2014 Music Obsessions

Below, you will find our end of the year lists of music-related obsessions for 2014.

Anita Papsmear:

The first 10 CDs are in a specific order. This year, my top CDs were chosen via the  number of songs on each disc that rated 4.5-5 smears (with a 1 out of 5 rating scale,  5 being the best).

1. Ex Hex, Rips (Merge). No rocket science behind these tunes but this CD makes me happy from beginning to end—pure punk-power pop. 
2. Black Lips, Underneath The Rainbow (Vice). I love this band and gobble up every release. This is their most accessible CD to date. I love it. Black Lips dance the line of funny and serious. I hear their live show is do not miss. Maybe in 2015 I can convince them to play live at my pool party. I have a feeling they’d be fun at a party.
3. Ty Segall, Manipulator (Drag City). Pretty perfect CD. Every song is solid and affable. Love it.
4. The Wytches, Annabel Dream Reader (Patisan). The Wytches unearthed a dark portal of gothic rock principles and took them to their bloody hearts. This CD would be a perfect soundtrack to a dark ride in a bumpy forest.
5. Temples, Sun Structures (Fat Possum). Temples brand of Zombies loving 70s psychedelia rock is like the coming of the new musical dawn. They aren’t merely regurgitating some familiar sound, they have transformed the sound into their own. It’s an amazing disc that bathes you in a warm magical mist.
6. Dum Dum Girls, Too True (Sub Pop). I love the Dum Dum Girls. I have never been disappointed in any of their CDs. Too True shines with smooth songwriting and catchy tunes.
7. Band Of Skulls, Himilayan (+180 Records). Formed in 2008, Band Of Skulls’ 2014 release continues a most excellent streak of solid releases. I love them and every thing they do. This band rules.
8. The Horrors, Luminous (XL Recordings). A beautiful release from this band. Luminous basks in ambient/psychedelic themes that transport the listener to a rainbow of musical colors.
9. Allah-Las. Worship The Sun (Innovative). Love this disc—catchy and fun with some good songwriting.
10. Lana Del Rey, Ultraviolence (Polydor). This is such a solid disc. Lana’s songwriting continues to mature, the melodies are heavenly and she collaborated with the one and only Dan Auerbach  on this one. Win-win-win. 

The rest are in no particular order—just some of the best tunes/CDs I found this year.

Merchandise, After The End (4AD).

Lia Ices, Ices (Jagjaguwar).

The War On Drugs, Lost In The Dream (Secretly Canadian).

The Pack A.D., Do Not Engage (Nettwerk).

First Aid Kit, Stay Gold (Columbia).

Death From Above 1979, The Physical World (Last Gang).

Kasabian, 48:13 (Harvest).

Pink Mountaintops, Get Back (Jagjaguwar).

Liars, Mess (Mute).

Pete Molinari, Theosophy (Ingrooves).

Spoon, They Want My Soul (Republic/Loma Vista).

Tom Petty, Hypnotic Eye (WB).

Damon Albarn, Everyday Robots (Parlophone).

The Faint, Doom Abuse (SQE).

Broncho, Just Enough Hip To Be Woman (Dine Alone).

Brody Dalle, Diploid Love (Brody Dalle).

Solids, Blame Confusion (Fat Possum).

Bob Mould, Beauty & Ruin (Merge).

Breakout Artist/CD of 2014: Goat, Commune (Sub Pop).

Best song of 2014: Should, “Amends” from The Great Pretend (Sunday Service).

Decent comeback CD: Peter Murphy, Lion (Nettwerk).

Best EP: Broods, Broods (Capitol).

Best Compilation of 2014: Made In Iceland VII (IMX)

Class Warrior:

As usual, these are the albums I listened to and/or enjoyed the most this year. Some are new to me. Some are old favorites that I want to bring to our collective attention. Here it goes.

Judas Priest, Redeemer of Souls (2014).

PRIEST IS BACK! After Nostradamus, their ill-fated concept album from 2008 (has it been that long? Time fucking flies!), I had little hope of ever hearing a good song from this band ever again. They showed me. This is no-bullshit traditional metal—the sound that Priest created thirty-plus years ago, mixed with a huge dash of Painkiller-era hardness. I find that each listen brings slightly diminishing returns, but it starts at such a high level that this shouldn’t concern you. Go buy it. It’s their best album since they reunited a decade ago.

Beach Day, Trip Trap Attack (2013).

Holy shit! Where has this music been all my life? Take every sixties surf, garage, and Spector-type girl groups from the oldies station you grew up listening to, add beautifully strong female vocals, plop in some great, catchy melodies, and hit puree on your music blender. Fuck. I love this band. I am in love with this band. The songs are as catchy as a sticky fly trap. Double-tap, single-tap drums. The surf beat. The heart beat. There’s just the barest hint of grit to this that increases the appeal. The lightest touch from the finest sandpaper. I love this. Did I say that already? It’s the album of 2014 for me, even though it came out last year. It will put a smile on your face. Who wouldn’t want that?

Beach Day, Native Echoes (2014).

I haven’t listened to this one nearly as much as the above album, but it’s in the same vein. Maybe I will tell you more later!

TV Smith, I Delete (2014).

The guy from first-wave English punk band The Adverts is still playing music! Well, he never stopped playing. I’ll bet you did not know this. Whether you cared is another matter entirely. I will try to convince you to care. This is passionate, intelligent, poetic punk/rock. The first song “Replay” (linked below) will get stuck in your head for days. This is just the latest album of his long career—they’re hard to get in the United States, but not impossible. This is my second favorite album for 2014. If you are intrigued, BBC filmed a short (but fascinating) documentary about Smith. I’ve included a link to it here!

White Lung, Deep Fantasy (2014) and Sorry (2012).

Wow. This Vancouver, BC band kicks serious ass. All fast, all punk rock. The drummer knows only one pace. I would say it is inspired by early 80s Southern California bands, except there’s more melody here. Singer Mish sounds to me like she’s somewhere between Mia Zapata of the Gits and…would you believe Stevie Nicks? Apparently Mish has a fascination with the Fleetwood Mac member—their facebook page said so. I can hear it. Check out these records if you’re one of those assholes who thinks punk is dead.

The Oath, The Oath (2014).

I like my doom metal with sung vocals, not stoned Cookie Monster growls. This band delivers. Straight-ahead traditional doom with clean female singing. I enjoyed this, but I had a hard time making it through the whole CD.

Pallbearer, Foundations of Burden (2014).

Jimmy B gave me the first record from these doom metal dudes. Rad. The long songs test my patience a bit—this is one of the drawbacks of listening to so much punk rock—but they are worth it. I’ll have to take this with me when I go to Washington state soon and listen to it while I smoke some Legal.

Cartouche, Bread and Roses (2014).

French punk done right. One might say that this is a contradiction in terms—there is no way to create good French punk. Well, that’s close to the truth, but it’s a bit more nuanced than that. Some of the first wave of French punk from the seventies is pretty listenable, there’s the Plastic Bertrand song (but he’s from Belgium, so that doesn’t count), I can listen to a Les Thugs album about once a decade, and the obscure nineties band La Fraction had a good song. The French language is just too soft for punk rock. It’s not aggressive enough. Cartouche overcomes this by 1) employing a female vocalist (which is usually enough to win me over) and 2) cranking up the melody along with the guitars. Quite a good effort.

Vampire, Vampire (2014).

The first song begins. It’s raging fast metal—not quite traditional, not quite thrash—I like this. Good riff. Sorta reminds me of one of the faster Venom songs. The singer’s about to start...well, fuck. So much for that. Cookie Monster. I couldn’t take more than five seconds before I stopped the song. If Cookie Monster vocals don’t bother you, if you eat up those vocals like...a cookie, check out this record. Enjoy it for me. I cannot. (As an aside: I cannot imagine any fictional vampire with a gruff Cookie Monster voice. How would they draw in their prey with “grr, grwauouf, huhh huhh bleaurgh?”)

Grand Magus, Triumph and Power (2014).

These Swedes are trying to beat Judas Priest at their own game, and are doing a pretty good job of it! This album isn’t as memorable as Redeemer of Souls, but that doesn’t mean that it is unworthy of our attention. In 2014, it seems that all I can ask of a metal album is that it doesn’t have cookie monster out front.

Wooden Stake, Dungeon Prayers and Tombyard Serenades (2012).

This sounds to me like someone took a doom band and a black metal band, smooshed them together with very large (decomposing) hands, and called it a day. I really like the music, and I love, love, love it when Vanessa sings with her clean vocals. This happens about half the time. The other half she growls out a, well, evil goblin screech that gets on my nerves after a very short while. It’s well done, and I totally appreciate that she can make her voice do that, but damn it, I like her normal voice! The music sounds more evil and corrupted when she sings cleanly. The presence of the evil goblin doesn’t necessarily ruin the album for me, but I wish the band had kicked out the small green howler (if that makes sense).

