. His solo record carries forward in a similar vein of Americana, incorporating more explicit political lyrics, celebrating Native lives. 

Rodney Crowell, The Chicago Sessions (2023).

Rodney Crowell consistently puts out great Americana records. 

Green Lung, This Heathen Land: A Journey into Occult Albion (2023).

Green Lung is an excellent doom band that actually rocks. They also have very strong vocals. Dare I say, the vocals at times remind me of the best parts of Ghost.

Caravan, In the Land of Grey and Pink (1971).

This has been my favorite record by this quirky, strange British progressive rock band. 

Jane, Together (1972).

I guess I am getting old, as the progressive rock bug has got a hold of me. I really enjoyed this record by Jane, the German progressive rock band. The mix is uneven, as the vocals are very loud at times, adding a strangeness to the overall sound. 

Crossed Stitches Eyes, Autosarcophagy (2021).

Finally picked up the last release from Cross Stitched Eyes. Love the mix between Rudimentary Peni and Killing Joke. I cannot get enough of this type of punk rock. 

Smokers, Falling Backwards (2018).

I am thrilled that Andy Asp from Nuisance is still playing punk rock. I am hoping that the Smokers record a full-length record, as I need more. 

Bert Jansch, Just a Simple Soul (2018).

It is hard to beat the perfection of Bert Jansch. Each time I listen to him, I fall in love with his playing. It is good to be reminded of just how good music can be. 

Say Zuzu, No Time to Lose (2023).

I have been very excited that Say Zuzu reunited and recorded a new album. Excellent Americana songs. Strong vocals. Hope they continue to record for many years. 

Dionne Warwick, The Best of (2012).

Dionne Warwick had an amazing voice. This collection has many of the Burt Bacharach songs that she sang. Put the record on and just sing along. 

Lars Fredrik Froislie, Fire Fortellingher (2023).

Lars Fredrik Froislie is the keyboard player in Wobbler. This record is loaded with retro-prog keyboard heavy songs. It is an awesome listen.  

Spy, Satisfaction (2023).

Slightly discordant, ugly hardcore that is still full of energy. Time to start a circle pit. 

Caligonaut, Magnified as Giants (2021).

This is the solo project of Airbag’s guitar player. It is a pretty mellow offering, featuring his dreamy guitar playing. Beautiful work. 

Steve Hillage, Fish Rising (1975).

This is the first solo record from Steve Hillage, who was a member of Gong and Khan. Solid, trippy prog-rock. 

Tamikrest, Tamotait (2020).

Another great record by the Mali band. Strong vocal and guitar playing in the same vein as Tinariwen.

Haken, The Mountain (2013).

After exploring Haken’s catalog, The Mountain was my favorite record by this progressive metal band. It remains the one that I returned to throughout the year. 

Jackson Dean, Greenbroke (2023).

Very catchy country music. Good for a road trip. 

Jordsjo, Jordsjo (2015).

Great fucking Norwegian retro prog-rock. Love it. 

Casey Neill and the Norway Rats, Sending Up Flares (2023).

When I lived in Oregon, I used to get to see Casey Neill play quite often. He would play at various leftist events. For some reason, I had not kept up with his recordings. I really enjoyed listening to his newest record. His voice is very strong. While the record has louder moments, it is still quite smooth. Check out “The Ones You Ride With.” 

Songs:

Steven Wilson, “Lazarus,” from Transience (2015).

This re-recording of the Porcupine Tree song is absolutely beautiful, smooth, and moving. 

Hawkwind, “Rama (The Prophecy),” from The Future Never Waits (2023).

I love the vocals and guitars on this song. This is one of the sweet spots for me of all the types of songs that Hawkwind writes. 

Clarence Carter, “Slip Away,” from This Is Clarence Carter (1968).

Great bass lines and vocal delivery.

Sunny War, “No Reason,” from Anarchist Gospel (2023).

Love the guitar hook and the voice on this song. 

Joshua Ray Walker, “Goodbye Horses,” from What Is It Even? (2023).

This year, Joshua Ray Walker put out a covers record. It is uneven, but it has some incredible songs. My favorite is “Goodbye Horses.”

Grave Pleasures, “When the Shooting’s Done,” from Plagueboys (2023).

Very good record from post-punk, gothic band Grave Pleasures. “When the Shooting’s Done” is super catchy and worth repeat listens.  

Tyler Childers, “In Your Love,” from Rustin’ in the Rain (2023).

Beautiful, moving song. It is easily my favorite song on the record. 

Concerts:

While it was a very tough year as far as work, I am very glad that I was able to enjoy quite a few concerts and a couple music festivals. A major part of these experiences included spending time with friends, including Five-Inch Taint, Null, PaulySure, and other loved ones. 

