Jesu, Ascension (Avalanche Records, 2011)

By Dave

This month I am writing about the latest release of one of my favorite music finds of the last five years – Jesu's 2011 full length release Ascension. Usually I write about bands that have styles and work with sonic aesthetics that don't fit into easily defined pop music categories, I'll go over my perspective on the overall sound of Jesu and what I really find interesting about their music.

On the surface Jesu is a down-tempo, post-metal band working with aesthetics that could be compared to Mogwai or Explosions in the Sky – with the addition of minimalist electronica synth and percussion elements. This addition of electronic elements is rooted in the prior work of Jesu’s leader, guitarist and vocalist of the 90s industrial/doom band Godflesh, Justin Broderick. I would nominate Godflesh as one of the top three scariest bands of that decade (if you don't believe me pick up a copy of Street Cleane, and listen to the whole album in one sitting.) The key to Jesu's sound is a huge somber, and in my opinion, rather soothing ambiance. The focus of the music is the conflict between huge, heavily distorted, yet very stripped down, slowly pulsating guitar/bass riffs versus simple, serenely sung pop vocal melodies (think John Waters or the Coldplay guy) intertwined with very minimal atmospheric keyboard elements. This dichotomy of sounds, in my opinion, projects a certain warmth and simple human honesty that I really appreciate. When I listen to their music, I think of the unstoppable forces of physics, the movement of astral bodies, the majestic cycles of nature and the bitter sweet existence we all share on planet earth. My brother describes Jesu simply as heavy metal Pink Floyd.

I believe the main element of Ascension that differentiates it from prior Jesu releases is an attempt to push the band in a more straight forward rock direction. A prime example of this change is in the song “Sedatives,” which reminds me more of Dinosaur Jr. than Mogwai. There are no keyboard parts on this track. The vocals are also stripped of most of the reverb and ambient effects I usually associate with Jesu, and they are a little rough, reminiscent of J. Mascis. Finally, the drums, while very simple and minimal throughout the record, are actually playing double time on this track. Overall much of the ambiance which was a big ingredient in prior Jesu releases has been stripped from this album. This lends a certain personal intimacy to the record that I like, and I don’t think it diminishes the overall power of the music. I also like the fact that the bass is actually separated and audible on many of the tracks on this record. The drums have also been turned up. It doesn't sound so much like Jesu is playing in the Grand Canyon on Ascension, more like they are playing in my living room. Some longtime fans of the band may feel rather alienated by these changes to the sound of this record, but I'm more of a rock guy than ambient drone fan so I'll give thumbs up.

 I really like the focus on the simple interplay of instruments in the classic rock combo format. In a sense, I would compare it to Blue in Green by Miles Davis, musical progressions are drawn out and allowed to breath, the listener is given a chance to really appreciate the entirety of each musical phrase and fully assimilate the entirety of each song's composition. That is my favorite aspect of this record. I can really hear and absorb each chord change as Broderick had written them. In a sense, it can be much more musically powerful than the most frenzied math metal slur-blurred, technical, auditory assault. The stand out track for me is “Brave New World.” Compared to prior Jesu releases, it is very straight forward , just three guys in a room rocking out in that contemplative Jesu way, and the guitar work is genius. Since I started listening to Jesu, I have been very surprised at how powerfully simple musical changes come across on their albums. 

So after making a glowing comparison of Ascension to Miles Davis, here are the elements of this album that I don't like. It sounds to me like the production work on this record was rushed a bit. On some tracks the vocals disappear on occasion. Overall the vocals are a bit too quiet on most of the tracks for my taste. Another problem I have with the vocals is that the performances are a bit uneven on several songs; they aren't glaringly bad, but compared to prior releases it is a bit under par. The pop component of the album does require solid singing, and this mark is missed on several occasions. Finally, there are certain bass and keyboard tonal choices on several tracks that I find to be a bit jarring; they detract from the listening experience.    

 

When I first heard this album, I felt something was not quite right. I didn't really enjoy it, but with multiple listens I have grown to like a number of the songs on this album quite a bit. For those who have enjoyed the pop rock sensibilities of prior Jesu releases, but didn't really like the spaced out aesthetics, I encourage you to give this album a try. I would advise others to go sample the tracks on this album, find the tracks you like on ITunes or similar download sites the band uses, and pay the 99 cents apiece for the downloads. 

 

In reference to Jimmy’s scale of auto-erotic pleasure produced by this album, 1minute being the lowest score, 10 minutes being the highest, I will give 7.5 minutes.

Billy Joel, Glass Houses (Columbia 1980)

By Null

 

All of this happened before I turned 10 years old.

I grew up on a dairy farm in the Michigan outback. We were all farm kids who got by with little money and survived harsh winters. Other than 70’s rock radio and country music stations, I can explicitly remember all the recorded music we had in the house:

(8-track tapes)

Barbara Mandrell – Moods (including “Sleeping Single in a Double Bed”)

Kenny Rogers – Greatest Hits

Blondie – Greatest Hits

Willie Nelson – Honeysuckle Rose

Cheech & Chong – Greatest Hits

Bob Seger & the Silver Bullet Band – Against the Wind

(vinyl LPs)

Kiss – Alive

Kiss - Dynasty

All the Kiss “solo” Albums

Pat Benatar – Crimes of Passion

Journey – Infinity

Journey – Who’s Crying Now

Southern Fried Rock (various artists)

A few K-Tel records with various hits of the day.

I didn’t buy any of these records. They just appeared in the farm house via my mother, or more likely, my older step-brother.

I remember these albums because I would listen to them all repeatedly. Other than the radio, this is all we had. Whether or not I liked them remains a moot point, however, it is easy for me to see now that this collection of albums laid the foundation for the music that I would love in my adult life. For instance, I still hear echoes of Pat Benatar in Judas Priest and Bob Seger in Uncle Tupelo. Trust me, those connections are there. Now, this was all in the late 1970s and early 1980s. I realized that I never really liked Kiss after I discovered they weren’t actually superheroes. Yet, my love for Pat Benatar, Kenny Rogers, and Bob Seger’s Against the Wind continues to this day.

One day my older step-brother, who only lived with us for a few years, produced a briefcase when we were sitting in the attic. He said he had “found it,” which I understood to mean he had stolen it from someone. It was an old briefcase that housed cassette tapes. Apparently, he and his friends had already scoured its contents and he was no longer interested in it, so he said I could have it. I didn’t have any cassette tapes to put in it as I was spending most of my meager allowance on the 75 cent Conan the Barbarian comic books that came out every month. My step-brother then said there were a few cassettes in the case that none of his friends wanted, and he walked out of the room.

Inside the case were three cassette tapes: Billy Joel’s The Stranger (1977), 52^nd Street (1978), and Glass Houses (1980). I devoured these cassettes with gusto. Now remember, these albums were pretty big hits, but these were also records by a very different Billy Joel than we became familiar with in the mid-to-late 1980s. These preceded “Uptown Girl,” which, by the way, was the very first 7” vinyl I ever bought with my own money.

I was getting to the age where I was beginning to question the male role models in my life, and I was beginning to feel, well, kind of pissed off at the bullshit social clicks that were beginning to form in my elementary school, an elementary school filled with farm kids, and consisted of one hallway. I think the whole school was about as big as our barn, and we had more dairy cows than the school had students. By the time I reached the 5^th grade, I had been in love with Chris McKenzie since Kindergarten.  All she ever did was kick me in the ribs, despite my unwavering devotion. There was also the constant fear of my step-fathers fists. I was getting pissed at “the system” but I really didn’t know what the system was. I did know I was at odds with my future. I wanted to go to Hollywood and make important movies like “E.T.” This is what I thought at the time anyway. My life long struggle with the world had only just begun.

Somehow, Billy Joel, with his big Italian afro and hound dog face, articulated these feelings. I mean, he wasn’t much to look at, and I perceived him as an underdog like myself. And he seemed to come from an entirely different world: New York City. His songs seemed filled with sexual frustration and the gritty streets of New York, a part of a much greater world to which I had no access. He also sang about smoky Italian restaurants and being in love with beautiful girls over spaghetti dinners. He was critical of Catholics, “Only the Good Die Young,” and I think he also laid the foundation for the future punk rocker I would become. His songs were also filled with nostalgia for people that were, “Movin’ Out,” as he was “The Stranger.”

