Null’s Musical Obsessions 2020

By Null

This has been a fucked up year. I would be stupid to believe that working from home, living in a pandemic, dealing with right-wing insanity, quarantining downstairs from my life’s companion for much of the year, living close the fiery hell that became the Rocky Mountains due to an ever-worsening climate catastrophe, and never having the opportunity to hug my friends and loved ones didn’t influence my list of musical obsession for 2020. Of course it did. There were weeks were I couldn’t go outside because the smoke was so thick. I remember in the early summer during lockdowns hearing birds everywhere in the absence of cars and human movement and yearning for a slower, post-capitalist society. This was a year of beauty and dread, but then, I guess they all are.

One of the other major factors in my unending music consumption this year was the fact that at one point, I decided to open a box of old cassette tapes. This led to me listening to the bulk of my music, and buying the majority of my music, on cassette. It was cheaper and it was kind of fun. Of course, the niche, or trendiness of cassettes (if that exists), isn’t at play here, because being a dinosaur most of my original record collection was on cassette.

The second and more sobering reason I believe I did this is because cassettes somehow symbolized what I felt. As anyone who grew up listening to cassettes can attest to, they sound like shit, they could break, and be destroyed, rendering them unusable at any moment. I felt this in my gut. There is nothing beyond this moment. All will be dust. If not today, then tomorrow.

Cleary, as evident from my list, I am music’s bitch.

Also, I would like to send a shout out to my favorite bands, that I listen to often, and each year I move through their respective catalogs: Joy Division, The Dead Kennedys, Bad Religion, Dead Moon, Fugazi, Iron Maiden, Shostakovich Quartets, and Rachmaninov. You are my bed rock.

Kick back, have a few glasses of wine and read this crap, watch these videos, and listen to this music. You might like it.

Let’s do this. These albums appear in no particular order.

Tomberlin, At Weddings (Joyful Noise, 2018).

“My heart is a heavy coffin where I lay down everyone I love.”

This whole album is like a secret whispered in the dead of night. It’s a quiet and confessional affair from a young lady who escaped a repressive Baptist upbringing. It is intimate, painful, and hauntingly beautiful.

Smile Orange Original Motion Picture Soundtrack, Written and composed by Melba Liston (Knuts, 1976).

Melba Liston was the first woman trombonist to play in big bands during the 1940s and she put together a great band here to perform the music she wrote for this 1976 Blaxploitation film. I think the movie is a commentary on tourism in Jamaica, but I haven’t seen it myself. This record has been long out of print, but Tapehead City is selling copies of it on cassette. This is the kind of roots reggae that Joe Strummer loved, and it reminds me of hearing early Wailers for the first time. It sounds like it wasn’t recorded very well, which makes it sound perfect. It’s an instant, instrumental, reggae masterpiece, old school style. 

Thelma and the Sleaze, Heart Like a Fist EP (Tapehead City, 2014).

As a self-described “independent all-female, queer southern rock band from Nashville, Tennessee,” Thelma and the Sleaze know how to rip it up. This 6-song EP arrived in my mailbox on a cute little pink cassette. Heavy rock tunes and a few slow burners with a little Janis Joplin thrown in the mix. Apparently they have a bunch of other releases too.

Kate Bush, The Kick Inside (EMI, 1978).

I bought my second copy of this album when it was remastered a few years ago. I only have this album, her first, and a greatest hits record that only reaches to 1988. I have been obsessed with this record for several years now. The story of Kate Bush and her first record are fascinating. She wrote all of these songs, complete, and with astonishing levels of lyrical and musical complexities when she was still a teenager who was known for smoking a lot of weed. The center piece of the album is the brilliant “Wuthering Heights,” which, of course, is based on Emily Bronte’s Victorian, gothic romance, novel of the same name. However, the other songs on the album showcase just how creative this young lady was. She was just 19 when the album was released. The album is a melding of classical music, pop, rock, and musical vignettes…I guess.  It covers issues such as incest, sex, menstruation, love, and suicide. This level of musicianship just blows my mind. It feels so honest, raw, and unfiltered that it contains the essence of punk rock, as far as I’m concerned. I’m sure it’s not for everyone, but after a few listens, the melodies invade the soul and simply refuse to let go. If you like Bjork, you may be able to appreciate this beautiful and unique masterpiece. Also, “Wuthering Heights” was the first UK #1 that was both composed and performed by a woman.

Unicorn, Too Many Cooks (Harvest, 1976).

I stumbled across Unicorn by accident. This British band’s warm 1970s country rock reminded me of the soothing sounds I heard on the radio in my youth. Produced by David Gilmore, one can hear some of the same elements of the production found in mid 70s Pink Floyd. I discovered a Kate Bush connect here too. Apparently, Kate Bush’s brother gave a tape of her demos to a guy in Unicorn who then passed it onto Gilmore, who, in turn, practically forced his record company to sign her. Small world. Anyway, this Unicorn album kicks ass.