The Naked and Famous, Passive Me, Aggressive You (2009).

Thanks for the recommendation, Null. I’ve enjoyed the hell out of this record.

Pulp, Different Class (1995).

I had no idea that this album existed. In 1995, and for several years before and after that, I listened to nothing but punk rock. When the song “Common People” passed in front of me early this year, I knew I had found something great. That song is so good that I’ve pretty much ignored the other songs. A dance song about class conflict? Hell yes! “You will never understand how it feels to live your life with no meaning or control.” Indeed. I hate rich people too. This was my favorite new (to me) song that I heard this year. Now I need to listen to the rest of the album.

The Gits, Frenching the Bully (1992).

I gave this record a spin after not listening to it for many years. Still love it. Mia was one of a kind. Punk rock.

Jesus Jones, Doubt (1991).

I listened to Jesus Jones a lot back when I was making the transition from pop music to punk rock. I was almost fully into punk when I discovered this record way back when. I like it still. I put it on the mp3 player and played it a few times while I mowed the lawn this summer. I don’t like “Right Here, Right Now,” but there are other songs here that are pretty enjoyable. When I hear this it takes me back to being a high school junior, which is both lovely and horrifying. Mostly the latter.

Madonna, True Blue (1986) and Like a Virgin (1984).

Let’s throw in the song “Crazy for You” from the Vision Quest soundtrack as well. I needed some melody this summer. Early Madonna delivered and then some. Many of these songs are brilliant. I would understand completely if you refused to listen to these on principle. I was right there with you until this year. I guess my principles are slipping.

Mercyful Fate, Melissa (1983).

This is a classic. I really enjoy these songs. It’s the only record by this band (and, for that matter, by King Diamond) that I like. If you’re not familiar with Melissa, give it a listen sometime. It’s plenty evil for you. Great for road trips, too.

INXS, Shabooh Shoobah (1982).

I have pledged that I will write a full review of this album. Look for it sometime next year. I promise.

The Go-Go’s, Beauty and the Beat (1981?)

You know you like it.

Joy Division, Unknown Pleasures (1979).

This is another classic. Many people mention it as one of their favorite albums of all time. I have tried to appreciate this for a decade, but I’ve never understood the appeal. I think this year I finally got it, at least in part. The turning point came while I was in Portland last March with friends I hadn’t seen in a while. We sat at a large round table at the (vegan) bar swapping vasectomy stories, among other topics I should not mention here. As we were preparing to leave, the first song from this album (“Disorder”) began to play. It was the perfect song to hear as I was surrounded by great friends on a dark, rainy night. Now I like Unknown Pleasures. I think. I haven’t listened to it in a few months, though, because I have to counter it with sun and warmth. It does not go well with winter, especially here in Frozen City. Maybe if I take enough vitamin D... (Edit: I read this a few days after I wrote it. I don’t think what I wrote reflects a proper understanding of Unknown Pleasures. I guess I’m back to not understanding it.)

Dave:

(Is at band practice.)

Five-Inch Taint:

This was another great year in music for me. I was fortunate enough to venture out with SoDak for some great live music. One band, in particular, really shined for me: Diarrhea Planet. Yes, you are probably thinking to yourself how great of a name that is. And, seeing them live may or may not have given me the green apple splatters. For those of you who are interested in some good, fun garage rock Diarrhea Planet is the band to see. Although, they might have one guitarist too many they will literally rock the shit out of you.

This year I also got to have a taste of Riot Fest in Denver. Normally I’m not a huge fan of festivals but I really enjoyed the eclectic mix of music on offer. Unfortunately, the venue had to move from a farm outside of Denver to the parking lot of the old Mile High Stadium (where the Broncos play). There wasn’t much protection from the sun or comfortable places to sit down when my lazy ass got tired, but the music more than made up for any discomfort. Of the many highlights was when NOFX played the entirety of The Decline. The 15-year old me definitely came in his pants. It was a real thrill to see The Buzzcocks perform as I thought I would never get the opportunity. Also, I finally got to see Social Distortion, The Descendents, and All. My lady friend did not enjoy Primus, but she has really bad taste in music, so her opinion is invalid. Overall, the experience was great, if exhausting. Hopefully I will be able to go back next year.

There was so much good music on offer this year. Too much to remember what I actually bought but I will try to give an account of my 10 favorite albums from this year:

10.) The Growlers: Chinese Fountain. Not necessarily the greatest album in the world but they are a tight band that puts on a decent live show.

9.) Old Testament: Old Testament. For those of you that enjoy Dead Meadow, this band (featuring Jason Simon from Dead Meadow) will keep you satisfied.

8.) Spiders: Shake Electric. Some good ol’ fashion rock and roll with lady vox. Like Heart just not as good.

7.) Sons of Huns: Banishment Ritual. Who doesn’t enjoy stoner metal with some great sci-fi themed lyrics?

6.) Pallbearer: Foundations of Burden. The sophomore effort from this Doom metal band will keep you warm on those cold, dark Salt Lake nights.

5.) Old 97’s: Hitchike to Rhome. This reissue comes with 12 previously unreleased tracks. I was not fortunate enough to be able to buy this when it initially came out but am glad that I now have it as part of my collection.

4.) Neil Young: Storytone. Upon first listening, I was fairly lukewarm on this double album. Two CDs with exactly the same songs? Well, the second disc, a mixture of a large orchestra and a big band, really adds depth and emotion to many of the songs. I never thought Neil Young would make any list of mine.

3.) Iron Reagan: The Tyranny of Will. Holy fuck! These guys are incredible. Fast-paced, in-your-face punk rock (with a little thrash thrown in for good measure) with some political lyrics (yet they don’t take themselves too seriously), this band pleases me in a way that not even my lady friend can.

2.) Bloodbath: Grand Morbid Funeral. This is a Swedish death metal supergroup with members from Opeth, Katatonia, and Paradise Lost. I had this album on repeat for at least a month before I could move onto anything else.

1.) Cannibal Corpse: A Skeletal Domain. While not their best album, Cannibal Corpse continues to push the envelope when it comes to technical, yet melodic, death metal. Their riffs would be solos in any other band and “Corpsegrinder” will destroy any who try to keep up with his beefy neck while he headbangs. I will never not have a Cannibal album on my top ten.

A special shout out goes to our friend Jimmy (Explosive Diarrhea) who hooked me up with a sweet set of speakers at a ridiculous price. After scouring the local Salt Lake City classifieds (from afar I might add), he tipped me off to a pair of Advent speakers, which are currently blasting away in my tiny apartment. This has enhanced my musical experience!

Gusty Bellows:

Top Ten 2014

Slint, Spiderland Deluxe Edition (Touch and Go, 2014).

Survival Knife, Loose Power (Fat Possum, 2014).

The Shirts, The Shirts (Harvest, 1978).

Electric Wizard, Time To Die (Spinefarm, 2014).

Liars, Mess (Mute, 2014).

Shellac, Dude Incredible (Touch and Go, 2014).

Solids, Blame Confusion (Fat Possum, 2013).

The Coral, The Curse Of Love (Skeleton Key, 2014)

Oozing Wound, Earth Suck (Thrill Jockey, 2014).

Bob Mould, Beauty & Ruin (Merge, 2014).

Jimmy “Explosive Diarrhea” B:

Funkadelic, Maggot Brain (1971).

I bought this album on a whim. I was looking for a Bill Withers record in the soul/R & B section in a record store, and saw Maggot Brain. I took a chance and ended up with the best album I purchased in 2014. I knew George Clinton’s work from Parliament, which didn’t impress me. Funkadelic has some similarities to Parliament, but Funkadelic is artistically more sincere. The music is a combination of prog rock, soul, and funk.

My favorite uncle, Harley.

In the ‘70s, my uncle lived in a two-room miner’s shack—the home where my mother and her ten siblings grew up—in a small mountain town, now eradicated due to the expansion of a strip mine. I lived in the neighboring town one mile away. I used to hike up the mountain to sit in my uncle’s living room, listen to truck driving songs, admire his record collection, and play with his collection of toy trucks. Harley died in 2014, and the dear man left me his record collection (nearly 1,500 country and western records, not including the 100s of 45s). I can’t imagine anything more personal he could have left me.

Boy George, This Is What I Do (2013).

There is a chance that your jaw just hit the floor at the inclusion of Boy George on a metal head’s year-end list. I am a little shocked at myself for including it for a couple of reasons. First, we are talking about Boy George, a guy I made fun of relentlessly in the ‘80s. Second, the record really isn’t one of the top albums I bought in 2014. I am including it because I am still trying to recover from the shock of how much I like an album by Mr. George. His young high-pitched voice is completely gone; it has been replaced by a rough whiskey-soaked tenor that reminds me a lot of Warren Zevon.

Brown Bird, Fits of Reason (2013).