These records fueled my imagination. I probably listened to Glass Houses more than the others, as it had the killer track, “You May Be Right,” which I felt a certain kinship with: “You may be right / I may be crazy / But it just may be a lunatic you're looking for / Turn out the light / Don't try to save me / You may be wrong / for all I know But you may be right.” I though, “you know what, fuck Chris McKenzie, fuck the farm, fuck these masculine role models.” Maybe they are right. Maybe I am crazy. Fuck it, I am going to be who I am. I am going to have this life and nobody is going to save me. When the cops come to get me, at least Billy Joel will have my back. Later, that week, during lunch at our little school, I grabbed the mustard and ketchup bottles and squirted the condiments all over the winter coats that hung in a line against one wall of the classroom. Fuck ‘em. I was never able to articulate a reason for this action to the teacher. She may be right. I just may be the lunatic she’s looking for.

The other track that was pivotal to my awareness of my isolation was “Sometimes a Fantasy.” We would get up in the morning and milk the cows. Then we would go inside and mother would put empty Wonder Bread bags on our socked feet before we slipped them into our moon boots to fend off the bitter cold Michigan winters. The school bus would come pick us up and we would drive all over the country side picking up farm kids. It would still be pitch black outside as the bus shook and rattled down gravel country roads.

Then something revolutionary happened. We got a radio in the school bus. With my furrowed brow I would sit in the bus and hear “Centerfold” by the J. Gelis Band. However, there was another track that I would hear repeated on the bus. I didn’t know who it was but it evoked a sensual fantasy in that freezing and rattling yellow contraption. The song was “For Your Eyes Only” by Sheena Easton. (It was the theme song to a James Bond movie of the same name. But I never cared for James Bond movies). I didn’t know who Sheena Easton was at the time, but this song always make me curl up and close my eyes and I would fantasize about vague shadows and silhouettes of the opposite sex. Years later, I realized the opening credits to this Bond film were startlingly similar to my school bus fantasies. It wasn’t necessarily sexual, but more an elixir for pre-teen loneliness. When the song ended, I would wake back up to my freezing and pissed off reality. I could hear Billy Joel saying, “Sometimes a fantasy…is all you need.”

To this day, I love the warm analog sound of these three Billy Joel albums. I still think his band at the time was pretty great. The sound still reminds me of turning my back on bitter cold and despondent world. In these albums I hear a longing for unrequited love, romance, sexual frustration, and a big fuck you to the world. I don’t know what other people hear in these albums. I have a friend that can’t stand Billy Joel, and I understand – Billy Joel is a weird turtle / hound dog looking man with a particular delivery. However, I still think the albums are fucking great and despite what Billy Joel became, I still have his back, as he was the only one who had mine in those early years.

Bright as Night Records Comp 2: The Time Vacuum (2011)

By Jimmy (Explosive Diarrhea) B.


Recently Jason from Bright as Night Records (BNR) contacted me to ask me if I would like to review the labels latest compilation release. Naturally, I said yes, it was after all free swag. And, I am a sucker for underground music and do it yourself projects. The goal of BNR is to bring unknown bands out from their basements and practice spaces and into your ears. I am here to help. In the review that follows, I will point out my favorite tracks and direct you to a place where you can hear more from the bands.

There is a little something on this release for everyone or a lot of something if you are an eclectic music listener. The music on this release runs the gamut from folk rock to post-rock to thrash metal. If I counted correctly there are nineteen different bands on this 22 track record. Some of these bands either share my home base of Portland, OR, or have a Portland connection. I was familiar with most of these local bands already. My hearing is probably colored by this phonic history, because half of my favorite tracks have a Portland connection. My favorite tracks are by the Vanishing Kids, Dark Farmers, Members of the Press, Canyons of Static and Gnome Sorcery Federation.

Fellow music reviewer, Dave, introduced me to the Vanishing Kids a few years ago. They are fucking awesome, and their two tracks are hands down my favorites on the CD. The track titled, The Unlit Path, presents a different style for the V. Kids. Normally when I listen to the Kids I sense a little bit of a Cure vibe from them. Not on this comp. The track entitled, "The Unlit Path" is harder and more progressive than most of their songs. Fucking awesome! The second Vanishing Kids track, "Mother Earth", showcases the voice of their wonderful and powerful singer. I saw the Vanishing Kids live a few times in Portland, and I am convinced that they had (before relocating to Wisconsin) not only the best singer in the Pacific Northwest, but one of the best anywhere.

Vanishing Kids: Myspace: http://www.myspace.com/vanishingkids

Another stand out track is “Night of the Long Knives” by Dark Farmers. This track reminds me a little bit of Russian Circles, whom I love. I must get a full length release from this band—they need a record deal.

Dark Farmers: Check them out at: http://www.myspace.com/darkfarmers

I am having a hard time typing while picking my jaw up off the floor. Canyons of Static are fucking awesome. A few years ago I went to see New Model Army with Mr. and Mrs. SoDak. The opening band was called Vale. I don’t expect you to have heard of them, and I apologize for the obscure reference, but I love Vale. Canyons of Static have that same understated shoegaze sound that I love in Vale, but with a bit of postrock packaging.

Give them a listen: http://www.myspace.com/canyonsofstatic/music

The Members of the Press track is not for everyone, particularly those who feel that music begins and ends with guitar solos. Members of the Press are a three piece with two basses and a drummer. As you would expect from two basses this track is mega-heavy and is VERY interesting and experimental. I realize this is yet another obscure musical reference, but the sludginess (and only the sludginess, the styles of the bands are very different) of Members of the Press reminds me of Beasts of the Field.

Myspace: http://www.myspace.com/membersofthepress

Before attempting to describe the Gnome Sorcery Federation track, I must disclose that the guitar player for the Gnomes is Tickle Your Taint’s own reviewer, Dave. I admit to being biased towards this band. That being said, holy shit these fuckers are nerdy—gloriously nerdy and awesome. Only a group of nerds would have the word gnome in their name and have D and D lyrics. My love of all things Dave and dislike of nerdy pursuits aside, this track is odd, but rocking. There are enough tempo changes to keep things interesting. Also the Gnomes have, for lack of a better term, a democratic sound. They are either a band of lead musicians—lead bass, lead guitar, lead drums, etc—or they are a band consisting of shy nerds who want to avoid stepping forward into the light and taking control.

GSF: http://www.myspace.com/thegsf

Truthfully, I expected to be disappointed by this compilation, like I have been of so many others in the past. Particularly bad are all those fucking tribute comps. I have taken to copying the one or two good songs from comps and saving them to my computer and throwing out the discs, but that is another topic for another day. The BNR comp contains several songs that I love, many more that I like, only two that I really do not care for. The Bright as Night Records Comp 2 is a CD that I am going to keep around and display proudly. I suspect that there are a few bands on the comp that will go on to get record deals, and only I, and those like me, who had the foresight to get this comp, will have a piece of those artists early histories. We will be able to say, “I knew them when…” and you, my friends, will feel incomplete and jealous. Why put yourself through the pain of feeling inferior on some future date. Friends, you must ensure your future happiness. Contact Bright as Night Records and get this comp.

You can contact them through their myspace page at: http://www.myspace.com/brightasnightrecords

The Joy Formidable, The Big Roar (Atlantic 2011)

By Null

The Joy Formidable are a three-piece that hail from Wales. They are some sort of mystic force that permeates the senses with beauty, mystery, and mountains of swirling majestic guitars. This shit was hatched from the Mabinogion, old Welch medieval folktales. There is magic at hand here, and while listening, I sometimes believe in fairies, fairies that listen to Iron Maiden and make love in fields of day-glow green after a good Welch rain shower in spring. It took a few listens to understand the grandiose and sensual beauty of this band. However, after spending some time with them, I simply raise my favorite Welch Ale toward the sky and scream, “Bloody Brilliant!”

Ritzy sings; her voice has an almost bird-like melancholic beauty that is able to pierce the swirling wall of melodic noise, which gives her the power of flight. She also plays guitar with a massive effects board. Rhydian, the bass player, sings sometimes but he mostly lays down the bottom end with classic and catchy, tight bass lines. Matt, the drummer, is the heartbeat of the band who understands both the subtlety of sleep and palpitations that pump blood through this cyclopsian beast of a band. Matt and Rhydian lay down a solid and intense foundation to rock this house of voodoo. Almost every song starts with some oddly familiar guitar-bass-drum combo that promises super melodic guitar pop and, in this respect, the band does indeed deliver. However, this is only the lighting of the fuse, a fuse that is attached to a rocket that ends up swirling into the stratosphere. Stunning. The music The Joy Formidable make is both uplifting and menacing, full of love and anger. I wish I was in this band.