Julia Shapiro, Perfect Version (Hardly Art, 2019).

I wouldn’t say I was “obsessed” with this album, but I played it a lot in the background while I was working. It inadvertently weaved its way into my head. I internalized it, but the album is still a vague mystery to me. Its part dream-pop, shoegazing, and sometimes reminds me of Johnny Marr. I find most shoegazing bands pretty boring, but this isn’t a full on shoegazing record, but it is dreamy. Perfect Version is a solo album by Julia Shapiro. I think Julia sings and plays all the instruments except the drums. She is a member of the band Chasity Belt. I have never heard a Chasity Belt song.

Benediction, Scriptures (Nuclear Blast, 2020).

This is another album I bought on a whim. It arrived in the mail on a blood-red cassette tape. I only have space in my head for one death-metal band, and that band is Cannibal Corpse. As much as I have tried to get into other death-metal bands, I just can’t do it. I’ve heard Benediction referred to as an old school death-meatal band, but this album is much more chill than a Cannibal Corpse record, which illustrates just how extreme the Corpse is. Anyway, if you’re in the mood, check these guys out. The album is super catchy and the lead singer is a really fun and chilled out guy in interviews. I get an anti-Catholic vide from this album, which is reason enough to love it. These guys are old timers. The singer said in an interview that he had to sit in a chair during the filming of their new video, because he just had his hip replace. Keep on keepin’ on. Again, I can’t emphasize enough how catchy and hooky this album is; it’s just full of killer riffs, and for the most part you can understand the singer. 

Blue Oyster Cult, Revolution by Night (Columbia, 1983).

SoDak turned me on to this stuff. Who knew I would be listening to BOC’s more commercial, radio friendly albums of the 1980s? Not me. I blame SoDak, a fellow comrade and Tickle Your Taint reviewer, for this one. We both swoon over “Shooting Shark,” which was a classic 80s single that should have been a big hit. The chorus really hits the heart. I listened to this strange album a lot this year. This is BOC’s “If You Leave,” or “(Don’t You) Forget About Me.”

Blue Oyster Cult, Mirrors (Epic, 1979)

Goddamn SoDak. Considering the pervious album, I found BOC’s 1979 release, Mirrors on cassette, so I threw down $2.99 and brought it home. It’s more of that commercial 1980s sound. I listened to this tape a lot this year too. Here is another earworm about ego and vanity. The background vocals were stuck in my head for at least a month. “Pretty girls can’t look away!”

Taylor Swift, Folklore (Republic, 2020).

Surprisingly, this may be my favorite album of the year, because, if I’m to be honest, I probably listened to this album more than any other.

I know I’m not supposed to like it, but my life is a long list of things I’m “not supposed to do.”

I don’t give two shits about Taylor Swift’s public persona, or interviews, or videos. I avoid them if I can. However, this album killed me, and comforted me. It reminded me of falling in love with my life partner 25 years ago. It reminded me of being a little kid and trying to rationalize a violent and abusive step-father. It reminded me of the little things that wouldn’t mean anything to anyone else. I love the music, Taylor Swift’s voice, and the shifts from single vocal tracks to multi-tracked harmony vocals and the rhythmic, cascading, and percussive words falling down cliffs in slow motion, as well as the call and response patterns found throughout the album.

Now that she is in her 30’s, we get the joy of hearing her say “shit” and “fuck” several times.

The song “Epiphany” really did me in. In many ways it was the theme to the darkest times of this pandemic. Not only do I have several health care workers in my family, but I have also held the hand of 8 human beings, as they took their last breath. It’s the heart and the lungs. Also, I once knew a patient on an Alzheimer’s unit who always used to urgently tell me to “put your goddamn helmet on; you’ll get shot in the head and bleed out.” He was a WWII vet. He died alone in his bed. This song killed me.

Ada Lea, What We Say in Private (Saddle Creek, 2019).

This is another cassette I spontaneously bought from Tapehead City. I listened to it a lot in the background while I was working. It’s a strange little record filled with Beatles influences and some psychedelic weirdness. I had the last refrain from this song stuck in my head for weeks. “For real now, not pretend.”

Joanna Brouk, Hearing Music (NUMERO, 2016).

Numero released this two-disc set that collects much of Joanna Brouk’s home recordings. Whether one would call her music “new age,” “ambient, “drone,” or whatever, the fact of the matter is that her music is extremely beautiful and ethereal instrumental meditations. I think most of this music was made in the 1970s and 80s, but don’t quote me on that. It’s defiantly the best ambient album I have heard in quite some time.

L.A.N.E., Pictures of the Century (Vicious Circle 2020).