My wife and I took a trip with her sister to see Superchunk play two great shows. This trip seems to be becoming a regular thing. On this one, we were also able to see Henry Rollins speak. Great time. 

PaulySure and I attended the Darker Waves festival. My favorite performances included: Twin Tribes, Cold Cave, X, Violent Femmes, Devo, B-52’s, and New Order.

At Punk Rock Bowling, my wife and I really enjoyed seeing Bad Religion, The Interrupters, Fear, Channel 3, Fishbone, Damned, The Exploited, GBH, End It!, Dropkick Murphys, The Chisel, and Against All Authority.

My other favorite concerts this year included: Thee Sacred Souls, Riverside, Hallas, Godspeed You Black Emperor, Hermanos Gutierrez, Gladys Knight, Lucero, Mastodon, Elder, Ruby the Hatchet, Built to Spill, Pixies, Terror, Frozen Soul, Fuming Mouth, Hoodoo Gurus, GBH, Joshua Ray Walker, Jade Jackson, The Cure, The Twilight Sad, Dwight Yoakam, Emmylou Harris, Pallbearer, Year of the Knife, Lyle Lovett, Drayton Farley, X, Etran De L’air, Tanner Usrey, Dale Watson and His Lone Stars,  Fear, Jawbreaker, Sting, Son Volt, Peter Bruntnell, Slapshot, Spy, Psychedelic Furs, Bombino, Yes, Styx, Samiam, and Quicksand. 

Films:

Of the music documentaries that I saw this year, my favorites were Jason Isbell: Running with Our Eyes Close (2023), Tom Petty: Somewhere You Feel Free (2021), and Squaring the Circle (2022)—the latter is focused on the Hipgnosis team that designed classic album artwork. 

A few other enjoyable documentaries were Minneapolis Hardcore (2021), Love to Love You, Donna Summer (2023), John Waite: The Hard Way (2022), Dionne Warwick: Don’t Make Me Over (2021), The Return of Tanya Tucker (2022), and Little Richard: I Am Everything (2023).

Book:

Brian Slagel, For the Sake of Heaviness: The History of Metal Blade Records (2017).

Jimmy “Explosive Diarrhea” B passed along a copy of Brian Slagel’s book. Very enjoyable read. It was fascinating to realize how much of my youth was interwoven with the various releases from Metal Blade Records.  

Web Channels:

Over the last few years, I have greatly enjoyed three music channels on youtube. The first is Sea of Tranquility, especially the In the Prog Seat episodes, Rick Beato, and Western AF. Each of them only deepened my music addiction. 

Festivus Musical (and then Some) Grievances 2023

We share here some of the musical grievances of fellow taint ticklers.

Jimmy “Explosive Diarrhea” B.:

Let’s get my feelings about the new Virgin Steele album out of the way. I fucking love it. It is the best thing David Defeis has done since the late 1990s. The vitriol that I am about to lay out is not aimed at the band; I am pissed off at reviewers. I will get back to Virgin Steele momentarily. Please indulge me while I whine about reviews in general.

Does it seem like online reviews are getting worse? Nearly everyone loved the last two Low albums. Why? They were complete shit. My mainstream media consumption is limited to two sources, National Public Radio and the Guardian newspaper. Their music sections are dominated by pop and hip hop. I recognize the importance of pop, but do all mainstream reviews have to be about Beyoncé or that other pop chick, the blonde one with the extremely high ticket prices?

Reviewers of the new Virgin Steele record, The Passion of Dionysus (hereafter, Passion), have three primary complaints. First, they hate the production. Second, they hate the operatic nature of the music. Third, they hate David Defeis. I cannot adequately address the dislike the reviewers have of Defeis, but I will attempt to rebut the first two points.

I demand decent production. Bad production pisses me off. I have been complaining for years about Iron Maiden’s production, and the production on Rush’s Clockwork Angels was some of the worst in recent memory. But the output from these popular bands is loved and reviewers seldom or never mention the atrocious production values. They seem afraid to piss off the rabid fan base of these bands. Smaller, more niche, bands do not get the same treatment. The production on Passion is better than Maiden’s Jujensi. Bruce Dickinson’s vocals are buried, even the drumming is somewhat buried. The only thing that really jumps out on Jujensi is the bass playing. Contrast this with Passion where the vocals are out front, exactly where they should be on an operatic metal recording that happens to be a concept album where the lyrics, and hence the vocals, matter.