I have been a fan of Brown Bird for several years now. They were one of the best live acts I had seen. I use past tense, because David Lamb, one-half of the duo, died in 2013. Fits of Reason is likely the last album from Brown Bird—unless there are some songs stashed away someplace. David Lamb had one of the great folk voices. If you liked Iron and Wine, before they started to suck, then go get this album.

CAN

It is entirely Dave’s fault, but I have been buying up CAN albums over the last couple of years, the bulk of which were purchased in 2014. These Germans were deliciously unpredictable. They could sound poppy one minute, and engage in electronic noise the next. There is nobody else who sound like CAN. If you want to check them out, I suggest starting with the album Monster Movie.

Damien Jurado, Brothers and Sisters of the Eternal Son (2014).

I didn’t expect to like this album as much as I do. I heard a couple tracks on the radio, and was impressed enough to go forth and seek out a used copy of the record. Damien Jurado plays melancholy pop. The music contains an element of pysch rock, but somehow the spaced out fuzziness creates a sense of despair that we would expect from bands like Idaho or Low rather than a sense of surrealness. Jurado’s unique voice—I am unable to find the words to describe it—also contributes to the melancholy feel of the music.

Diesto, High as the Sun (2010) and For Water or Blood (2014).

I have known about Diesto for a long time. Dave wrote a review of one of their albums for this blog a few years ago. Somehow their albums never really tickled my taint. I found them to be somewhat generic and dull. That all changed in 2014 when over beers Dave mentioned the confusion he was experiencing about For Water or Blood—was it more of the same from Diesto or something brilliant? I decided to find out for myself. I think these two albums are some of the best doom metal I have heard in a very long time. It is not straight doom; it fluctuates from hard rock to metal to doom. There are even some progish moments on these records. High as the Sun is the better album of the two, but they are both worth tracking down.

King Buzzo, This Machine Kills Artists (2014).

If you are a Melvins fan like me, you may dread the release of a new Melvin’s album while at the same time barely restrain yourself from running out and buying it on the Tuesday morning when the record is released. I don’t have this relationship with any other band, well, maybe a little bit with Novembers Doom. You see, you never know what you are going to get with a Melvin’s record. It could be a barely listenable noise album, or something brilliant. I was skeptical about the new King Buzzo record. I expected something strange and unlistenable. But, I was pleasantly surprised. This Machine Kills Artists is brilliant, and one of the best albums I bought in 2014.

My Graveyard Jaw, Coming Winds (2012).

Should Coming Winds be referred to as a folk or country album? I am leaning toward country, but I won’t argue the point. If you have ever wondered what Tom Waits would sound like as a country singer, you may want to give My Graveyard Jaw a listen (this comparison has limits, the MGJ vocalist has a much better voice than Mr. Waits). This is dark country at its best.

The Tower, The Abundant Leones (2014).

The Tower has catapulted to the top of the list of retro sounding bands in my music collection. They have taken the NWOBHM formula of bands like Witchcraft, Blood Ceremony, and Ghost BC, and incorporated another retro style, early American progressive rock. I am not referring to the prog styling of bands like King Crimson (which is British prog), but more like Captain Beyond and Dust. If you like the new NWOBHM bands, go get The Abundant Leones. You will love it.

Paranaut and Satan Spelled Backwards at Foggy Notion, Portland, OR.

Several years ago, Portland Oregon’s Paranaut broke up, and my desire to trek out to see local bands broke apart at the time. Paranaut was the vehicle by which I got out to see local bands, and Portland has had some good ones over the years (see the reference to Diesto above). In 2014, Paranaut reformed with the inclusion of Tickle Your Taint’s own Dave, and now (when Dave remembers to tell me about gigs) I am once again part of the local music scene. I saw them at a small local club a month ago, with two members from another local band, more on that in a minute. The show was wonderful; I partied like it was 2007.

Two of my motorcycling buddies are in a band called Satan Spelled Backwards (SSB). I saw them play at the same small club/bar, Foggy Notion, as Paranaut. Interestingly two-thirds of SSB went with me to see Paranaut and Dave went with me to see SSB. It is endlessly fascinating to me how local bands can have absolutely amazing musicianship and song writing skills, and be completely unknown. Some of the best musicians I have ever seen were local and playing in small clubs. Satan Spelled Backward has great song writing and a great bass player. His stage presence is reminiscent of the late John Entwhistle. Hopefully the SSB boys will record something soon.

Swans at the Wonder Ballroom, Portland, OR.

The Swans are a strange bunch of doods. I was a little nervous about dishing out money to see them. I expected them to be boring, but a couple of friends insisted it would be great, so I relented. This show turned out to be more than a concert; it was an experience. The band took control of the audience from the opening minute and didn’t let go until the final note died away. Swans may join the Meat Puppets and Nomeansno as a band I will not miss when they pass within easy driving distance.

Some other memorable shows:

DOA with a bunch of Taint Ticklers, Meat Puppets, Tinariwen, and Peter Buck

Kloghole:

This list will be a short one. I have only added two discs from 2014 to my collection.

1. Overkill, White Devil Armory.

Not a big departure from their latest sound. I love everything Overkill, but these days, I have not taken the time to just sit down and really listen to my albums. To be honest, I could not even rank it relative to their other body of work. Lame, I know. You would think that I would have the time to listen to two new albums, but I am one seriously useless motherfucker this year.

2. Ronnie James Dio: This is Your Life.

A tribute album with some good contributions from folks like Doro, Halestorm, and Dio’s closing song. There are 3-butt-nugget-worthy songs such as Metallica’s typical mangling of the genre and Halford’s pathetically limp interpretation of “Man on Silver Mountain” (Halford’s rendition here reminds me of Blaze Bailey’s Iron Maiden attempts—a great voice castrated). I would suggest steering clear of this one unless you have a partner who loves anything Dio, which is how this one ended up in my collection.

Other than that, I was able to pick up a few albums on my trip to Portland in March.  Some highlights from that stack include:

3. The Sword, Age of Winters (2006) and Warp Riders (2010).

I finally got over my bias against Sword for their painful lack of ingenuity for adding “The” to the name of my beloved Sword.

4. Waylon Jennings, Going Down Rockin’ (2012).

Not bad. I dig pretty much everything Waylon, but this is not where I would suggest someone start their collection.

5. Trouble, The Distortion Field (2013).

Still has the signature guitar sound, but I do not recall getting the same chills as their earlier albums. New singer is an obvious change, but it does not turn me off to the album.

6. James McMurtry, Saint Mary of the Woods (2002).

Since my friend took me to a show in St. Louis, I fell head over heels for this dude. I actually bumped into him in the hotel after the show. We joked about the elevators that require a room key to operate, and then I pointed him to a late night pub. “Choctaw Bingo” is on this one, but I prefer the live version. You cannot go wrong with this guy. Great stories and hooky guitar work. He has kind of a talking singing style, so if that turns you off, your loss.

7. Saxon, Saxon (1979).

Good shit. Enough said.

8. Havok, Unnatural Selection (2013).

Love these little dudes. Nice throwback metal sound. I met up with Cheezus at a Havok/Skeletonwich show. After the show, Cheezus wandered through the green room to grab a beer, and we found ourselves outside while the bands were loading up. While Cheezus was chatting up a lady with a blood mustache, I told the dude from Havok that “I told you, I would see you in the Cities.” When I told my partner the story, she said I was being a little creepy. Oh well.

Sweet Dreams Motherfuckers!

Null:

Records:

The Last Internationale, “Workers of the World Unite” Single (2013) / New York I Do Mind Dying EP (Manifesta, 2013) / Choose Your Killer LP (Manifesta, 2011) / We Will Reign LP (Epic, 2014).

The Last Internationale are a folk/blues/garage rock band from New York that have written some of the most powerful radical anthems for change in the last several years. They are also capable of delivering high-powered traditional blues and folk. Though Epic “released their debut album” this year, they actually have several previous releases, most notably Choose Your Killer, which has the original and superior version of “Life, Liberty, & The Pursuit of Indian Blood.” Check ‘em out. Viva la Revolution!

The Naked and Famous, Rolling Waves (Universal, 2013).

I was obsessed with album for a good long while this year.

See my review from June this year.

Spiders, Shake Electric (Spinefarm, 2014).

I picked up this record in Salt Lake City this year. I loved it from the first. Rock ‘n’ Roll from Germany.

The 1975, The 1975 (Dirty Hit, 2013).

A strangely authentic feeling 80s album. I suggest the Deluxe Version that contains the album and 4 EPs. See my review from June this year.

The Menzingers, On the Impossible Past (Epitaph, 2012).

Though not apparent on the first listen, this album is a staggering work of literary genius.

See my review from May this year.

Motorhead, Stone Deaf Forever Box Set (Sanctuary 2003).

My love for Lemmy and Motorhead continues to grow daily. Most of the albums I know and love are from the last 10 years or so. I have never been very familiar with their earlier work—and there is a lot of it. Therefore I picked up this out-of-print 5 CD Box Set. Unlike other box sets—this was authorized and approved by Motorhead themselves. I have had it for two weeks and I am only on the second CD. Just amazing. As SoDak recently stated, “Motorhead are the essence of rock ‘n’ roll.”