This is how it is:

The album starts off by challenging the listener. It simply opens with the sounds of things being thrown around or knocked about. It is a not-so-subtle warning that artists are at work here. They are about to engage. Then, the first track, “The Everchanging Spectrum of A Lie,” begins to pulse and swell until, almost eight minutes later, it ends in a wall of static and noise that bleeds into distorted laugher that kicks of “The Magnifying Glass,” which is a hard hitting up-tempo rocker. The next song, “I Don’t Want To See You Like This,” begins with Matt’s tight rolling drums fading in. Through the wall of psychedelic, melody driven beauty, Ritzy’s voice exudes both spitting anger and concern but it never loses its sweet melancholia.

At this point I was wondering where these guys were going with this sound. This music seems to exist somewhere between elegant catchy pop songwriting craftsmanship and angelic electric youthful noise. I go crazy for bands that have a strong personality and I am a sucker for melding extreme juxtapositions. Is this music guitar pop, art noise, shoe-gazing, or some sort of Les Thugs hybrid of heavy rock? How does it simultaneously make me feel ecstatic sadness, satisfied yearning, and hope? It makes me feel like it is spring and I am running down the road naked as a child after discovering I am in love with Laura Engels. Am I having an orgasm or silently longing over faded photographs?

As the record proceeds, I was soon to realize that all this is true. No matter what this music makes you feel, every question is answered affirmatively with “yes!”

As the third song ends, I realized The Joy Formidable where just getting started. In the first three songs they are simply mixing the batter, kneading the dough. The ingredients for the wedding cake that would signify the union of Georgia O’Keeffe and Jackson Pollock, of the macro and the micro, the ecstatic and the forlorn was only beginning to take shape.

Then these motherfuckers started to bake.

The following three tracks, “Austere,” “A Heavy Abacus,” and “Whirring” solidified what I had been guessing. This is the best new band I have heard in a long fucking time.

From “A Heavy Abacus”:

Happiness, it won’t last long

And this child behind stores it all

The failed man’s curse and the cost

Of nonchalance…

Now your world is here

Watch it disappear…

Abacus haunting me…

All we have is this chance called memory

Read it again. These are some profound lyrics and the pulsing music quickens the heart as the angelic voice whispers and warns, “Live now, live now. Your only life is fleeting.”

I am 39 years old running naked down the street mourning the unrequited love of Laura Engels.

Then “Whirring” starts, like the others, with a quick elegant hook, Ritzy seems to sing my experience of this music,

This much delight fills columns to new heights

All these things about me, you never can tell

Colors run prime, paint a picture so bright

All these things about me you never can tell

You make me sleep so badly invisible friend

Jesus Christ. This band is singing my life to me. It is at this moment that they became the only band that matters as my life ticks away and I swim in a language unable to accurately convey my love to this painful, beautiful world. The autumn leaves fly like angles, dead outside my window. It is no accident that both magnifying glasses and telescopes are present in the lyrics. This is why I love music.

Of course, I didn’t realize at the time that “Whirring” was going to continue for the next seven minutes splashing paint that signified the fleeting moments in time and space. Just as the song seems to be reaching its climax, it simply moves to another level of intensity, each wave breaking to reveal behind it a greater wave. Somewhere in the onslaught of pounding instruments lay a hidden quite reflection. Moments later, at the exhausted apex, Matt kicks in with his Iron Maiden double-bass drums and supernovas explode in my heart. This, my friend, is fucking music. Best song of the year 2011. Hands down.

At this point the album is only half over. The last half of the album continues to titillate with up-tempo punk chord progressions and mellow dreamscapes filled with Welch fog and Hitchcockian tricks of the eye. Until, the last track, “The Greatest Light is the Greatest Shade,” a pulsating beauty of a song, seems to simultaneously exude longing and rebirth, Ritzy promises, “a calm day will come.” Whether this “calm” comes from wisdom or death, I believe she is correct. This band could be the soundtrack to Pangaea breaking up, or falling in love. In truth, it is both.

The Big Roar is The Joy Formidable’s first “proper” album but there are many singles and earlier tracks that one can find on iTunes or whatever, most notably, “Greyhounds In the Slip” is not to be missed. They also do a cover of Roy Orbison! Go get them all to supplement this fucking amazing record. If they had a cult, I would join it. I have been waiting a long time to hear a new band this good that gives an old romantic / materialist like me the soundtrack for understanding that epic tales do not live in some mystic realm but in the magnificence of our own daily lives. The Joy Formidable are not magic rocking fairies in the time of King Arthur but three human beings. That makes me love them even more. A great new band. Wonderful. Turn Up The Love.

The Damned, The Light at the End of the Tunnel (Anthology/2CD Set)

By Anita Papsmear

I humbly submit this music review, compiled from a pile of sticky notes, 2 books, a helpin’ heapin’ of Papsmear swagger, and several websites. It may seem weird to write a review about a band/release that hit their stride in the late 1970s and early 80s—especially since this seminal punk band had more line-up changes than I can count. But, I ask you, what is more punk rock than that? The Damned, in all its incarnations, are fucking great, and this collection is jam packed with all their hits.

Flashback to 1987, MCA released the lengthy retrospective, The Light at the End of the Tunnel. There aren’t any musical gems missing, all The Damned favorites are here. If you aren’t too familiar with this band, I urge you to pick up this retrospective and listen to all 28 tunes. If you haven’t heard of them, you may want to peruse through your MILF of a mom’s vinyl collection—if she’s as cool as her black t-shirt collection indicates—The Light at the End of the Tunnel might be in there somewhere. Speaking of your mom, there is something on here for everyone. It’s rock and roll spanning approximately 14 years, and it sounds like English rock should sound. Often waxing political, it’s always melodic with an undeniable punk rock sensibility. The only downside to The Light At the End of the Tunnel is that the songs on the discs are not in chronological order. However, like the title suggests, it runs the gamut of emotions—hopeful, playful, and serious. The energy is hard and earnest. I fondly remember The Damned for putting the fun in punk rock. They are the true grandfathers of punk rock. In their native England, The Damned was the first punk rock group to get a song pressed on vinyl (“New Rose,” November 1976; released before the Sex Pistols’s “Anarchy in the UK”), and the first to release a full punk rock album (Damned, Damned, Damned), and one of the first punk bands to tour America. Their first gig was as the opener for the Sex Pistols at London’s 100 Club in July 1976, and they followed the Pistols on their subsequent tour. It is here that the life-long comparisons to the Sex Pistols begin.

I had the privilege of seeing The Damned (1985 if memory serves) in New York City. Dave Vanian, The Damned’s sultry voiced front man, stood out in the crowd, dressed in a vampire cape and donning a white skunk stripe through his black hair. Rumor has it, Dave was recruited into the band after Rat Scabies (Chris Miller) heard him singing at a funeral. Dave was working as a gravedigger at the time. Ah…Rat Scabies—there has been no better name in rock and roll history. Apparently he got his name from a public toilet seat encounter. Just kidding—but that can happen, right?

Dave Vanian was the last to join the group. Brian James, Captain Sensible (Ray Burns), and Mr. Scabies had been together for a couple of gigs already. From 1976 to 1989, members came and went (Dave has been the only mainstay), but the one constant has been the musicianship. Absolutely a joy to see live, their rare combination of punk rock and glam rock influences were mixed with a bit of theater, the likes of which have rarely been seen since. Notably, Brain James started The Damned after leaving the band, S.S. London, which included pre-Clashmen Paul Simonon and Mick Jones. Captain Sensible and Rat Scabies were formerly in Nick Kent’s band, Subterraneans.

All these years later, folks over 40 may be familiar with the band’s name, but only the fervently cool will be able to tell you anything about them. Some folks may remember the outlandish outfits (tutus and boas). Others may simply dismiss The Damned as “just another band out of the London scene that wasn’t the Sex Pistols”—a grave mistake. Let me just say this: The Damned have more musical talent and heart in their stinky little pinkies than the Sex Pistols ever dreamed of having (that is, if they ever dreamed about that). The Damned also came along at a pivotal time in music industry history. Record labels were beginning to move from a point of actually caring about a band and fostering them through their growth, to a fast-cash, quick sell—”the band is disposable”—type mode.