Not everyone likes a rock, or in this case metal, opera. I get it. So why would a reviewer choose to review something that is outside of his/her comfort zone. I would never attempt a serious review of a Taylor Swift record. I would hate every minute of this kind of album even though it might be a good example of whatever sub-genre it belongs to. I would give it zero stars, and I would not tickle my taint for even one second. I would only review something like this as a joke, and I would make it obvious to you that I was joking. If you hate operatic metal as much as I hate most pop, then stay the fuck away from a band like Virgin Steele and stick with what you know. These fucking online reviewers steered me away from Passion for a long time. It had been out for about a year before I finally bought a copy, and now I am rather pissed off. From one online reviewer to all y’all (except the Taint Ticklers of course) fuck you!

Scott:

Over the summer, I saw Metallica with some old friends. A nice nostalgic sort of evening. So I forked over $$$ for a tour shirt. As I was walking away from the merch table, I noticed that the shirt was missing the tour dates on the back—damn! I waited in line again, got a replacement shirt, and went on my way. The show was fine. I wore the shirt a few times over the next several months, but something seemed off. The graphic on the front—was it messed up somehow? Could it actually be crooked? Nah. Just my imagination. But it bothered me whenever I looked at it, so finally I got out a tape measure. And sure enough...the motherfucker was crooked.

SoDak:

Cell Phones. One of my previous grievances included individuals using their cell phones to film concerts. I do not think this issue will disappear. Regardless, it is tiring trying to watch concerts as assholes hold their phones high, blocking the view of others, while they stare at shitty images on their little screens rather than being present at shows.

Throwing Cups at Shows: This action seems to come and go in waves. Never really understood why assholes like to throw cups, sometimes empty, at other people at shows. I can imagine that if I picked up a cup and tossed it at the back of the head of the prick who just threw a cup, they would think I was being an asshole. 

Ex-Presidents Appearing in Music Documentaries: It is shameful that many music documentaries include interviews with former presidents, such as Clinton, Bush, Obama, all international war criminals, who talk about the importance of the artists and their humanitarian efforts. 

Christmas Record as a Final Album: In general, I am not a fan of Christmas records, but it is baffling when a band ends their career with one of these turds. 

This year, I witnessed some particularly horrific performances by opening acts. Jet Black Roses played really bad cover songs, which comprised over half of their set. It would have been better to just mic a radio and let it play for forty minutes before the main act. Even worse was witnessing Me First and the Gimme Gimmes. Their set of cover songs is uninspired, boring, and messy. They manage to remove any fun, beauty, and energy from every song. Their gimmick sucks. It was never interesting or good. Unfortunately, I ended up seeing Lorna Shore twice this year. I tried to avoid the second time by going to the show late, but I was not late enough. Painful experience. Got to hear the singer exclaim that tipping bar tenders indicates how the United States is the greatest country on the planet. Seems like a very low bar for any type of measurement. Meaningless bullshit. Last grievance item is the band Last, a solo, synthesizer-driven project. The first minute might have been intriguing, but then it became unbearable. I verged on the point of wishing for my death just to end the experience. 

For Shane

 

By Jack Rafferty

“I’ve been chosen to lead us out of the wilderness.”

—Shane MacGowan

I don’t really know what to say about Shane MacGowan that others haven’t said better. I did not know him personally, so all I can really write about is my experience with Shane’s music and the little I know about him and his life. What goes without saying is that Shane was one of the best songwriters of his generation. The Dunes remains, to me, one of the best poems of the twentieth century. 

I saw dark shadows rise up from the sand

And dance all around the dunes

And they danced the rattling dance of the dead

To a set of mournful tunes

To a set of mournful tunes.

A crack of lightning split the sky.

The rain on the dunes it poured.

I left them lying where I shot them down

The bailiff and the landlord.

Then I went for a drink in Westport.

I think Shane was greatly mistreated as a public figure for most of his life. Whether it be for his heritage, his drinking, his teeth, or his demeanor, there were many who did not treat his work with the seriousness that it deserved. It often seemed like the more mainstream audience to his art were more concerned in the tormented “starving artist” idealization they viewed in him, as opposed to the human being and creator he was. They were more concerned with talk show antics and speculating when substance abuse would end his life, like some sick celebrity death pool. 

There were thankfully always those who respected Shane, and each respective member of The Pogues, for their contribution to a deep and powerful lineage of Irish music and poetry, of unapologetically loving and preserving their culture, which the British strived so fervently to snuff out. 

Shane was not afraid of depicting ugliness in his work. He spent his life immersed in the struggle that so many had experienced, and he knew to take pride in being a voice for the oppressed, in all its brutal honesty. Shane was a deeply flawed person like us all, but he never pretended to be anything other than that. I’ve always admired Shane’s uncompromising approach to not being anything other than what he was, and being proud of what others told him to be ashamed of. “You want paddy? I’ll give you fuckin paddy.”