Bob Mould, Beauty & Ruin (Merge, 2014).

Bob’s new album seems to fit comfortably on Merge Records, as John Wurster (of Superchunk) and Jason Narducy do a great job backing him up. Apparently, the record was influenced by the death of Bob’s father, so there is plenty of weight hanging in the air as the music fills the room. This is what we have come to expect from Bob. But…this record feels like a new day. I know he didn’t go anywhere but somehow he feels like he is back. This record is as good as some of Bob’s greatest work: Workbook, Black Sheets of Rain, Beaster, Copper Blue, and a number of Husker Du records. I think it really is that good. The noted return of punk rock is welcomed, as well.

Lana Del Rey, Ultraviolence (Interscope, 2014).

This was a complete surprise. I knew who Lana Del Rey was and I didn’t like anything about her. Her pouty self-inflicted pseudo-intellectual bimbo bullshit was made all the more obvious from interviews. But her new album is just…well, really good. I heard Anita Papsmear play a song from the album on the radio and I really liked it. I had to investigate, and the record is a black-and-white-sensual-smoky-hipster in denial-contrived product that is actually really good. It is obvious that Dan Auerbach’s production and guitar made all of this palpable and so different from her first record. Much of it is actually quite beautiful for hopeless and doomed romantics. Somehow…together, they made a classic album. We will see if this can be maintained.

Bruce Springsteen, The Album Collection Vol. 1 1973-1984 (Columbia, 2014).

The remastered versions of Darkness on the Edge of Town and Nebraska make this box set worth every penny and that is only to name two of the eight albums in this collection. Springsteen—the first eight records in facsimiles of the original LP releases. Yeah, I’ll have one of those. Granted, this is a lot of Springsteen with many “Bruce moments” where the E Street Band creates such a wall of meat-and-potatoes noise that it may push one over the edge. However, these albums are also filled with many tender and sad portraits of class struggle and the dying of a cruel, unattainable, and fruitless American dream for the working class. Some of these songs will make you weep.

Live Shows:

Note: SoDak and I had two musical goals this year. We wanted to see Cannibal Corpse and Tom Petty & the Heartbreakers together.  Astonishingly, the mission was accomplished.

Cannibal Corpse (Denver, Colorado).

Not only did I finally get to experience the digit dexterity Olympics that is a Cannibal Corpse show, but we also got to hang out and talk with each member of the band. I had a little secret goal to hug George “Corpsegrinder” Fischer before I died. The big teddy bear hugged me, not once, but 3 times! There was lots of talk about vegan food and reasons to not drink alcohol. Ooooo…scary! They are all really nice and humble guys.

Tom Petty & the Heartbreakers (Red Rocks, Morrison, Colorado).

The last time I saw Petty & the gang was right before I graduated from high school. Since then, I have become a pretty hardcore Petty fan. It was nice, all these years later, to see the guys that had inadvertently written the soundtrack to my life in the form of radio singles. I know they are hugely popular, but I still get the sense they are underappreciated.

The Menzingers (Riot Fest, Denver, Colorado).

Having been obsessed with On the Impossible Past, I sang and danced my ass off. I thought they were fucking great.

Bob Mould (Riot Fest, Denver, Colorado).

Right after seeing The Menzingers I ran over to Bob’s stage. It was all energy and memory. There were old Husker Du classics like “Chartered Trips” and songs from the new record. I danced and played air guitar until I almost feel down. I hadn’t seen Bob live since the Sugar days.

The Cure (Riot Fest, Denver, Colorado).

The Cure remains one of the best live bands of all time. The last time I saw the Cure was in 1989 during the Disintegration tour. For those that are not in the know—they play guitar, bass, drums, and keyboards. Here lie some of the best basslines since Joy Division. They played for over two hours, as usual.

The Naked and Famous (Boulder, Colorado).

They are just as beautiful, fun, and moving live. My favorite Kiwis.

Scott:

1. Bob Dylan live. Loyal readers of this blog might recall that, last year, my #1 grievance was that someone puked all over my shoes at an outdoor Dylan show. I left early that night, but I vowed to try and see him again, and this year, I did. And no one puked on my shoes! What a great night. (The show was good, too.)

2. Bob Dylan and the Band, The Basement Tapes Complete: Bootleg Series Vol. 11 (2014). Speaking of the Dylan-Industrial-Complex, I ponied up for the expanded Basement Tapes box set not long ago. I’m still digesting this, but it’s a rich collection of material that’s probably best thought about as a whole set. I’m not sure if some of the best songs are great or just fascinating (like the Johnny Cash covers), but there’s some bullshit in here, too. It’s a valuable historical document for sure, if you’re into buying music for that reason.

3. Various Artists, Look Again to the Wind (2014). Musicians of the future should study this as an example of how to cover an entire album with just the right mixture of respect and interpretation. This is a top-to-bottom re-creation of Johnny Cash’s 1964 album Bitter Tears: Ballads of the American Indian, plus two instrumental reprises and “Look Again to the Wind” by Peter La Farge, who wrote many of the songs on Bitter Tears. Cash’s album was a searing but restrained indictment of the many injustices leveled against Native Americans over a long period of displacement and oppression; this version is more haunting and gloomy than the original, which is perhaps appropriate since we’re half a century deeper into that sorrowful historical process. When I heard that Gillian Welch, David Rawlings, Steve Earle, Emmylou Harris, producer Joe Henry, and others would be putting this together, I had high expectations, which were met and surpassed by this album.

4. Crowbar, Symmetry in Black (2014). Like Motorhead, Crowbar is one of those bands that seemed to appear fully formed on their first album, and has since made a career of consistency and quality. There’s enough variation between albums to keep it interesting, but otherwise Crowbar plows ahead with an “if-it-ain’t-broke” mentality, and releases one heavy-as-fuck album after another. This installment seems especially good compared to the last Down EP (part 2 of an ongoing series), which is the supergroup’s first without Crowbar’s Kirk Windstein, and certainly isn’t bad but feels a little under-baked.

5. Ryan Adams, Ryan Adams (2014). This motherfucker has ways of pissing me off (like self-titling this album, or boasting that he blew an exorbitant amount of money recording an album that he scrapped, and then started over with this one). But I also think he’s one of the best artists working today. I usually prefer his alt-country and folkie side to the indie rock side, but this is basically a rock album, and it’s fantastic.

6. Causalities of Cool, Causalities of Cool. This album is hard to explain unless you’re familiar with Devin Townsend and his myriad projects (as a solo artist and with Strapping Young Lad). I’m a convinced Devin fan—although it seems like he releases whatever he manages to record, which isn’t always a great idea even for a great artist—and this is one of his best because it pushes into slightly new sonic territory, including some forays into country music. This album is eerie and weird, but sometimes beautiful, and has cover art that captures the vibe perfectly: an old-fashioned radio, blasted and smoking, sitting on what looks like the surface of the moon, left out in the annihilating vastness of space.

7. Pete Seeger, American Favorite Ballads Vols. 1-5 (2009). Pete Seeger died early in 2014, and I spent some time this year reflecting on the man and his life as an artist and revolutionary. This collection brings together albums he recorded in the late 1950s and early 60s, alone, usually accompanying himself on guitar or banjo. The sound is spare but engrossing, and Pete works his way through a diverse bunch of songs, a real treasure trove of (not entirely all) American music. There are some songs here that I want to skip—who the fuck sits down and listens to “Yankee Doodle”?—but it’s an overwhelmingly strong collection otherwise, and a fine testament to an irreplaceable artist.

8. Lydia Loveless, Indestructible Machine (2011). I heard her for the first time this year, bought this album, and listened to it over and over for a week. She reminds me of Neko Case with more attitude and more rocking songs, which are, at least on this album, mostly about booze and heartbreak. Worth it alone for the song “Steve Earle,” about being pursued in a very creepy way by that famous musician, which is hilarious, assuming that it’s a joke (and I’m not 100 percent sure it is).

9. Son Volt, Wide Swing Tremolo (1998). Certain that my co-ticklers might be horrified to learn that I didn’t own this album until somewhat recently, maybe last year, as in 2013. It was one of those situations where I had worked through the whole Son Volt catalog and overlooked this album, and then forgot that I didn’t own it. What a tragic fucking mistake, I learned as I listened to this all through the year. Every Son Volt album is great, and this one is especially great.

10. Geoff Dyer, But Beautiful (1991). I read a handful of music-related books in 2014, but this one stands out. The subtitle is A Book about Jazz, which is really the only way to describe it. Dyer blends fiction with historical research and music criticism to create portraits of some legendary jazz figures, portraits that are mostly true but maybe not entirely factual, and certainly shaped by Dyer’s own imagination. It’s the kind of approach that’s hard to pull off and risks turning into a load of self-indulgent bullshit if it fails—like a lot of jazz music—but Dyer succeeds, and creates his own kind of art in the process.