A cherished bit of The Damned in action was caught on film in an episode of The Young Ones, a beloved English comedy series that began in 1982 (“Who likes Neal?”). The episode is entitled, “Nasty Vampire” and is definitely worth a watch. For this episode The Damned perform their classic song, “(Video) Nasty” to go along with characters Mike and Vivian’s video night (“Yes, we got a video!”). You can see for yourself their vivacious appeal. Captain Sensible decked out in his leathers and a red, dare I say, “raspberry” beret. Dave looking gloriously goth in all his blackened robed glory. Absolutely Fabulous fans will dig the early footage of Jennifer Saunders in this episode (“SAFF!”). Interesting tidbits: Jennifer Saunders went on to marry TheYoung Ones star, Adrian Edmundson. By the way, Ab Fab-er Dawn French also appears in an episode of The Young Ones.

Let’s track through the discs of The Light at the End of the Tunnel.

CD #1 – tracks of note:

Track 1: “I Feel Alright” 1977

Nick Lowe produced this remake of The Stooges song. (Lowe produced the entirety of Damned, Damned, Damned). The Damned’s spin on this tune still feels vital. A raucous recantation of getting fucked up on a Saturday night. One of two remakes in this collection, it packs a punch.

Track 2: “Anything” 1986

This is a perfect track and if, by the end, you aren’t into it, you just don’t like rock and roll—and that ain’t right. An anthemic complaint about the state of the nation, The Damned dare to tempt fate:

I tear into my clothes, sacrifice my soul for anything, anything

I gotta clear this town, no sense in hanging around

‘cause anything, anything, anything, is better than this

Unfortunately, we all know the answer—there is always something worse out there. This track comes from later in the band’s evolution and it is solid, catchy, and sinister. The Damned are able to walk the fine line of punk rock and undeniable pop sensibility.

Track 3: “Love Money” 1982

I love the English and I love the way they rock. Yes, singing about beer, economic class, murder, and rotten money are universal themes, but the Brits describe it with more style than most. This tune is a great ditty about making money pedaling the tourist trade on past English horrors. There is even a sample from a real London tour guide embedded within the song.

The victors of opium wars now take their trips and open doors

They stand upon the actual floors

It makes them proud to be around and take their summer piccies

To drink at night in Soho bars and end up feeling sickie

More money, more money….

Track 5: “Plan 9 Channel 7” 1979

An ode to the dark lovely in the movie, “Planet 9 From Outer Space,” this tune is an unexpected pop gem.

Track 6: “Grimly Fiendish” 1985

This is not a Halloween song but not a hallowed season goes by that I don’t have to play this song at least 10 times. It’s undeniably catchy. It’s a melodramatic musical masterpiece made complete with the use of a toy piano—so under used in music these days. This song makes me happier than bats!

Track 7: “Stranger On the Town” 1982

The bass line on this song is amazing and the drums drive the beat right through your chest.

Track 8: “Neat Neat Neat” 1977

One of their earliest singles, this tune epitomizes the energy and vitality of The Damned. It’s perfect, pure punk rock in its earliest conception. It’s fucking awesome and should find its way onto every mixed CD you make from now on.

Track 9: “Alone Again Or” 1986

One of two covers on this compilation, it is a love song. The Damned’s rendition of Love’s “Alone Again Or” is astonishingly warm and compelling. The guitar work is raw yet flawless, even evoking a hint of Flamenco guitar. I have heard another band’s cover of this song, but none, not even the original, compares to this version. Even the hairs on your arms begin to dance once the Mariachi horns begin.

Track 10: “Is It A Dream” 1985

I can’t say enough about this track. The Damned were still doing some of their best work in the mid-1980s. Their mid-80s work is arguably more pop than their earlier work (a few needless guitar solos), but the songs are still solid, the song writing still great.

Track 11: “Smash It Up” 1979

The first half of this tune contains some beautiful guitar work. The second half becomes another great punk rock anthem. Why wasn’t this band bigger? I guess even in those days, cutting yourself on stage and spitting on people to garner attention wins out over actual musical talent.

We’ve been crying now for much too long

and now we’re gonna dance to a different song

Gonna scream and shout ‘til my dying breath

Gonna smash it up ‘til there’s nothing left

Ooh, ooh, smash it up

Smash it up, smash it up.

Track 13: “Curtain Call” 1980

An epic journey ahead of its time. Grasping the shores of ambient soundscapes and gothic subtleties, this 17+ minute song (part of this song is under “hidden track” status) will compel you to listen to every second!

Can you taste the grit between your teeth

The heat of the light

The crack of the whip

The snapping sound of somebody’s nerve

If you pay, you get what you deserve

We’re coming up from the deep

The lizard sheds its skin

Night obliterates the day

And all the fun begins.

CD #2 – Tracks of Note:

Is there a “second disc” prejudice out there? Think back to your double disc sets in your CD collection. Do you have a preference for the first disc over the second? It can happen to anyone. Typically, some of the bigger hits are on the first disc and the rougher, less popular kids are relinquished to disc number two. Much can be said for those number two discs however. Many times, these cuts have a bit more personality. The kind of personality you only get by taking risks and stepping outside the musical box. Much of these things can be said about The Light At the End of the Tunnel’s second offering. In many of these tracks, you can hear the foundation and subsequent evolution of the band and their sound. The second disc is the perfect complement to the genius of the first.

Track 1: “Ignite” 1982

Straight forward rock and roll—catchy!

Track 2: “Help” 1977

Fun, punk-y remake of The Beatles classic tune.

Track 4: “I Just Can’t Be Happy Today” 1979

A prophetic look at mass societal depression and its underlying fears. It is catchy, and it has everything that is good and right in rock and roll.

I just can’t be happy today

I just can’t be happy today

They’re closing the schools

They’re burning the books

The church is in ruins

The priests hang on hooks

The radios on ice

The telly’s been banned

The army’s in power

The devil commands

Illegal to dance forbidden to cry

You do what you’re told and never ask why

Ignore all those fools

They don’t understand we make our own rules

Track 5: “Problem Child” 1977

An adolescent delight. Had I heard this when I was but a young Smear, I would have shit my knickers.

Track 6: “Nasty” 1984

This track has one of my favorite lyrically implied visuals: “I fell in love with a video nasty!” It makes me want to break out my Bedazzler and make my very own “Video Nasty” t-shirt!

Track #7: “Disco Man” 1981

Warm and fast-paced, this ditty is dedicated to the disco-era.

Track #8: “New Rose” 1976

1976’s debut single—it is a hard-driving masterpiece. Taken off the album Damned, Damned, Damned, the initial vinyl 7” single release was backed with their cover of The Beatles, “Help!” This is also the only Damned album to feature the original line-up.

Track 12: “In Dulce Decorum” 1986

A superb anti-war song with a classic Damned sound.

To say in God we trust not for this

Oh the death and glory boys not for this

Where I walk where I see

The haunting flares where my friends bleed

I see the face of the enemy

Of a man or boy who is just like me

Now you’re not there

All the tears we bled

Cut through like winters rain

Can’t you feel the pain

And if I could ever sleep again

I know till the end of time I’d hear

Their screams of pain

Dulce dulce decorum

Track 14: “Eloise” 1986

A hit for The Damned in 1986, it gave the band its biggest bestseller, hitting the UK’s #3 slot on the charts in February of that year. Although the band is spinning toward their demise, it’s a remarkable achievement for a band with so many incarnations.

I hope this review has convinced those who aren’t familiar with The Damned to pick up this anthology and give it a listen. For those of you who are familiar, I hope this review has inspired you to don that black cape, paint a skunk stripe in your hair, and turn it up! The Damned has left a legacy of great punk songs that have not only shed a light on society’s dark shadows but also cast a glimmer of hope for better days ahead.

No tunes on this anthology rated under 3 smears. Almost every tune rates anywhere from 4 to 5 smears. Overall, The Damned’s The Light at the End of the Tunnel rates a 5 out of 5 papsmears.

2011 Top Ten (and Then Some) Music Obsessions

Throughout the year, the taint ticklers remained musical junkies, seeking out a new fix at every opportunity. Records were shared, time was spent in many records stores, stereo equipment was bought, and stacks of music appeared throughout houses. Below you will find the end of the year lists of music-related obsessions for 2011.

Anita Papsmear

Top 30 CDs of 2011 (and 10 Honorable Mentions!)

There was a lot of great music that came out this year, from long-time musical icons to up-and-coming artists. 2011 did not disappoint. Here’s a list of what I listened to this year—in no particular order! Enjoy!