From growing up in Tipperary, to the concrete prison of Barbican Estate, drug wards named Bedlam, to the old main drag, Shane’s life and art seethed with the messiness and urgency of the material conditions that initiated much of the content and emotion in his music. Squatting, addiction, staying up all night to get in line early for the dole—these are the things that many bootlicking onlookers criticized and condescended about, and also what made the music of the Pogues and punk as a movement so important. Most of the characters of Shane’s songs were inspired by unsheltered folks he met in the park, whom he shared his bottles and conversation with. He didn’t judge or turn his nose up to anyone. He carried a wad of cash around with the singular purpose of giving it away to those who asked for it and needed it. His heart was a deeply caring, and deeply proletarian one. 

One thing I’ve always loved about Shane, which causes me to reminisce also of Nina Simone (others as well, Nina is just the most immediate to come to mind), is how people always celebrated him at his highs, and spat on him at his lows; how they always had an opinion on him, on his life, his health, what his music meant, what it didn’t mean, how it could be used, misused. But he, like Nina, faced it down like a warrior, and always made these people deeply uncomfortable with how blunt, honest, and confrontational he was. He didn’t give a fuck if his words made pampered asses shift in seats. He was going to be heard, and he didn’t give a fuck what these people thought. He had an impenetrable integrity to himself and his art, which is what makes seeing what The Pogues became in later years all the more painful. Shane himself acknowledged this in reflection of the deviation that their music and meaning took, “I compromised, I should never have wavered from the path.”

It really cannot be understated what The Pogues did for the revitalization and visibility of traditional Irish music during their time, not to mention establishing the first synthesis of punk and traditional Irish music. In Shane’s words, “to give the tradition a kick in the arse.” Which they certainly did. From their rendition of “Waxie’s Dargle,” which is still one of the most hard-hitting, energetic, aggressive songs out there, to “Boys from the County Hell,” “Sea Shanty,” “Dark Streets of London,” “Poor Paddy,” and so many other of my favorites. But the purpose behind it all is what resonates most as I write this, which Shane explains plainly. “My crusade was to make Irish music hip again. From the Irish music, to make the language hip, and the literature hip. To build Irish self-esteem, and for the whole world to know what an incredible wealth of culture we’ve contributed to the world.” They were a voice for the dispossessed and the diaspora. 

I was happy seeing Shane’s sixtieth birthday celebration, with him receiving such love and recognition from so many great people and wonderful artists. To see musicians, singers, and songwriters like Lankum, Lisa O’Neill, Nick Cave, Sinéad O’Connor (who we also tragically lost this year), and others celebrate Shane’s legacy was truly endearing. It was a lovely thing to see Shane receiving the admiration and love he deserved. I got very emotional when they announced Shane’s lifetime achievement award, and Sinéad ran up and kissed Shane on his forehead. It is such a happy moment for both of them, and it is now such a sad memory for me. 

I don’t like to pretend I know what happens when we die, and I don’t like to presume I know what others anticipate either, but when I think of Shane, and what comes beyond life, I can’t help thinking about “Streams of Whiskey,” where he questions the ghost of Brendan Behan about “the crux of life’s philosophies”:

There’s nothing ever gained

By a wet thing called a tear

When the world is too dark

And I need the light inside of me

I’ll walk into a bar

And drink fifteen pints of beer

I am going, I am going

Any which way the wind may be blowing

I am going, I am going

Where streams of whiskey are flowing.

Hinckleyhadavision’s Favorite Music 2023

By Hinckleyhadavision

Stephen Wilson Jr.’s “Year to Be Young 1994” was a wonderful reminisce of being young in those years. His more recent track, “The Devil” is superb, and really shows his mastery of songwriting—it’s haunting and rich.  

It’s an older song, but “Harlem River Blues” by the late Justin Townes Earle, hit like a ton of bricks. I sat down on the spot and learned it as a cover. I’m still working through it. It’s gorgeous in its darkness.  

Why I Am Glad the Mary Wallopers Exist

By Jack Rafferty

“Some people have the nerve to think that over there is the UK, but it’s not.”

“What is it?”

“It’s Ireland, still.”

So says Charles Hendy, one of the Hendy brothers and the founding member of the band The Mary Wallopers, in the short documentary-style feature that GemsOnVHS did. As they ramble down a rocky road in their van, fuzzy leopard-print above the rearview mirror, on their way to Roche Castle, Andrew Hendy goes on to gleefully recount how the area was so difficult to police, because the IRA could hide in the rolling green hills. The two of them happily talk about how they would hide arms in construction equipment, then fire SAM missiles at helicopters patrolling the area, for the British dared not patrol on foot. The first song they sing in the video, graced with the grim backdrop of Roche Castle, is Dominic Behan’s “The Sea Around Us.” 