SoDak:

Records:

Sturgill Simpson, High Top Mountain (2013) and Metamodern Sounds in Country Music (2014).

Two of my favorite records this year are by Sturgill Simpson. Both records remind me of great country albums from the 1970s by Waylon Jennings and Billy Joe Shaver. The band is smooth, creating the perfect moody complement for Sturgill’s voice. While the records have a classic sound, they also sound fresh. Sturgill sings about his own struggles with addiction, as well as more philosophical issues. It is an interesting combination. His vocals are strong. I was very excited that he was playing a show where I live, but I fucked up and did not buy tickets in time. Had no idea that the show would sell out. Amazing records. Hope he keeps putting them out on a regular basis.

John Mellencamp, Plain Spoken (2014).

John Mellencamp will probably not have hit songs like he did in the 1980s. But, I think he is making some of the best music of his career. His last few records are more stripped down. His 2008 record, Life, Death, Love and Freedom, was exceptional. His new album, Plain Spoken, is very strong. Mellencamp’s voice sounds worn from the years of smoking. The focus remains telling stories of people struggling to get by. At times, he captures the best of Springsteen, as far as the latter’s acoustic records. Plain Spoken starts off strong with “Troubled Man.” I listen to this song a couple times a week, when I am walking to work. It helps prepare me for the grind of the day.

Portastatic, Bright Ideas (2005).

The last few years, I have not been able to get enough of Superchunk. Having all of their records, I was yearning for something new from them. Thus, I decided to pick up records by Mac McCaughan’s side project, Portastatic. While this band is generally much more mellow than Superchunk, I get more songs by Mac. Love his voice and songwriting. For some reason, this record hits me in the heart, making me yearn for a place that I have never been.

Selda, Türkülerimiz, Vol. 6 (1984).

I love record stores, especially when I am looking through the bins and over the stereo in the store I hear a record that I must buy. This past summer, the fine folks at the local shop were playing an older Selda record. I was captivated by the voice, since I did not understand any of the words. Selda is a Turkish musician. In the 1980s, she was imprisoned for her political songs. She has experimented with a variety of music styles over the years. Türkülerimiz is hypnotic. I am still reeling, as the sounds swirl through my head.

Only Crime, Pursuance (2014).

The previous Only Crime records were fine. I just picked up Pursuance on a whim. It is by far their best record. Bill Stevenson’s drumming always sounds great. I love the guitar tones. This is a solid melodic, hardcore/punk record.

William Fitzsimmons, Lions (2014).

My friend Sticks introduced me to William Fitzsimmons many years ago, when the artist’s first record was released. The similarity to the first Iron and Wine records is obvious. While Iron and Wine gets shittier with every new record, Fitzsimmons has continued to put out great records. Lions is a mellow, contemplative record.

Bob Mould, Beauty & Ruin (2014).

Bob Mould has been putting out fairly consistent records. Beauty & Ruin is great. There is a little more punk rock edge on this record. Wonderful. At Riot Fest in Denver, he performed a great set that reminded me of how great he can be. Plus, it was a joy to see Null rocking out.

The Felice Brothers, Favorite Waitress (2014).

From time to time, I pick up a record by The Felice Brothers. Their record, Favorite Waitress, stood out this year. It is quirky, as was to be expected. For me, this is record to listen to late at night, while sitting outside. The songs sound as though the members of the band have had a few drinks. They slightly stumble through some of the songs, much like The Band seemed to do at times. This fall, I saw the The Felice Brothers put on a great show.

Greys, If Anything (2014).

If Anything is a great rock record. There is a strong Fugazi influence here. Listen to this loud.

Goatwhore, Constricting Rage of the Merciless (2014).

This is my favorite Goatwhore record. Everything seems to be coming together for this group. The sound is great. I can actually hear what the singer is saying. The songs vary quite a bit, which helps keep my interest. I hear an occasional punk influence. Nevertheless, this black/death metal band delivers punishing songs that are not for the faint of heart. They put on a great show this past year, even though very few people were in attendance.

Malcolm Holcombe, Pitiful Blues (2014).

Malcolm Holcombe has been a very consistent artist. He regularly puts out a folk/country/blues record, filled with songs of hardship and love. His voice is gruff, yet dynamic. This is a great record to listen to while walking in the rain.

Scenic Route to Alaska, Warrington (2014).

Null picked up this disc and gave it to me. I love this record. It is rooted in Americana music, while incorporating some indie-rock elements. Great songs.

Freedom Hawk, Freedom Hawk (2009).

This record has been in my car stereo a lot as of late. I like the Sabbath riffs on many of the songs.

Spiders, Shake Electric (2014).

With each listen, I have become more enthusiastic about this band. Spiders have a good female singer. The band plays mid-tempo rock songs, somewhat in the hard rock vein. I find myself walking home at night, rocking to this record, singing the choruses out loud, while I play air guitar. Fortunately, it is dark when I walk home. Check out the song “Control.”

Concerts:

This year I went to over thirty concerts. Below I list a few of the shows that were exceptional.

Off!

This show took place on a loading dock. Off! were so fuckin’ tight. Short, fast songs. They were intense. Amazing. It was the best performance I have ever seen from Keith Morris. Keep at it boys.

Iron Reagan.

Five-Inch Taint and I went to see Iron Reagan in a small bar. The performance was very energetic. Between the songs all the band members were hilarious, rambling on about non-sense.

Kadavar.

This German band put on an incredible show for a very small crowd. I like both of their records, however, the live performance made me appreciate the songs much more.

Bonnie ‘Prince’ Billy.

I have seen amazing and horrible shows by Bonnie ‘Prince’ Billy. This year, he put on a great performance. It was the first time that I had seen him do an acoustic show. His voice was rich and seductive. Beautiful night.

Diarrhea Planet.

Null introduced me to this band last year. I liked the record, so I figured what the hell. Diarrhea Planet had four guitar players. While it seemed like overkill (after all, they are not Iron Maiden), they rocked the fuck out. The guitar players took turns singing, which was interesting. Five-Inch Taint and I had a great time at this show.

Turnpike Troubadours.

Love their records. Finally had a chance to see them. They put on a great show, knocking out one Americana song after another. The vocal patterns on the songs did not vary much, but it was still enjoyable. The various members of the band were smoking hot on their instruments.

The Cure.

I thought I would never see The Cure. I was thrilled that they were on the schedule for Riot Fest. They played over two and half hours. They played songs from their entire career. I would have loved to hear more music from the first several records. Nevertheless, the set was outstanding.

The Descendents.

The other band on Riot Fest that got me excited was the Descendents. Had a lot of fun with our crew of friends at Riot Fest. It was great jumping around singing along with Milo. They knocked out the songs. Time passed much too quickly. Wonderful.

Tom Petty & the Heartbreakers.

One of my music goals for this year was to see Tom Petty with Null. When the tour was announced, it did not look promising, given the cities and dates. A show was added to the Red Rocks dates. Null and I, as well as our little ladies, scored good seats. Every fuckin’ song was great. The list of songs that I would have liked them to play is so long, they would have had to play throughout the whole night and the next day. For days after the show, we just listened to Tom Petty. He has provided the soundtrack to our lives, whether we recognize it or not.

Cannibal Corpse.

Null and I headed to Denver on the spur of the moment to see Cannibal Corpse play in Denver. We were not thrilled to attend the all day festival, so we timed it just right to get there just before Corpse played. It was a short set, as we expected. Of course, Cannibal Corpse were good. The real gem of the event took place after the show. We were able to talk with all of the members. They were very kind and fun.

Documentaries:

Filmage: The Story of the Descendents/All.

My wife and I just watched this documentary. While there is much more that I would have liked to have known about the individuals in the bands, it is a very good documentary. I used to live in the same town as ALL, so I would see them play quite a bit. This documentary brought back some memories of those days.

20 Feet from Stardom.

This film is a fascinating look at the lives and roles of backup singers. It is very good.

Muscle Shoals.

I love the documentaries about Stax and Motown, so I was looking forward to this film about early soul music. While I could have done without some of the new renditions of classic songs, as well as fuckers like Bono, who are in the film, it is still a very good film about the history of studios in Muscle Shoals, Alabama.

Sing Your Song.

This is a powerful film focused on Harry Belafonte, as a musician and activist. I wish the film went into more detail regarding how radical Belafonte is and the political-economic context of most of the events briefly mentioned, it is still a fascinating story. It is also refreshing to see music and politics be discussed without apologies.

Travis:

(Is playing Rock Band.)

Eyehategod- Eyehategod (Housecore Records, 2014)

By Dave

Eyehategod is one of those bands that took me a number of years to wrap my head around. The raw angst, lo-fi production values, howling feedback,  larynx shredding stories of drug abuse, and southern nihilism just rubbed me the wrong way. Eyehategod seemed to revel in all that I despised in my own struggles with depression, and my personal rejection of drugs and alcohol.