1. Junip, Fields (Mute).

I cannot tell you this is my favorite CD of 2011, but I cannot tell you it isn’t either. It is an incredible CD from start to finish with stark yet luscious songs.

2. Cults, Cults (Columbia).

Classified as noise pop, this band hails from NYC. It is so catchy it should come with a warning label. A perfect mix of indie pop and 50s girl-band vocals, it is a delightful CD.

3. Sleeper Agent, Celebrasion (Death Panda).

A veritable popsicle of rock and roll, you’ll love every minute of it listening to this. It will leave you smacking the sugar pop delight off your lips!

4. Beirut, The Riptide (Pompeii Records).

Simple and beautiful.

5. Eddie Vedder, Ukelele Songs (Universal Motown).

It was time.... Perfect.

6. M83, Hurry Up, We’re Dreaming (Mute).

A double disc release of pure chillwave treasures.

7. The Records, de Fauna et Flora (Foolica).

An Italian band that managed to get every song on this disc right, although with their obvious talent, it probably wasn’t that difficult.

8. The Black Lips, Arabia Mountain (Vice).

This CD is a bit more polished than their previous releases, but despite this fact (long-time fans may not like the Pledge polish), this is one of their best releases so far. Punk rock power can wave its flag of pride once again.

9. Zenith Myth, Zenith Myth (Vibra Cobra).

Epic and lush, it’s rock and roll for stoners. Me likey!

10. Washed Out, Within and Without (Sub Pop).

Lush soundscapes, layered over beautiful melodies—the best chillwave CD out there.

11. The Twilight Singers, Dynamite Steps (Sub Pop).

Always a great disc when Greg Dulli and Mark Lanagen are involved. The tunes on their latest disc are a bit smoother than their other releases but a nice change.

12. Motopony, Motopony (Tiny Ogre).

A Seattle, Washington band with a 70s southern rock sound (or, Folkadelic Rock for you genre-ists), this is a fun and infectious debut release. I dare you to stay still while listening to “Seer.”

13. Still Corners, Creatures of An Hour (Sub Pop).

This CD is incredible—full of haunting, ethereal tunes with purpose.

14. The Vaccines, What Did You Expect From The Vaccines (Columbia).

Great.

15. Primus, Green Naugahyde (Prawn Song).

This CD has everything Primus fans have loved for years about this amazing band and, in particular, Mr. Les. Not only will fans be happy, this is a strong enough release to win over the hearts of those who may not be familiar—if those people even exist.

16. The Orb, C Battery C (Malicious Damage).

A very strong release from the ambient gods. A very fine disc that The Orb can proudly add to their repertoire.

17. Grace Jones, Hurricane (Pias America).

An amazing double CD release. The first CD contains the regular version of the songs and the second disc has all the dub versions of the songs. This is a great collection of tunes, and her voice is as strong and clear and tantalizing as ever—great lyrics too.

18. Vetiver, The Errant Charm (Sub Pop).

Slip this disc in your player and it will bring a smooth, warm breeze to any chilly day. After you reach the end of this CD, I am willing to bet you $10 bucks that you go for the repeat button.

19. Shriekback, Life in the Loading Bay (Malicious Damage).

I was extremely happy to hear something new from Shriekback. Too bad the best songs on the disc aren’t FCC friendly, although the band proves they still have it.

20. Wire, Red Barked Tree (Pinkflag).

Love this band and was so very excited to hear what they’ve been up to! This disc isn’t always FCC friendly (best song can’t be played on-air), but many listeners may not even notice. Hard to resist lyrics when they are this good: “Please take your knife out of my back. And, when you do, please don’t twist it”…. “Fuck off out of my face, you take up too much space. Move, your blocking my view. I’ve seen far too much of you.”

21. Boy With A Fish, I Put My Tongue on the Window (boywithafish.com).

Quirky and a bit different, this is great indie pop.

22. Blitzen Trapper, American Goldwing (Sub Pop).

I have liked every release I have ever heard from this band. This disc is no exception. From mellower, more epic type tunes to fast paced 70s-type rock, there isn’t anything this band cannot do…including putting out a bad CD!

23. Joan As Police Woman, The Deep Field (Play It Again Sam).

I love this CD—it’s a “go to” on Sunday mornings. It effortlessly creams together elements of folk, jazz, and rock into a velvety smooth meringue. Delicious!

24. Adele, 21 (XL).

Nothing needs to be said here.

25. DeVotchka, 100 Lovers (Anti).

This entire CD is perfection. Pound for pound, song for song, simply one of the best CDs released this year.

26. Nitzer Ebb, Industrial Complex (Artists’ Addictions).

Triumphant release by a seminal industrial band—it’s great! They are better than ever!

27. Crocodiles, Sleep Forever (Fat Possum).

This band listened to a lot of Jesus & Mary Chain. It shows and it’s great!

28. Suckerpunch Soundtrack (WaterTower).

Featuring some killer remakes (“Love is the Drug,” “White Rabbit,” etc.), this CD is a great soundtrack through and through. It also has impressive vocal work on a couple of the tunes from the star of the film, Emily Browning.

29. Elbow, Build A Rocket Boys (Polydor UK).

Great release from one of the best bands out there. It isn’t as immediate as some of their other releases but very worthy of a spot on your CD shelf.

30. MOJO Magazine compilation 1-2-3-4! The Roots of The Ramones (MOJO).

Every month MOJO Magazine puts out a zine that includes a CD compilation. In May of 2011, it was a tribute to The Ramones featuring the likes of T. Rex, The Dictators, The Seeds, Suicide, The Shangri-Las—just to name a few. The compilation combines tunes from music artists that The Ramones were influenced by, bands The Ramones influenced, and some of the band member’s favorite tunes. You might be able to back order the comp from the magazine—and you’d have a real gem on your hands.

Honorable Mentions: Wilco, Low, The Decemberists, Kasabian, Blind Pilot, Cage the Elephant, Mogwai, White Lies, Bell X 1, Death Cab For Cutie, and Mr. Glen Campbell.

Worst song of 2011: Toby Keith’s “Red Solo Cup.” My god, it is awful crap.

Class Warrior

Favorite records for 2011

I have been too busy fighting the class war to write reviews lately, but I did have a chance to listen to some music. What a surprise! There are new releases on my list!

(listed by year)

Terrible Feelings, Tied Up and Impending Doom 7”s (2011).

Currently the best punk band in existence. Who would have thought that in 2011 there would be a punk group that has a unique, creative, distinctive sound? This band is from Sweden, where everything is better. If I ever get a chance, I will submit a review of these records. Here’s hoping they 1) tour the United States and 2) release an LP in the near future before the spark fades (as it does for nearly all of us).

Iron Savior, The Landing (2011).

German old-style heavy metal band who wear their early eighties influences (Maiden, Priest, etc.) on their denim-and-leather covered sleeves. Bonus points for having more than one song about heavy metal. One of my goals for 2012 is to make a CD mix of metal songs about either heavy metal or rocking out. Send suggestions to me. Heavy metal never dies!

Swingin’ Utters, Here, Under Protest (2011).

They haven’t missed a beat. As good as their mid-nineties albums. I’m not surprised because they ruled when I saw them in 2007.

Ghost, Opus Eponymous (2010).

Fun, old-style Satan-infused heavy metal done very, very well. Probably not influenced by anything that came out after 1982 or so. From Sweden, of course. Makes me want to grow out a teenage wispy mustache and inscribe inverted pentagrams all over the place. It has (dare I say it?) a pop-ish edge to it. This is the kind of music your minister was worried about when you were a youth. Mercyful Fate without King Diamond? (That would be mercyful.)

Autistic Youth, Idle Minds (2010).

Very good punk rock from Portland. Wipers meets Adolescents.

Articles of Faith, New Normal Catastrophe (2010).

The masters return. Exceeded expectations.

Knugen Faller, Lugna Favoriter (2007).

An “old” one from Sweden that I dug out and listened to a lot this year. They would have been huge if they had lyrics in English, which is a very unfortunate circumstance—needing to sing in English to be popular, that is. There must be some awesome drugs in the water up there that makes so many people form great bands. I hereby declare that Sweden is the best country in the world (per capita) for guitar-based music. Lots of great things can happen when health care is not tied to employment. I need to find a job there.

Scorpions, Deadly Sting: The Mercury Years (1998).