The sea, oh the sea, is the grá geal mo chroí

Long may it stay between England and me.

They then play “Eileen Og” in a local diner. So many things in this scene remind me of growing up going to a local diner that I loved. There is such a warmth to their interactions, and a powerful sense of community. It is something that really made me miss this feeling, as I haven’t found a replacement for it in years.

After that they go to see a man named Pat Kelly, in his shed on the border, filled with all manner of odds and ends, historical pieces, guns used in the 1916 rising, letters from the H-Blocks, photos of Gerry Adams with Mandela, Castro, etc. They sing possibly my favorite version of Peadar Kearney’s “Whack Fol the Diddle (God Bless England)” I’ve heard, all while holding a union jack tea kettle. They conclude it with Charles kissing a photo of the Queen, and Andrew declaring, “She won’t have to worry about the heatin’ bill for Buckingham Palace while she’s burning in hell!”

They finish by singing “It’s All For Me Grog” in a local pub. Watching this made me greatly miss all the pubs I visited while I was in Ireland, and how I wish to return. It’s not something I want to overly romanticize, but there is such a sense of melding conversation, singing, music, art, the scent of strong stout, the flush of faces, heated debates, laughter. It is not a feeling I’ve had elsewhere at home or traveling. 

The Mary Wallopers have been immensely important to me the past few years. Whether it was their live-streamed concerts that they did in their barn that they converted into a performance venue during the quarantine (which got me through many days), to my continued following of their growth, the release of their debut album, and their subsequent releases from there, they have been a consistent, and powerfully reinvigorating, presence in my life. 

In a lot of ways, The Mary Wallopers carry on the important role of playing Irish folk songs and keep the spirit of anticapitalist resistance alive and well. Inspirations like Brendan and Dominic Behan, The Dubliners, The Wolfe Tones, The Pogues, and many more are evident, yet the Wallopers are entirely their own entity, overflowing with the perfect amount of humor, solemnity, energy, and revolutionary fervor. It is a strong lineage that they clearly acknowledge and respect deeply. Their music can range from jovial to mournful, as is indicative of so much Irish art and culture, and it is always rooted in a deep sense of justice for the people. 

With the release of their most recent full-length album, Irish Rock n Roll, The Mary Wallopers show no signs of slowing down, which brings me much joy. I hope that someday they can make it out on a tour somewhere nearby so that I may see them, but either way, I’m just glad that The Mary Wallopers exist. They make this bleak life a little less so just by being who they are. 

Our Five Favorite Studio Records: Bruce Springsteen

 

By SoDak and Null

When we can muster up the energy, attention, and time to discuss our favorite records by a particular artist, we will post a contribution along these lines. 

Over the decades, we have had numerous conversations focused extensively on Bruce Springsteen, covering our favorite songs and records, as well as our confusion and disappointments. Much of the latter has involved the overproduction on recent records, especially the ones featuring the E Street Band. The space between notes is too often missing. Regardless, plenty of these records have captured our attention and have grown on us. In fact, some of these latter records are the ones that we listen to the most now. 

SoDak: I believe that there are three records by Bruce Springsteen that both of us will list as our favorite records by him. For decades, you and I have consistently held three records in high regard, noting how fucking exceptional they are in regard to the lyrics, the singing, and emotional weight. This much, as far as our favorites, has not changed through the years. In fact, every time Springsteen announces a new record, we are hoping for the fourth record that captures this essence for us. Our favorite three records, except perhaps one of them, are not generally the albums others mention.

Null: That’s right. These three records are Nebraska (1982), The Ghost of Tom Joad (1995), and Devils and Dust (2005). I measure all of his work against these three albums. We both lean toward the “acoustic” Springsteen, which tends to be more working class, political, and darker. However, most of the politics are couched in rich descriptions of the various social relationships of the characters in the songs, which is where his brilliance as a storyteller truly resides. When he’s good, he’s heartbreaking. Each of the albums mentioned above are understated. Not always, but often, when he works with the E Street Band, the outcome is a Phil Spector wall of noise that I refer to as a wall of “meat street and potatoes.” There are exceptions to this, such as Greetings from Asbury Park, N.J. and Letter to You.

SoDak: All of this is exactly right. Springsteen is most powerful when he paints a picture of the life, circumstances, and struggles of people. This may involve how someone lacks choices or options to fix a situation or how people just persist trying to create meaningful lives. The context of these situations is often apparent, such as economic decline or the closing of factories. Each of these three records are largely situated within the general misery created by the workings of capitalism, as people are losing their jobs or farms, leading to desperate attempts to survive. Partly inspired by John Steinbeck’s The Grapes of Wrath, but also by all the accounts of homelessness and migration in the United States and Mexico in the 1990s, Springsteen’s The Ghost of Tom Joad is a remarkable piece of work. His voice captures the weariness and exhaustion of the period, as the callous war on the poor intensified. While there is instrumentation beyond his guitar, the music is sparse, adding gentle textures. The music directs attention to the story. 