Prior to this release I checked out an online stream of the single “New Orleans Is the New Vietnam.” In my humble opinion the song speaks powerfully of the impact the Hurricane Katrina tragedy had on the local population. This wasn’t just another GG Allen inspired nihilism trip. I heard the desperate punk fury in the vocals and subtle dynamic changes roll through the wall of sludgy riffs. Very human, inventive drumming really ties the track together in a great way.

I guess this is nothing new for the long time EHG fan, but some things just clicked for me in the last year, and this music speaks to me these days. Maybe after having a few too many run-ins with liberal arts students/graduates dressed up like loggers I’ve re-evaluated my background, and embraced a darker side of my working-class background.  

In an era when so many metal bands rely on triggered electronic drums, inhumanly precise guitar playing, and song structures taken directly from a Guitar Institute textbook we need bands like Eyehategod to keep the music organic and human. In the realm of stoner metal, Eyehategod has always taken a turn to the dark side of human experience. They have carried on the raw primitive tension of late Black Flag and early Melvins records, which are classics in my book. This is the key element that has really drawn me into this record. Even though the album is surprisingly polished for an EHG release, it still has the rough edges and loose groove that are key to the Eyehategod sound. There are a couple hardcore punk tracks on the record that really break the album up very nicely. While there isn’t much really new happening on this record, it was the right album to come out at the right time for me.

With a couple notable exceptions in mind I’ve been pretty uninspired by the state of modern metal. It seems to have gone on one hand the route of Steve Vai with cookie monster vocals played in double time, while the other side has turned to mind numbing ‘70s arena rock worship. As the Mike Watt song says, “The kids of today should defend themselves against the seventies.” I find the return of Eyehategod to be a refreshing blast of good old ugly snarling American metal.  

Festivus Grievances 2014

For festivus this year, the taint ticklers did not even bother dressing up. We wore pajamas and drank hot apple cider. After complaining about the state of the world, we took turns airing our musical grievances. A few of the taint ticklers are asleep. Once they can be aroused and are coherent, we will add their complaints to the list.

Anita Papsmear:

I hate to sound like a broken record but my musical grievance for 2014 is much the same as in the past…Taylor Swift. I just don’t get it. Her lyrics are simple, her music is nowhere near “country,” and I still haven’t seen any real “art” from her. If I hear one more person say how they “caved in” and “now like her music,” I will literally projectile vomit until my uterus spills out over my lap. 

Class Warrior:

I am mostly okay with the state of the world’s music scene. Grievances are few this year. I saw live music performances more than once this year, so I cannot target myself as I usually do. Here are the grievances:

1. Cookie monster vocals. Enough already! What the fuck. This vocal style sounds like shit. It has always sounded like shit. You don’t sound angry or evil, cookie monster. You just make me want to listen to something else. Countless bands have been ruined by these vocals. I demand an end!

2. Band name creativity is at an all-time low. While it is true that good band names are getting harder and harder to come by every year, I don’t believe that all the good names have been taken. We just have to apply ourselves. Just for the hell of it, let’s try to think of some good names. I will limit myself to the theme of...enemas! This is an underexplored region for band names—perhaps justifiably so—but if you want the public to remember you, or if you want them to think “I wish I’d thought of that first,” you could do worse than an enema related name. On to the names!

Terminal Enema
Chronic Enema (that one’s for all you pot smokers/enema enthusiasts)
Enema School (title of first album: Expelled)
Enema Storm
Reverse Enema
Enema Friend
Enema Fiend
Enema Chuggers
Apples and Enemas
Metal Enema
Blood Enema (or insert your desired inappropriate enema fluid here) (insert! get it?)

That’s enough. Eleven (or more) bands now have names. Next theme: GG Allin song titles.

3. Capitalism kills music. Among other evils, it traps otherwise capable, talented musicians in shitty jobs. All that time these people could have devoted to practicing, writing songs, and playing music for people gets devoured by waiting tables, flipping burgers, selling useless shit to alienated people, or any other set of boredom and immiseration. Let’s kill capitalism instead.

Dave:

Like many of the contributors to Tickle Your Taint, I am a life long metal fan. However, I’m just not feeling it anymore. The whole metal community is really uninspiring to me as of late. The fans celebrate formulaic sounds, and bands put out insincere, formulaic records. I have only been interested in three national releases this year, the Eyehategod album I reviewed, the new Godflesh record, and the new Obituary record. I’m tired of stoic *insert sub-sub-genre here* metal fans who take that sound oh so seriously and snub their nose at anything that deviates from these specific musical values. It seems like whenever I try to share anything different with an avowed metal fan they look at me like I just pulled my dick out and started masturbating in their living room.  Fuck it I’m out!

Five-Inch Taint:

This year, fortunately, I do not have many grievances. It was such a magical time musically (see my best of list).

With that said, I have to air some grievances against one of our own (again). Null, you have steered me in the wrong direction musically for a second time in three years. A few years ago he directed me to Taylor Swift’s Red of which I enjoyed a couple of songs on the album. This year, he spoke highly of Lana Del Rey’s new album, Ultraviolence. Produced by my namesake, Dan Auerbach, this album is a big steamy turd. Another band, The 1975, comes to mind when thinking about mediocre music. I’m not even sure if Null recommended them to me but I’m going to blame him anyway, because it seems like something he would do. I would rather listen to paint dry then listen to this album again.

Another grievance is old women at shows who flash their nasty boobies to the band. Seriously, if I wanted to see some dried up leathery sacks of flesh I’d make some beef jerky. You ruined that concert for me and scarred me for life. I’m a little more dead inside after having seen you bare yourself in order to get the attention of the band. You almost ruined boobies for me…and I love boobies!

One final grievance about a local music venue: Damn you Burt’s Tiki Lounge for closing up shop right before my beloved Voo Doo Glow Skulls came to perform. I will miss your dirty, grungy bar with your television playing all the time (even during concerts). I saw some great shows there: Anvil, MDC, and some great local bands. But, you denied me from getting my punk-ska fix for the year.  

Jimmy “Explosive Diarrhea” B:

Albany, Oregon Art and Air Festival: I hate to do this, but for the second year in a row, the mighty Blue Oyster Cult – or more precisely the Albany, Oregon venue – makes my grievance list. The sound at this show was atrocious. It was boomy and indistinct. The audience was there to drink, and chatter. It seemed like nobody was there to listen to music. This may have been my last free outdoor show. The experience is always disappointing.

Dave: Our own wonderful and brilliant taint tickler, Dave, joined one of my favorite local bands, Paranaut, in 2014. But, he kept forgetting to give me a heads up when a show was in the works. As a result, I was only able to make it to one Paranaut show. It was awesome. But don’t worry Dave; I still love you.

Mrs. “Explosive Diarrhea” B: Yes friends, my spouse makes the list this year. She refused to attend a lot of great shows with me, the Meat Puppets for example.  She seems to have the reached a point in her life, for reasons I cannot explain, where she is only willing to go to a show if it involves Wishbone Ash, Blue Oyster Cult, or Murder by Death. But, don’t worry Mrs. Explosive Diarrhea; I still love you.

The Mississippi Studios, Portland, Oregon: I was able to get the wife to attend two shows in 2014, one of them was Peter Buck and Alejandro Escovedo at Mississippi Studios. The venue made the decision to cram so many people into a tiny space that we were literally hip to hip. It was so tight that I wondered if they guy behind me was trying dance or ass fuck me.

Portland, Oregon: Unlike my spouse, my daughter loves going to shows. But, there are few all ages venues in Portland. We get lucky sometimes and find something suitable. But, most of the venues let us down.

The Hawthorne Theater, Portland, Oregon: I didn’t even attend any shows at this horrible venue in 2014, but I hate it so fucking much, that I am angry at its continued existence.

Thrill Jockey: I was surfing the web one night when I discovered that a band I love, Guapo, had a new album. I immediately and figuratively plunked down 13 bucks on the album. Only after making the payment, did I notice I had paid $13 for a download. Fuck! I don’t download. Now what do I do? I emailed Thrill Jockey, the record label, to ask for my money back. I got no response. I now have a digital album on my computer I do not want. I am probably a dinosaur, but I hate fucking downloaded music. CDs and records make me feel like I am interacting with bands. I am holding what they produced, reading what they wrote, and admiring the art work they labored to choose. Fuck you Thrill Jockey and your $13 downloads.

The Unknown Reviewer (I forgot the man's name): I am in distress that this year is coming to an end, and Mr. T's undoubted musical talent continues to be unknown to music fans everywhere.  

Kloghole:

1. Cuntry music still is not country music. Given that the cuntry music business will always survive parasitically on the vagaries of fickle, faddish, public whim, I will never be able to listen to the radio or watch cuntry music award shows without wanting to wretch.