Couldn’t get enough of the Scorpions this year. Even my son joined in—he loves singing “Rock You Like a Hurricane.” I need to listen to their newish one still.

Blyth Power, Alnwick and Tyne (1990).

Absolutely incredible. This is next on my list for review, so I won’t write anything about it right now.

Stormwitch, Walpurgis Night (1985).

I just discovered this German metal gem earlier this year. The song “Priest of Evil” contains perhaps the most heavy metal line ever: “Priest, priest of evil / spits on every crucifix.” It’s like seeing a thousand churches burn down at once.

Top Secret! sountrack (featuring Val Kilmer) (1984).

I finally found this soundtrack after years of searching, so of course it’s part of my top eleven. If you don’t know what Top Secret! is, do yourself a favor and find out. Skeet surfing, anyone?

Dave

Shining, Blackjazz (2010).

This Norwegian industrial metal group infused new life into the genre with their debut release. I haven’t heard an industrial album with this level of musicianship since KMFDM at the height of their career. There are some really intense moments of free jazz experimentation that are harsh on the ears, but overall this is a very interesting listen for the extreme music fan.

Anthrax, Worship Music (2011).

Joey comes back, the energy level is doubled and Anthrax is a really fun band again. It just goes to show that what makes Anthrax great is relentless energy without the grimmer aesthetics of a lot of modern bands.

Primus, Green Naugahyde (2011).

Those twisted bastards are back and I love it! The thing I really like about this record is that Claypool has taken a bit of a step back to let other members of the band step up and add their own flavor to the songs. I really like Larry Lalonde’s playing on this album. Overall they go back to psychedelic funk rock and actually playing as a band, not the Les Claypool show, which is great!

Jimmy (Explosive Diarrhea) B.

These shows and records are in no particular order.

Shows: I attended more shows in 2011 than in any year in my middle-aged life.

MerleFest: In May I attended MerleFest with SoDak. Over the last few years, I have been getting increasingly interested in Americana and Bluegrass music. MerleFest was well organized, had great sound, and the focus of the entire town was music rather than trying to drain attendees of their life savings.

Mudhoney: Dave and I went to see Mudhoney at Dantes in Portland, OR. After sitting through one of the worst opening acts I have ever had the misfortune of hearing, I was rewarded with the brilliance of Mudhoney. I have been a fan of theirs for most of a decade, but was unexpectedly blown away by their live show. Holy shit their bass player can rip it up!

The Black Angels: Perhaps the most surprising show of the year was the Black Angels at The Wonder Ballroom in Portland. I am the type of concert goer who shoves his hands in his pockets and bobs along to the beat. I never dance, but the Black Angels had me bouncing.

Meat Puppets: How the fuck have I managed to miss the phenomenon known as The Meat Puppets? 2011 was the year of the Meat Puppets. I saw them at the Doug Fir in Portland. Wow! I am now obsessed with this band.

Records:

Brown Bird, Salt for Salt (2011).

I took the family to see The Devil Makes Three, expecting to be blown away by a damn fine established Bluegrass band. But, it was the show’s opener, Brown Bird, which really caught my attention. They are a two piece that sounds like a four piece. If you like Iron and Wine or Dirty Three, you will love Brown Bird.

Across Tundras, Western Sky Ride (2008).

In 2011, I purchased the entire Across Tundras catalog. I knew one of them would make this list; all their records are awesome, so it was a difficult choice. I chose Western Sky Ride, because it is the best example of their sound and vibe—which are totally unique and difficult to explain. Across Tundras’ music has a metal feel, but it is also wonderfully melancholy, much like a spaghetti western soundtrack.

Harvestman, In a Dark Tongue (2009).

Truthfully, I don’t know what it is about this record that I love so much. It is stripped down, not flashy, and the musicianship is merely adequate. But there is something about it—perhaps it is my old friend melancholy.

Jerry Reed, Koko Joe (1971).

Until a few years ago, all I knew about Jerry Reed is that he played Cledus Snow in Smoky and the Bandit. SoDak loves this guy, so I thought, “what the fuck, I will give it a shot.” Reed is awesome. He can croon, he can get dirty, and he is one of the great guitar players.

The Meads of Asphodel, The Murder of Christ the Jew (2010).

The Meads have become one of my favorite metal (or is it punk metal) bands. The Murder of Christ the Jew is their best record to date. Everything came together on this one, the production is good, the composition is good, and the lyrics and creativity are awesome.

Wrack, Graveyard Poetry (2009).

An amazing, but unknown, jazz metal band, known as The Mass, called it quits a few years ago. Their drummer, Tyler Cox, embarked on a solo project titled Wrack. Wrack has a sound loaded with despair. If you like music with a depressing vibe, check out Wrack. Here is a link: http://wrack.bandcamp.com/album/graveyard.

The Black Heart Procession, Six (2009).

The Black Heart Procession was a 2011 discovery. I have picked up several of their albums, and I could have listed any one of them here. I decided on Six; it was the first one I bought, and the album I know the best. Six is, you guessed it, dark and dreary. If you are a fan of Low, you will love The Black Heart Procession.

Meat Puppets, Lollipop (2011).

Awesome, awesome, awesome!

Munly, Munly and the Lee Lewis Harlots (2004).

I must have been depressed in 2011. Nearly all of the albums I was smitten with in 2011 were depressing. Munly is no exception. The record has a weird mix of bluegrass (usually a happy up tempo music) and goth lyrical content. It is strange, but brilliant. I met Munly at a Slim Cessna’s Auto Club show, a few months ago. I found him to be polite, refreshingly blunt, and interested in his fans, but the man comes across as haunted, or perhaps he is just odd. If I had numbered my best of 2011 records, Munly would probably be at the top of the list. You MUST get this record.

Kloghole

1. Going on a music binge with Jimmy (Explosive Diarrhea) B. I had so much shit, I had to put back some Saxon I already had on cassette. Pity! Thanx for showing me and the missus a good time!

2. James McMurtry show in St. Louis in March. I bumped into him in the lobby of the hotel after his show. We exchanged pleasantries about the fucked up elevator that had no numbers in the fucking thing. I then pointed him in the direction of a late night bar.

3. Seeing Testament and Death Angel. Testament still rocks, and I was seeing Death Angel for the first time. Anthrax was not half bad.

4. That is about fucking it. It has been a couple of fucked up years personally and musically. My rage is deteriorating into a generalized pissyness regarding every little fucking thing. I am so fucking don’t-give-a-shit that it’s been almost a year since something provoked my rage enough to poke a fucking hole in the basement wall, or post a fucking music review. All I can manage now is a muttered “fuck it” and a defeated plop into my recliner. For the depths of my despondency, see #3 under my Festivus Grievances.

Null

Top 16 of 2011

1. The Joy Formidable, The Big Roar (Atlantic 2011).

They are some sort of mystic force that permeates the scenes with beauty, mystery, and mountains of swirling majestic guitars. Stunning. The music The Joy Formidable make is uplifting and menacing, full of love, hope, and loss. This album also contains the best song of 2011; “Whirring.” It is a seven-minute epic that will make one laugh, cry, and finally jump out the window when the Iron Maiden double bass drum kicks in at the end. Just when you think the song is about to end, it simply jumps to a new level of fucking rockin’ beauty. This band could be the soundtrack to Pangaea breaking up, or falling in love. In truth, it is both.

2. Motörhead, “Get Back In Line” Video (UDR 2011).

This is the best video of 2011. Lemmy and the boys not only expose the death machine of Wall Street for what it really is but also give the capitalist tycoons what they deserve: a royal ass kicking. Sometimes the truth manifests in unlikely places.

3. Willie Nelson, Spirit (Island 1996).

Though this album was released sixteen years ago, it was only this year that I discovered this quintessential Willie Nelson record. His voice and guitar playing are delicate and filled with age-old wisdom. Stunning.

4. Pink Floyd, Relics (Capital 1971).

This album is a collection of singles and B-sides, which illustrate the move from Syd Barrett’s absurd little ditties to the creepy dark ambience that followed. It also rocks in a very uncharacteristic way. I can play this album over and over again and it never seems to get old. It’s like being drugged and lost in the English countryside.

5. Cannibal Corpse, Global Evisceration DVD (Metal Blade 2011).

I don’t even care about the horrifically grotesque lyrics anymore. From the extensive backstage and bonus features on this DVD I fell in love with Cannibal Corpse as human beings, whether they are longing for their wives and children at home or simply throwing cheese at windows out of boredom on a train in Russia.