Null: The Ghost of Tom Joad is an absolute masterpiece from beginning to end. I think of it as a literary classic. It’s almost like a spoken word record, or should I say “whispered word” record, as one cannot speak openly of the underbelly and failures of the empire. These are the secrets that never find their way onto the national news or into the national narrative. It’s almost an anti-record, in the sense that his vocals are so quite one must almost strain to hear them or have the lyric sheet in hand. Reading the lyric sheet while listening to the album will leave an impression because the songs are so powerful and heartbreaking. One only needs to read along with the lyrics once. You don’t forget these stories as they are silhouetted with corpses and missing loved ones. It is closely related to Nebraska, another masterpiece. Nebraska isn’t so much whispered, as a hushed conversation between 2:00 and 4:00 in the morning, or in the “wee-wee hours.” It’s the sound of being a solitary driver on the freeway in a moonless night. The radio is on low as you pass through desolate industrial wastelands reminiscing on deceased family members, missing brothers, and growing up working class. It was recorded on a 4-track in Springsteen’s bedroom.

SoDak: Nebraska fucked me up as kid. When I first heard it, I just sat there, staring at the record spin. As strange as it sounds, Springsteen was singing songs that made me think about my extended family, struggling to get by, to hold onto their farms and ranches. The characters in the songs reminded me of people I knew throughout the small city where I was raised. In other words, these songs hit close to home, with some of them set in neighboring states. While it is a somber record, it is captivating from start to finish. “Atlantic City” is an obvious classic with a catchy chorus. But it is a haunting song. His background vocals are foreboding. These tales of loss capture what it is like being ground-down and forgotten about in the American nightmare. Interestingly, for this record, Springsteen was inspired by Howard Zinn’s A People’s History of the United States. 

Null: Fascinating. This influence is apparent in much of his best work. Devils and Dust feels like the third part in a trilogy. If the Ghost of Tom Joad exists in some ethereal, whispered landscape and Nebraska exists in the middle of the night, then Devils and Dust exists the next morning in the shadows of motels and alleyways as the sun is shedding its first rays. It is not a wholly acoustic affair. It feels like an acoustic album but it really isn’t. It follows in the tradition of the other records, but it is a bit brighter. A bit. Its themes are still disappointment and resignation, but there is also a glimmer of hope.

SoDak: That is a good description. A few of the songs were written when he was touring the Ghost of Tom Joad record, so there is a cool connection between these records. In many of the songs, the characters seem exhausted. They have lived in the shit for so long; they are just doing what they can to persist. I suppose it is not surprising that this sentiment seems to hit home in many ways, given the daily grind that we experience. The connections people find with each other provide a sense of relief. On this record, Springsteen really illuminates everyday life, beyond the screens and other distractions. Some songs are still somber, but there is some possibility in the unknown future. 

Null: My fourth favorite record by Springsteen is Darkness on the Edge of Town (1978). It’s just the perfect E Street Band rock record. The band isn’t humongous and overwhelming; it’s all very contained. Darkness is also the fitting companion piece to Nebraska. I’ve always seen these two albums as a pair. Whereas Nebraska exists out on the godless highways, Darkness is walled in. It exists in the dreary confines of working-class towns where the only hope of escape is in the imagination or death. The album is trapped in claustrophobic living rooms (“Adam Raised a Cain”) and exhausted factory floors (“Factory”). The guitars are angry, mean, and, in my opinion, never loud enough in the mix. “Poor man wanna be rich / Rich man wanna be king / And the king ain’t satisfied ‘til he rules everything.” To me, Darkness is the seed of the mythology surrounding Springsteen’s pathos and rock band.