2. All the fuckers who have caused my friends and I grief over the past few years so that I has just given up on music. I can only recall going to one proper show, and that was after I sorted through my ticket stubs. I went to the DOA farewell show with fellow taint ticklers. I also crashed the punk rock reunion in Rapid City. Other than that, I stumbled into pubs where bands were playing, but I have been grossly negligent about getting to music shows.

3. There is a lot a shit that I would like to include in my grievances, but I am so fucking out of date, I thought they happened this year. J.J. Cale is dead? Queensryche sued each other? WTF? That was years ago? New metal sucks. New metal is already passe? Maybe, I will catch up in a few years to be pissed about the stupid shit in music that happened this year.

4. The iPod is dead! There, I said it. While I am not a big fan of oligopolies, I could put my whole music collection in one little device. I have my own private radio station. It was fucking great. Instead of updating the device with a flash drive or reinventing the device, it’s just been chucked in the bin. There is no fucking way I can fit more than a fraction of my music on my phone. Fuck it. I guess I just have to keep my fingers crossed that my current iPod will last long enough for flash memory to reach 200gig in some other portable devices.

5. While I am on the subject of iPods, Toyota can suck the fucking dingleberries off my hairy bunghole for their masochistic iPod interface on their radio. Had I known that their GPS is about as fucking useful as a monkey with a map in your glovebox and their goddamn radio locks up the iPod, I would have saved the fucking money and got the cheaper model.

I am glad as hell this year is coming to an end. Fuck 2014. May 2015 not suck an infected testicle on a leprous lion with Tourette’s.

Sweet Dreams Motherfuckers!

Null:

The worst thing about my grievances is that, over the years, they haven’t seemed to change much. The fact that major labels continue to put out multiple versions of the same record with various bonus tracks here and other bonus tracks there continues to infuriate me. It is an overt attempt to get consumers to buy several copies of the same album. Major record labels continue their longstanding tradition of being putrid corporate scum. I salute any artist that refuses to take part.

A further redundancy of my grievances is the waning quality of CD-Rs, or recordable CDs. I believe this issue has been addressed during every grievance list I have written here on Tickle Your Taint. Since the beginning of this site, the quality of CD-Rs has continued to worsen. These days one can look through a CD-R like a fucking lightly tainted window because they are all so cheap and thin. And as an added bonus most of them will play in one CD player but not in the next. If you can play it in your car then you can’t play it in your home stereo or visa versa. I searched the internet for good quality CD-Rs that would stand the test of time. I found some expensive CD-Rs called MAM-A Gold that have a lifetime guarantee. They are good, but guess what…they won’t play in my portable CD player. Fuck this shit. I’ll quote Lemmy, “All things come to he who waits but these days most things suck.”

U2 needs to go away. What came first the Apple commercial or the new U2 record? No one can tell. To simply infer that U2 have maintained a shred of integrity or concern for the outside world is an insult to humankind. If Bono maintains “free market” capitalism will save the world then he can burn in hell with the rest of ‘em. It is a shame too because I really liked their first 6 studio albums. Their plane went down in Germany 23 years ago.

I read a John Mayer interview where he said, “There is no such thing as selling out anymore.” We…are…fucked.

I am like a broken record and a digital transfer won’t make that any clearer.

Scott:

(Writing a term paper.)

SoDak:

1. R.E.M. Complete Rarities for I.R.S and Warner Bros. Both of these collections were released only as a digital downloads. What a fucking waste. Maybe I can burn them onto a shitty CD-R that will not even play on my stereo. The general trend toward disposable music is exhausting.

2. The lack of creativity for CD/album covers (also just bad covers in general). As part of the trend toward disposable music, album art seems to be experiencing a painful death. Fortunately, metal bands seem to still put some effort into covers, even I think many of them are silly. Bob Seger has never really had good artwork on his albums, but Ride Out, as well as his previous release, Face the Promise, are tired. Oh yes, Bob, an open road, a motorcycle, you are really making a connection now. The same is true of Bruce Springsteen’s High Hopes. I think a child with a brain injury created the covers for Johnny Marr CDs. Morrissey has completely lost his marbles. World Peace Is None of Your Business is attempt at being clever, but remains uninteresting. The cover for his Very Best of CD looks like he pleasuring himself in the bathtub. The cover on Swords, as Null has first told me, looks like his standing in the woods and he has to take a shit. The worst cover this year is U2’s Songs of Innocence. What the fuck? At first glance, it looks like a middle-aged man going down on a young boy. NAMBLA members are probably jerking off to the cover right now. To make matters worse, the boy is the son of the man (who is a band member). Now, it looks like a cover that celebrates pedophilia. I have read interviews where the band tries to explain the symbolism on the cover. Forget. If you have to explain the meaning so much, it is not fuckin’ clear. Horrible choice.

3. Many critics have noted the lack of originality in mainstream country music, given the endless slew of songs about parking lots, parties, trucks, tight jeans, etc. (Some of the older country music singers have indicated that the power of story songs has been lost.) This past year, I thought the most glaring example of this is represented by Lee Brice’s song, “Show You Off Tonight” and Jason Aldean’s song, “Show You Off.” Technically these are different songs—one song has the word “Tonight” in the title. I looked and was surprised to see that the songs have different songwriters. Guess what the songs are about? You guessed it: some asshole is excited to take his lady out on the town to present her as an object (or piece of eye candy) for everyone else to drool over. Somehow, I guess this elevates the guy in this situation. These songwriters must be drinking from the same toilet.

4. Disappointing/Bad Albums: I only list a couple, by artists who I generally like. Mark Kolezek is getting worse every year. His record, Benji, is a rambling diary of non-sense. I think he believes that he is being artistic. I now wish he would just stop making music. Lucinda Williams put out a stinker this year with Down Where the Spirit Meets the Bone. While her voice has been getting progressively rough, it still invoked plenty of emotion and felt part of the music. Here she sounds like she is croaking out the words and meandering outside of the song. The pain is spread over two CDs. Not sure how this record make the year-end lists for many folks.

Travis:

(Sleeping at the dinner table.)

The 1975, Self-Titled (Vagrant, 2013)

Reviewed by Null

Apparently, when Michael Hutchinson was hanging himself and jerking off, there was a little jizz that fell on the carpet, crawled away, and started a band. I think this is how The 1975 came into being. Supposedly, they started the band when they were about 13 years old. At 22 years old, they made a record after several EPs. But I don’t really buy it. This record tests one’s tolerance for modern 80s cheese to its most challenging level. So the question is: How tough are ya? To provide an answer, I will quote Springsteen, “Babe, I’m tougher than the rest.”

This review is really a call out for help. I need to talk to someone. My musical guilty pleasures have reached a level that has made it hard to manage—of late. Should an alcoholic go to AA if s/he still really enjoys drinking? Probably, but music isn’t gonna kill me. But it sure can make me feel better—and soft, like a middle school memory.

“Step into your skin? I’d rather jump in your bones. Taking up your mouth, so you breathe through your nose.”

Like, before I had solidified my own identity—or even French kissed a girl.

“She said, ‘It’s your birthday, are you feeling alright?’”

Like, when smelling the girl that I passed in the hall was the height of my erotic experiences.

“She said. ‘Use your hands and my spare time—we’ve got one thing in common, it’s this tongue of mine.”

When I used to spend a lot of time alone, listening to tapes. And there were some good 80s pop tunes on John Hughes Soundtracks that seemed to resonate with this feeling.

“Your obsession with rocks and brown and fucking the whole town is a reflection on your mental health.”

What if a band were born of a make-believe black-and-white world where every aspect of the culture was based on a John Hughes disposition? Somehow, this album answers that question. I think they are from Australia circa 1982 but they say they are from the United Kingdom. Liars.

“Now everybody’s dead—and they’re driving past my old school […] Babe, you look so cool.”

Though a few tracks on this album are “tougher” than others. They write their own songs and turn their guitars up louder than the album mix when they play live. Too bad the guitars are mixed so low on the record. I mean, their great at what they do. However, sometimes they feel only a few frightening steps away from a boy band. Thankfully, they are a real band even if they are way too good-looking. Regardless, “Don’t Change” by INXS is one of my favorite songs. And if you don’t like Madonna’s “Crazy For You” and “Live To Tell,” then you’re just lying.

“She said, ‘It’s not about your body, it’s just social implications are brought upon by this party that we’re sitting in. I’d like to say you’ve changed, but you’re always the same. I’ve got a feeling that the marijuana’s rotting your brain.’”

Maybe Kajagoogoo really had more to offer than just “Too Shy.” On second thought, I don’t think I’ll go down that road. I listened to Cannibal Corpse’s Gore Obsessed earlier today just to make sure I was OK. It sounded great. I’m going to be OK. Music isn’t gonna kill me.  Besides, Springsteen’s “Tougher than the Rest” is a love song, anyway.

“She’s got a boyfriend anyway”

Still, I'm thinking about getting a poster of the lead singer with no shirt on for my rock room. I’m a 13 year old girl who loves music. So, fuck you, skinny jeans.