6. Pearl Jam, Twenty DVD (Vinyl Films 2011).

It was nice to watch this documentary on one of the best rock bands of this generation. They created their best work only after people stopped paying attention.

7. Malignus Youth, Ephemeral / Missa Brevis LP (Youth- Ink 1998).

Out of print forever, I have been trying to get my hands on this record for years. It was only this year that I finally completed my Malignus Youth collection by downloading this album from somebody’s blog. Unfortunately, the lyrics contain some Christian overtones. That was disappointing. Yet, to hear this amazing hardcore band deliver a Catholic mass, “Missa Brevis,” at the end of the album is fucking epic. It sounds like a two disc prog-rock album condensed into seven minutes. It is even sung in Latin. Brilliant.

8. OFF!, First Four EPs (Vice 2010).

Smart. Fast. Short. Does not placate. These old-timers show how it is done. (See review on this site)

9. Blood Ceremony, Living With The Ancients (Metal Blade 2011).

One could say that these Canadian rockers are a bit contrived but who gives a shit. Every time I spin this album I am happy. Apparently a group of Canadians locked themselves in a dungeon and listened to Black Sabbath for years. When the dungeon doors opened Blood Ceremony was unleashed upon the world. They are the children of Black Sabbath with female vocals and the occasional flute which conjures images of Jethro Tull and pagans dancing naked in the woods. Sounds like it was recorded in the 1970s. Awesome. Slow and heavy.

10. Jefferson Airplane / Jefferson Starship

I have always loved Jefferson Airplane. They were kinda like a punk rock Grateful Dead. While completing my collection this year, I wandered far too deep into the Jefferson Starship years, something I said I would never do. Some are great and some are not. Near the end I just had to stop listening as I lost any notion of critique and sat in the corner crying, as I had forgotten my own name.

11. The Smiths, The Complete Smiths Box Set (Rhino 2011).

Miniature facsimiles of the original vinyl LPs released by one of the greatest bands in recorded history. The Smiths were the masters of subversive pop. The lyrics and mastery of their instruments will never be undermined. If it weren’t for The Smiths, I would have killed myself in high school.

12. Nausea, The Punk Terrorist Anthology Vol. One (Alternative Tentacles 2010).

This is not for everyone. Uncompromising “crust-punk” with incredible, intelligent radical lyrics and I am a sucker for shared male/female vocals. This album lit a fire under my puck rock ass and reminded me that a better world is possible.

13. La Traviata Live Opera DVD featuring Anna Netrebko (Deutsche Grammophon 2006).

I have loved Anna Netrebko for years. The big wigs and outlandish costumes and tropes of opera are put aside for this brilliant live performance, replaced with a minimalist stage and color scheme of white, blue, black, and red, allowing the audience to better appreciate the music and story of this Verdi classic. The optional subtitles are helpful too. However, to witness Anna Netrbko in action is awe inspiring. She stands in miniature on a giant empty stage as her voice echoes through the theater. It is incredibly beautiful for the eyes and ears. Baffled, I keep muttering to myself, “That is a human being doing that…a human being!”

14. Motörhead, The World Is Yours (UDR 2011).

This was the first Motorhead album I was really able to connect with. Love it. I get it now.

15. Lemmy: 49% Motherfucker, 51% Son Of A Bitch DVD (Red General 2011).

Whether you like Motörhead or not, you should see this documentary about Motörhead’s notorious and complex front man: Lemmy. It is surprisingly touching and sad, funny and inspiring.

16. Noel Gallagher’s High Flying Birds, Noel Gallagher’s High Flying Birds (Sour Mash 2011).

The best thing Noel ever did was get rid of his idiot brother. It is not surprising that many of these songs are Beatles and Kinks hybrids but, I mean, what did you expect? What we have here is an album that is surprisingly beautiful and tender at moments. Love and loss. It appears that, now in his 40’s, “big brother” has decided to grow up. A little. Also, in accordance with my grievances for this year, some of the Bonus Tracks and iTune only tracks are some of the best. Bloody Bastards. Bullocks. Tossers.

Unexplained Happenings of 2011

I keep listening to Rihanna. Direct all questions to SoDak.

Plainzero

(coming soon)

Scott

Favorite records this year, followed by top five concerts.

Records, in no particular order:

Ryan Adams, Ashes and Fire (2011).

He’s at his best working in folk and alt-country, and this new one proves it yet again. Song: “Lucky Now.”

Keelhaul, Triumphant Return to Obscurity (2009).

I had never heard of Keelhaul until Dave’s glowing review of this album last year, so I picked it up and spent the better part of 2011 blasting it. It’s technical and complex but still somehow loose and raw. Song: “El Matador.”

Bruce Cockburn, Small Source of Comfort (2011).

Cockburn’s been releasing albums for over 40 years, and this, his newest, is as good as anything else he’s done. The instrumental songs are particularly mesmerizing. Song: “Boundless.”

Ted Leo, Shake the Sheets (2004).

I’ve owned this album for a year or two and sort of liked it, but it never really clicked with me until this year. And man, it clicked, so I picked up the rest of his catalog (as a solo artist), and although there’s a lot of great stuff, this one remains my favorite. Song: “Counting Down the Hours.”

Motörhead, The Wörld Is Yours (2010).

Motörhead fucking rules. This album fucking rules. That’s all. Song: “Born to Lose.”

Gillian Welch, The Harrow and the Harvest (2010).

This might be her strongest album yet, which is saying a lot. I guess eight years for a new release was worth the wait. Song: “Hard Times.”

Revocation, Chaos of Forms (2011) and Existence Is Futile (2009).

I’m including both because I just got into this band this year, and both albums smoke. Fantastic guitar work that seems familiar and new at the same time, and really well executed. After a few listens, you also realize how well the songs are written. Song: “Deathonomics.”

Johnny Cash, American Recordings series (1994-2010).

I had one of these albums and at SoDak’s suggestion I picked up the rest, including the Unearthed boxset, which has unreleased songs and alternate takes. The government should issue a set of these to everyone living in the United States. Goddamn. Song (almost impossible to choose but what the fuck, it’s my favorite Sting song): “I Hung My Head.”

Patti Smith, Just Kids (2010).

I wanted to include a book on here, and, like Patti Smith’s music, this one is mostly good, occasionally brilliant, and often pretentious. But it’s very moving and well worth the read, regardless of whether you’re a Patti Smith fan or not.

Cynic, Carbon-Based Anatomy (2011).

This is just an EP, and only three of the six tracks are “real” songs (the others are atmospheric interludes, I guess), but it’s still going in my top ten. Cynic moves even further away from their death metal roots, and it works. Song: “Box Up My Bones.”

And here are my top 5 concerts.

I saw a lot of great shows this year, and a few more should probably be on here, like the Judas Priest “farewell” concert or Jay Farrar. Gillian Welch deserves a special mention for two of the greatest performances I have ever seen anywhere, a “Revelator” that was fucking electrifying (thanks to David Rawlings’s guitar solo) and a “Hard Times” that literally made me cry a little bit.

Brendan Perry - Mixed in some Dead Can Dance tunes with his newer solo stuff; I was depressed the place was only 3/4s full, if that. A totally underappreciated artist.

Bruce Cockburn - Saw two intimate shows back to back, reminded me of why, if I had to name a favorite artist, it would probably be Cockburn. Slightly awkward when I met him afterwards and showed him some of his lyrics I have tattooed on my arm, and realized how crazy I seemed—but he was very nice about it, until I asked for a lock of his hair.

Opeth/Katatonia - Never saw the latter before despite being a big fan; they were great. Have seen the former at least every time they came through NYC/NJ for about 10 years (plus some other random shows), but this was the first time seeing the “post-death metal” Opeth. Still one of the fucking greatest bands alive, although I do miss the growls.

Cynic - A special (one of a kind?) acoustic performance by Paul Masvidal and Sean Reinert in a tiny bar packed full of metal nerds. Played the new stuff from EP and two other songs, so it was a quick but very memorable set. I was lucky to catch it.

Billy Bragg - Just him and a guitar. Thought I would enjoy the show but was surprised by how much I did. Sent me back to the Billy Bragg catalog for a couple of days (and he revealed that Mermaid Ave III, another installment of the Woody Guthrie-derived album series with Wilco, is coming in 2012).

SoDak

I still have boxes filled with CDs and records that I picked up, but have not listened to, this year. I would like to go on a long road trip in order to listen to this music. Nevertheless, I devoted countless hours listening to new music and rediscovering past favorites. My list is in no particular order.