SoDak: I am tempted to name Darkness on the Edge of Town as one of my top five. It is certainly a record that I have had a strong connection to, but the last ten years I have been picking up some of his other records more often. Part of the reason for this is that I want to listen to his records that I do not know as much as those from when we were young. As a result, I have really come to love Western Stars (2019). I have many of the same reservations that you did about this record, which you noted in your review of it. The record is so lush, like a soundtrack, with all the instruments being played on it. Nevertheless, I have fallen in love with the songs and the feel of the record. I think the songs would be even better if some of the instruments were stripped away. Regardless, I find a strange comfort in these songs. Within the songs, Springsteen shares stories of aimlessness and exploration. At times, there is a sense of surrendering and letting go, just to see what will happen. The last record in my top five is Wrecking Ball (2012). I saw him on this tour and was captivated by the performance. The songs on this record sound very big. It opens with an anthemic song, “We Take Care of Our Own,” which is no doubt too optimistic about the humanity to be found within the United States. Plus, the song was readily incorporated into Obama’s campaign drive as part of manipulated emotions alongside empty promises. No surprises here. Regardless, the record is filled with many songs about how greedy fuckers are gutting hometowns and driving down wages. On “We Are Alive,” Springsteen imagines an uprising as radicals from throughout the decades are embodied as a mighty force to overthrow the existing order. Anyhow, Western Stars and Wrecking Ball are now among my favorite five Springsteen records. I was not anticipating this to be the case when we started talking about this project.  

Null: Western Stars and Wrecking Ball are both pretty great albums. The last song on Western Stars, “Moonlight Motel,” crushes me every time I hear it. I’ve never listened to it without crying. Wrecking Ball is also closely related to Darkness, thematically. Except that it has more of a “European folk-feel” with the fiddles and whatnot. It was also great to hear Springsteen return to his working-class storytelling mode.

SoDak: I know that this is part of the reason I continue to listen to Wrecking Ball. 

Null: The last record in my five favorites has to be Letter to You (2020). It was on my Musical Obsessions list for last year on this site. Springsteen recorded the album, with the E Street Band, in just four days. No one had time for three-hour sax solos or bombastic theatrics. The lyrics are a reflection on age and loss. I had been waiting years for a Springsteen record like this one. The great Springsteen “rock records” are Darkness, Letter to You, and the Live 1975-85 (1986) box set. There is a similarity between these records that I can’t quit put my figure on. Maybe it’s just electric guitars and great songs.

SoDak: This is wonderful. Letter to You continues to grow on me. Null, I am curious, are there any Springsteen records that you think are forgettable or that you do not like? I can think of one. 

Null: I can’t stand the second album, The Wild, the Innocent, and the E Street Shuffle (1973), but there are several others that I pay no attention to because they only have a few good songs. I think of these albums as “singles with a few B-sides,” despite that fact that they are full albums. It’s a lie I tell myself.

SoDak: I also find The Wild, the Innocent, and the E Street Shuffle to be unbearable. I am glad that it was not my entry point for Springsteen, otherwise, I might not have wanted to explore other parts of his catalog. For some reason, I also do not find myself listening to Born to Run (1975) very often, despite this being such a huge record for him. At the same time, I love some of the songs on that record, such as “Thunder Road,” “Backstreets,” and “Jungleland.” Guess, I often choose to listen to these songs on some of the collections or live records rather than on Born to Run. 

Null: I agree. I never listen to the Born to Run album.

SoDak: The odd thing about Springsteen is that some of my favorite songs by him are not on my favorite records by him. Is this true for you as well? 

Null: Yes, that is exactly what I mean when I purposefully lie to myself about his discography. Take Magic (2007) for example. When I think of that album, I think of “Nowhere Radio” and “Girls in Their Summer Clothes.” 

SoDak: Right, those are great songs on an okay record. 

Null: To me that record is a seven-inch with an A-side and B-side. I’m sure there are other good tunes on there, but when, Nebraska, Ghost, and Devils are my reference points, Magic is just too much fucking work and too much “meat and potatoes” E Street Band. Oddly enough, the lyrics tend to turn into lumpy gravy in this stew. He just writes better songs when he is more subdued. Not always, but mostly. “Radio Nowhere” is great. He can write some kick ass rock songs, but rarely does he write that many in a row. It’s understandable—who can be reflective and introspective when a E Street cement truck is unloading on your head?

SoDak: Good point. Many of his average to good records have outstanding songs. For instance, The River (1980) is an ambitious record. Perhaps too long. But it includes some unbelievable cuts. Of course, “The River” is a fucking classic—a perfect song as far as I am concerned. It fucks me up each time I listen to it. The song includes everything that makes Springsteen so extraordinary at times. I have also always been head-over-heels for “I’m on Fire” from Born in the U.S.A. (1984), despite the production on the record, which, while poor, still might be part of the charm. Beyond the hits, I really like songs such as “Outlaw Pete” and “The Wrestler” from Working on a Dream (2009) and various cuts on the three forgotten records: Tunnel of Love (1987), Human Touch (1992), and Lucky Town (1992). Plus, he did some great songs on soundtracks, such as “Dead Man Walkin’” and “Lift Me Up.” 