Vanishing Kids, Spirit Visions (2013)

By SoDak

http://vanishingkids.bandcamp.com/

Many years ago, Jimmy (Explosive Diarrhea) B introduced me to the Vanishing Kids. He shared their record, Skies in Your Eyes. I was immediately fascinated by this band, given the strong 1980s new wave influence. They captured the dark, moody sound on the early albums by The Cure, as well as the twisted conceptions embodied by Siouxsie and the Banshees. They made songs that were both unsettling and comforting. Listening to the record made me feel like I was discovering a missing gem by bands I loved. Of course, it is necessary to note that Vanishing Kids are not a band dwelling in the past. There influences are evident, but the band makes music that is modern and refreshing.

Last fall, Jimmy mailed me Vanishing Kids most recent album, Spirit Visions. I was thrilled to listen to their fourth full-length record. The compact disc lived in my car most of the winter and spring. Each morning and evening, I listened to a few songs, during my commute to work and back home. I digested the record in small portions, a few songs each day. My engagement with the music varied depending on the weather, traffic, and work. In the morning, as the inversion in Salt Lake City, settled into the valley, choking the population below, the song “Fire Dances” set the mood. The guitar was haunting and the drums swirled in my head preparing me for the day. Nik Nadz vocals are reminiscent of Siouxsie Sioux, but in a more controlled way. From time to time, her vocals mesh with the climbing guitar notes, sending chills down my spine. Jason Hartman’s guitar playing is captivating. He creates a drifting, hypnotic sounds on many songs. On “The Unlit Path,” he produces a clash of intense, angular sounds that build and threaten to explode as the song progresses. At times, the guitar parts in this song remind me of the chaotic, fast, jazzy parts found on Victims Family records, even though the bands are very different from each other. After work, I always welcomed the song, “Temporary Material.” All of the gentle and intense aspects of the band are represented here. The ethereal guitar part leads to heavy, loud volatile moments. The drums propel the song forward. The quirky changes and vocals throughout the album demand attention. Often, I was not sure quite where a song was going to go, even after many times listening to the record.

Spirit Visions helped sustain me during several stressful months at work. In the morning and evening, I entered the strange world they create with their songs. While I love the obvious influences that are represented, I am especially pleased by how Vanishing Kids manage to create unique songs that captivate my imagination.

It is my understanding that Vanishing Kids are currently writing new music. Give them a listen and your support.

The Naked and Famous

In Rolling Waves (Fiction, 2013)

Passive You, Aggressive Me (Somewhat Damaged, 2010)

This Machine / No Light EPs (Trip Mars. 2008)

Passive You, Aggressive Me B-sides (Somewhat Damaged, 2013)

By Null

            I had to write a review of this band because they have invaded my consciousness. A few months ago, my lover/partner of 20 years, approached me to make me listen to a song she had heard on the college radio station in our town. She has a weakness for female-fronted indie bands—as long as they have a catchy riff and heavy beat that makes her feel like she is “being fucked by music.” Upon listening to the track, I understood the attraction to the music. It was romantic, youthful, and filled with a weary enthusiasm of life and unwavering hope. However, the music had an emotional intensity that resonated deeper than your average indie pop combo; it exuded the Whitman motto, “Carpe diem.” The song was called, “Young Blood” from their 2010 album Passive Me, Aggressive You, and it begins with an infectious beat and an angelic female voice singing, “We're only young and naive still / We require certain skills / The mood it changes like the wind / Hard to control when it begins.” As a manic-depressive romantic, I immediately felt a pang in my chest. I thought, well, so it is another indie band with a great single but the album is probably rubbish.

            As I knew my partner was basically playing the song for me to induce me to get the record for her, I picked up the record the next day. I threw it in the CD player as I pulled out of the parking lot. I figured I would give it a listen. I didn’t even tell my partner that I had purchased the CD for her until 3 days later, as I refused to give it up. 

            When I finally gave the CD to her, I told her it was great and immediately bought their latest album, In Rolling Waves. It, too, was excellent. Rarely, even with my favorite bands, am I smitten upon a first listening. It takes me time to acclimate. However, The Naked and Famous hooked me after only the first 2 or 3 minutes. The band preyed on a list on my weaknesses. Though I tend toward darker themes in music, such as, socially conscious punk rock and world weary songwriters, I have always had a weakness for male/female fronted bands that sing break up songs—combine this with sweet synths and 80’s stylings and I am doomed. The Naked and Famous fulfill these criteria, and then some. Once you moved beyond the obvious hits, the band has much more to offer. Their music is a tapestry of rich textures and glorious harmonies.

They are a five-piece band originally from New Zealand. They recently moved to Los Angeles to further their musical endeavors, which, honestly, seems like a mistake. As previously mentioned, they have male and female lead vocalists that often sing together or sometimes alone, depending on the track. They use many synths and keyboards that are weaved together with analog instruments, like distorted guitar, bass, and drums. One of things I love about the band is that they seem to serve the song. If the song requires a dreamy synth to reach perfection then they follow that line of thinking. If the song needs a fast beat and distorted guitars to reach perfection, consider it done. They are masters of the pop hook and often combine these into vocalized hypnotic meditations. They are dreamy and capable of creating walls of guitar distortion backed by beautiful melodies and big beats. In this way, they are akin to the beautiful blistering sonics and dynamics of The Joy Formidable with an added electronic element.

Simply put, the Naked and Famous are pop geniuses. They are at once, visceral and cerebral. Just when you think they couldn’t possibly add another swooning hook to an already angelic song, they do just that. They are unstoppable. They are the greatest 80s band that weren’t around then. It’s like The Human League had children, except that they don’t really sound like them. They’re kinda like M83 but a million times better—more rock. Somehow they weave the best elements of dance, electronica, shoegazing guitar chaos, and gorgeous thoughtful melodies into one package. What do they sound like? They are life affirming. Are they a dance band? A little bit. Are they a pop band? Yes. Are they a rock band? Yes. Do they make beautiful contemporary music? Definitely. Trust me; they stand out from their contemporaries.

They have had some pretty big indie hits. “Young Blood,” “Punching a Dream,” and “Hearts Like Ours” have garnished a lot of college radio airplay. They have appeared on many late night shows. They have had some of these songs appear on TV shows and I think they have a song on a commercial. This is all very disheartening to me, but the albums are so good that I overlook these disappointments because, at this point, I don’t think I could live without this band. I have drunk the Kool-Aid and I savored every drop. Sure, I can see this band being eaten up by sorority girls and boys all over the country, but who gives a shit? A great band is a great band. I was also initially worried because the band looked too clean. They could be one of the most hygienic bands I have ever seen, which make their occasional use of the word “fuck” that much more effective. I watched a few interviews with the band and regardless of all the media attention, they don’t seem like media whores like many of their contemporaries and they seem really down to earth and humble. They are a bunch of beautiful young people in the prime of their lives. Turn it up. “Sing like no one is listening, love like you’ve never been hurt, dance like nobody's watching, and live like it’s heaven on earth.”―Mark Twain

On a side note, the problem with electronic instruments is that they tend to alienate the listener, in my opinion, due to their inorganic nature. However, there are a few artists that use electronic instrumentation and somehow make them sound human and organic. Bjork comes to mind. The Naked and Famous also imply this technique effectively. Though there are many electronic instruments—the music still feels warm and organic. The lyrical content seems to revolve around love and life. They sometimes slip into dark, quit corners and the issues of loss and heartache are not absent. Passive You, Aggressive Me is a little more upbeat, while In Rolling Waves tends to be a little more ethereal and dreamy. If you check this band out and they move you, be sure to not miss the two EPs from 2008, This Machine and No Light, as well as the Passive You, Aggressive Me B-sides, that are, unfortunately, only available digitally, (I reluctantly downloaded them from iTunes). Don’t miss these because the B-side “Sow” is not to be without.

I won’t get into the lyrics or go through the albums track by track. Give them a listen. You will either disregard them as another pop confection that you have no interest in or you will immediately get sucked in and be singing these songs all summer. They may make you want to go for a walk at midnight, make out with your lover, or climb a mountain and go cliff diving.

My partner and I recently saw them in concert at the Boulder Theater here in Colorado. As I suspected, they were great. When the music ended I felt like they were just getting started. I wanted them to play every song. If you get into this band, you will understand. If I ever lose my drive to live, dance, and celebrate, put an icepick in my head. 

Boarders and horizon lines

We’re alone but side by side,

We’re yet to dream,

We’re yet to dream,

Nothing here is what it seems…

Half awake and almost dead,

Keeping empty beds elsewhere,

We’re yet to bleed,

We’re yet to bleed,

All the time and energy.

In silence…

Take me to the edge of night,

Till the dawn,

The end of time,

Till the fire blazing light,

Shines again within our eyes.

—From “Hearts Like Ours”

Yep. I’ll stop aching when I’m dead. This band is too good to be a guilty pleasure.