Records:

Dolorean, The Unfazed (2011).

I saw Dolerean play in Eugene, OR many years ago. His songs swirl my head. The Unfazed might be the best record yet by this artist. Stand out tracks include: “Fools Gold Ring” and “If I Find Love.”

Crooked Fingers, Breaks in the Armor (2011).

Crooked Fingers includes Eric Bachmann of Archers of Loaf fame. Most of the Crooked Fingers records are great. His solo record, To the Races was captivating, especially the songs “Carrboro Woman” and “Man O’War.” I am not sure what it is about his voice, but he has hooked me. I am drawn to him. “Typhoon,” on Breaks in the Armor, is a great track.

Dawes, Nothing Is Wrong (2011).

I picked up this record this summer, but I did not listen to it until October. I was driving down the Blue Ridge Parkway and decided to give this record a chance. The songs made the curves in the road easy, as I marveled at the bounty of colors as the leaves were changing. There is a distinct warmth to this record that reminds me of country-rock from the 1970s. It is a gentle record.

J Mascis, Several Shades of Why (2011).

I go through bouts where I really do not want to hear anything by Dinosaur Jr. Other times, it is exactly what I need. An old girlfriend was obsessed with Dinosaur Jr., and I have found memories of listening to this band. This year J. Mascis put out a solo record that is absolutely wonderful. An acoustic guitar and his voice are the main focus here. Some songs include his signature electric guitar solos that drift over the rhythm. I get lost in the record. It is a good record for a rainy day.

Black Lips, Arabia Mountain (2011).

I bought this record by mistake. I thought I grabbed a different CD. I am glad that I made this error and still decided to give it a listen. This record is filled with catchy rock songs that incorporate influences from the 1950s, 60s, and 70s. I love the psychedelic sound of the record. It rocks and makes me dance around the house.

Jason Isbell and the 400 Unit, Here We Rest (2011).

Jason Isbell wrote superb songs while he was in the Drive-By Truckers. I did not like his first two solo records following his departure from the aforementioned band. However, his new record pleasantly surprised me. Last year, Scott mentioned that some of the new songs that Jason played at a show were outstanding. He was right. “Alabama Pines” and “Codeine” are great fuckin’ songs. This is a good record. I would only delete three songs, “The Ballad of Nobeard,” “Never Could Believe,” and “Heart On a String.”

Jethro Tull, Aqualung, fortieth anniversary edition (1971, newly remastered 2011).

Yes, a classic record. I have always been a casual listener. My partner used to listen to Heavy Horses quite a bit, and Jimmy (Explosive Diarrhea) B. loves this band. So when the fortieth anniversary edition of Aqualung was released this year, I decided to give this record a closer listen. The CD remained in the stereo for several weeks. I could not get enough of it. I played it over and over. The sound is incredible. The guitars, bass, drums, and flute sound great, especially when played loud. The concept of the record is delightful in its critique of religion. I love the heavy guitar crunch that erupts every now and then on some of the songs. This new edition has an extra disc, which includes longer versions of a couple of the short songs on Aqualung.

Motörhead, The Wörld Is Yours (2010).

Solid record. Fuckin’ love it. The video for “Get Back In Line” is awesome. It is one of the few music videos that I even like.

Two Cow Garage, Sweet Saint Me (2010).

I have been a fan of Two Cow Garage for a long time. I saw them play many years ago in Oregon. Finally picked up their latest record. They get better and better. While distinct, they fit well with Lucero and the Replacements, on days when I am in the mood for dirty, raspy rock and roll. They do a good job mixing things up, as the rocking songs kick ass and the ballads break your fuckin’ heart in all the right ways. Lately, I have been hooked on the songs “My Great Gatsby” and “Soundtrack to My Summer.”

Primus, Green Naugahyde (2011).

I saw Primus when they were the opening act for Jane’s Addiction in 1990. Always thought they were interesting, but it has taken a long time for me to fully embrace them. I am hooked, many years late, I know. But it is great to have a band making such a good record after all of these years. Plus, I have to love a band with a song called: “Lee Van Cleef.” Here’s to Angel Eyes.

Wire, Red Barked Tree (2011).

While I liked their early punk rock records, I have become a bigger fan of their most recent records.

Alice Donut (their entire fuckin’ catalog).

I saw Alice Donut around 1990. They were good. But I never spent any time listening to them. Null has continued to praise them for years. He sent copies of their records. I fell in love with their dark, demented songs—which are also filled with lots of heart and humanity. I then purchased all of their records over the last couple of years. Each year, I find that I spend more time listening to them. They continue to intrigue me, given their complicated songs. They are definitely a band that you have to spend time with, digesting the bountiful feast that is served.

The Bomb, Speed Is Everything (2009).

Jeff Pezzati from Naked Raygun in the vocalist in The Bomb. I liked the previous record by The Bomb, but Speed Is Everything is much better. It is solid, melodic punk rock. As the record progresses, it gets better and is filled with more catchy and powerful songs. There is a good mix of fast punk rock songs with slow tunes. I love the songs “Spaceman” and “A Song for Helenas.”

Report Suspicious Activity, Destroy All Evidence (2008) and Report Suspicious Activity (2005).

This past year, I finally picked up the two records by Report Suspicious Activity, a band that includes Vic Bondi (from Articles of Faith) and J. Robbins (from Jawbox). I was not disappointed. Report Suspicious Activity play angry, politically charged punk rock. Hearing Vic Bondi holler sends chills down my spine. I get excited and want to start a band. There are also a few good acoustic tracks included on these records that add an interesting variation and more depth to the collection of songs.

Ghost, Opus Eponymous (2010).

I had been curious about this record. Then one day, Null called me and told me that I had to get this record. He was enthralled by the classic metal sound with the very melodic vocals. He was right. Ghost has a classic sound that still sounds fresh. I love the song: “Ritual.” This record includes lots of songs about Satan. Raise the Devil horns, my friends.

Concerts/Shows: Below I list only a few of the standouts shows.

Motörhead. Finally had a chance to see Motörhead with my friend Critter. Of course, it was loud. What? I said it was loud. But it was awesome. It was a night filled with great songs by a band that seems to love playing music.

June Star. I saw June Star play a couple times in Chapel Hill, NC, in a shitty little bar. June Star consistently puts out great Americana records. Andrew Grimm is a terrific songwriter and a very cool person. Check them out.

Mike Watt. Mike Watt is an amazing bass player. I stood at the front of the stage and watched his three-piece band knock out Watt’s most recent rock opera. Sweat was flying and I had a huge smile, enjoying every moment.

Bottlerockets. I saw the Bottlerockets open for Lucinda Williams in the late 1990s. They were incredible and I wish they played a longer set. This year I saw them play again. They definitely knock out the tunes, playing a lot of songs in one show. They did not take time between songs to change guitars or tunings. It was straight ahead rock and roll with twang. Wonderful.

Judas Priest. I was supposed to attend this show with Kloghole, but he was not able to join me. My partner and I went to the show. Thin Lizzy were forgettable. Black Label Society was horrible. But Judas Priest was awesome. The crowd was very cool, singing along throughout the whole show. The band played a song from almost every album. The new guitar player was good.

Merlefest (tons of artists, including Jerry Douglas, Peter Rowan, Lyle Lovett, Sam Bush, and Tony Rice). Jimmy (Explosive Diarrhea) B. and I spent a couple days at this festival in western North Carolina. I was very impressed with the organization of the festival and the variety of stages. We saw a lot of good music. Both of us ended up with nasty sunburns. But we were quite happy with the music, minus the Doobie Brothers.

Sam Baker/Jon Dee Graham. This year, I finally saw Sam Baker and Jon Dee Graham, two amazing songwriters. During this show they took turns playing songs. The show was very spontaneous, given the lively banter between them as well as with the crowd. They told great stories between songs. Their performances were wonderful.

Joy Formidable. Null has been praising this band all year. I was fortunate to see them play, arriving at the venue just before they took the stage. The drummer was fuckin’ unbelievable. They put on a high-energy performance. I am still singing songs from the show, even though it was a couple months ago.

Tinariwen. I was pissed that I missed Tinariwen perform last year. Fortunately, I saw them play this year. The two main front men took turns leading the band throughout th night. The band was engaging and powerful. No one in the crown was standing still, as the music was infections causing everyone to bounce around, smiling.