Null: I agree. Those are great tracks. Springsteen has some really moving and excellent songs spread throughout his entire catalogue—the bastard. Many of these hidden gems I have only learned about because of you. I always loved “Lonesome Day” from The Rising (2002) album. “No Surrender” is another song I couldn’t live without. Many great songs can be found on the Live 1975-85 box set—that box set opened me up to some incredible Springsteen songs. I bought that box set when it came out in 1986. The only other Springsteen record I had at the time was his first, Greetings from Asbury Park (1973), which is a dark and muddy affair. I have a soft spot for that record. Yeah, Springsteen has a ton of great songs buried in box sets and middle-of-the-road records. It’s a pain in the ass. I sort of fell in love with Working on a Dream once I figured out it was his “Smoky Robinson” record, which made me hear it differently, but it isn’t good enough to be in my five favorites. Also, that four CD Tracks (1998) box set was about 60 percent killer. 

SoDak: Tracks is an incredible collection, filled with previously unreleased gems. 

Null: Yeah. As far as my five favorite Springsteen records, I will hold to them being Nebraska, The Ghost of Tom Joad, Devils and Dust, Darkness on the Edge of Town, and Letter to You, in no particular order, with a suggested supplement of Live 1975-85 and a shit-ton of random tracks spread like debris over a minefield. There a quite of few meandering and unfocused albums of his out there that I do not spend much time with.

SoDak: My favorite five are also in no particular order, but currently are: Devils and Dust, The Ghost of Tom Joad, Nebraska, Western Stars, and Wrecking Ball. We’ll see what happens when he releases more records. 

Null: Maybe, we will get the next record that we have been wanting.

SoDak: The potential stories to tell are bountiful. 

Null: We definitely need to hear these stories. 

Samiam, Stowaway (Pure Noise, 2023)

By Null

I was never a fan of Samiam in the past, primarily because I was never really exposed to them. They simply fell under my radar. Years ago, SoDak, used to send me compilations that he put together. One of those CDs contained the Samiam song “Sunshine,” which is a perfect punk rock song. The lyrics were great and the music made me want to pogo out the fucking window. Around this time, I learned that several people I know loved Samiam. I picked up the album Astray, which opened with the track “Sunshine” and thought it was quite good, but it did not leave a lasting impression on me.

Over the next several years, I happened to see Samiam in concert many times with very enthusiastic friends. I thought they were a great live band and even enjoyed spending time talking with some band members after the shows. Over the years, I picked up a few more of their albums and enjoyed listening to them from time to time.

This year, Samiam released a new album Stowaway and everything changed for me. The record is an absolute barnburner. It has a wonderful emotional intensity, constant propulsion, and endless hooks. The lyrics hit me in the chest. The band still has their fairly subjective lyrical content, but something seemed different. It articulates many of my feeling about getting older, coming to terms with loss, and even the ever-present awareness of a changing global climate and the forthcoming shitstorm. 

The song, “Monterey Canyon” with its repeated refrain, “I leave my body there for you / No longer resisting the tide / And as I float away, I wonder why / I’m not afraid to say goodbye,” made me want to openly weep while at the same time jumping around my living room rockin’ the fuck out. I read in the album credits that a few members of the band had lost their fathers. This made me wonder if “Monterey Canyon” is about a father finally giving up his battle to live and finally letting go, or if it is the son that finally embraces his loving detachment to a cruel world and lets his father go. Either way, the same lesson is learned. One must just try to enjoy each day. Life is for the living, who one day will have to also let go. It seems that as I age, I experience the things I love slowly drifting away from me. It is the way of the world, and it is somehow condensed into these two minutes and forty-three seconds. This song is filled with exuberance and life, while the lyrics are a mediation on losing it. Brilliant.

The whole album seems to convey this feeling—from beginning to end.

Likewise, “Natural Disasters” places one’s daily life and circumstances in the midst of global climate change. The song’s chorus is about being stranded with the narrator, simple enough, but the verses describe the harrowing environmental reason it occurred: “It’s too late to leave now / We’ve waited too long / Firestorms and atmospheric rivers / Flood waters carry sewage and debris / A garbage dump right outside your doorstep / Have left you stranded here with me.” I have never experienced Samiam as an overtly political band, which is why it is so powerful when they articulate so well the cries have been ignored for decades, which are those of the poor, working-class, and average folks who will carry the burden, and the death toll, of global climate change.

It is great to hear a band like Samiam, who have been making records since 1990, release an album that feels so urgent, fresh, and timely. Do not underestimate these old guys. They bring a lot to the table, both musically and lyrically. They are singing the present.

Given how great Stowaway is, I started to wonder: Were Samiam always this good? Over that last several weeks, I have fallen in love with the albums Trips and Whatever’s Got You Down. At some point I will go back and revisit the albums I bought years ago. I have a feeling I may hear them differently now.