From the ashes of Les Thugs, L.A.N.E. (Love and Noise Experiment) release their second full-length album. Pictures of the Century is pretty moving, in that, by the end of this album the world looks bleak, as they illustrate both the rise of fascism and the ecological rift. Great, emotional punk rock. 

Summer Cannibals, Can’t Tell Me Know (Tiny Engines, 2019) and Full of It (Kill Rock Starts, 2016).

I spontaneously picked up a Summer Cannibals cassette and really enjoyed it. They’re not reinventing the wheel; they just play guitars, write songs, and go on tour. They’re a very non-gimmick, straight up rock band that was clearly influenced by the late 1980s, early 90s rock, like the Pixies, Breeders, and what not. These two albums are just fun to listen to. Great riffs, catchy tunes, and great vocals. It takes me back to simpler times.

The Exbats, I Got the Hots for Charlie Watts (Tapehead City, 2018) and A Guide to the Health Issues Affecting Rescue Hens (Tapehead City, 2016).

The Exbats are just plain fun. They sound like the offspring of Dead Moon, but without all the weight and darkness.

 

Shostakovich, Violin Concertos, Alina Ibragimova – violin, State Academic Symphony Orchestra of Russia, Vladimir Jurowski – conductor (Hyperion, 2020).

Dmitri Shostakovich is my favorite composer. I never listen to his symphonies, because his true brilliance was found in his smaller pieces, such as his violin concertos No. 1 and 2, found here.

I already have 3 other versions of these violin concertos, and my first one will probably always remain my favorite. However, I read some rave reviews of the performances here, so I thought I would pick it up. I was not disappointed; it is brilliant. The sadness, sorrow, fear, joy, beauty and heartache all bleed through.

Various Artists, Tapes Not Dead Vol. 2 (Tapehead City, 2019).

Some compilations are better than others. This comp has a great flow and I listened to it over and over and over and over and over again, and again. Punk, ska, garage rock, reggae, etc.

Here is a list of the bands: Clown Sound, Warm Drag, The Bobby Lees, The Advertisers, Thelma And The Sleaze, Gymshorts, Mount Sharp, The Loving Paupers, Dragon Inn 3, Antarctigo Vespucci, Juliana Hatfield, The Prizefighters, Jumpstarted Plowhards, Culture Shock, Shellshag, Adult Magic, Glasses, Worlds Fair, Living Room, Tanya Donelly.            

The Loving Paupers, Lines (Jump Up, 2019).

The Loving Paupers are a great little reggae band with very soothing vocals. This album creates a particularly comforting mood. I instantly loved it. I can’t help but think of 10,000 Maniacs Hope Chest album. It also reminds me of the mellow grooves on H.R.’s Singing in the Heart EP, which I think is his best album.

Ghost Work, You’ll Be Buried With… (IDEAS, 2020).

Ghost Work is a new band from current and ex-members of Seaweed, Minus the Bear, Snapcase and Milemarker. I am a huge fan of Seaweed and hearing Aaron’s voice again was great. I was unfamiliar with the bands that the other members were in, but, like Seaweed, Aaron’s voice fits perfectly in with this underground rock post-punk stuff, or whatever you would call it. There are some dashes of new wave structures in Ghost Work as well. Not the syth new wave, but earlier Cure, or Buzzcocks, pop guitar hooks. It feels real and raw. I love it.

 

New Model Army, Between Dog and Wolf (Attack Attack, 2013).

The first time I listened to this record, I was lying in a completely black room with my Iron Maiden headphones on in my basement. My mind was blown. I hadn’t been this swept up by an album in a long time. The whole album is like a vision quest on the cusp of where the wilderness meets city, the personal meets the political, the subjective meets the objective, and the darkness meets an even deeper darkness in which one finds a source of light. NMA have always been a “360 degree” band, in that, they are able to sing about, and emotionally articulate, everything all at once while remaining tethered to the real world. I also need to state that a big aesthetic and earthy part of this album is that NMA introduce a plethora of drums all over this record, which, in part reminds me of the first time I heard Dead Can Dance. It’s as though this album is being orchestrated from the earth itself. This is a masterpiece album from one of the greatest punk rock bands of all time. (Thanks, SoDak.)

The Psychedelic Furs, Made of Rain (Cooking Vinyl, 2020).

The Furs achieved the impossible this year. See my review on this site from earlier this year:

http://tickleyourtaint.blogspot.com/2020/08/the-psychedelic-furs-made-of-rain.html

Festivus Musical (and then Some) Grievances 2020

The year has been a long dumpster fire and shit show. There are too many grievances to list, so a few taint ticklers share short reflections on this front. 

 

Anita Papsmear:

 

1. The white male patriarchy.
2. Round Up pesticide.
3. Racists.
4. Elf on the Shelf.
5. Mariah Carey’s Christmas Songs.
6. Children in cages.
7. “Christians.”
8. The VID.

 

Jimmy “Explosive Diarrhea” B:

 

By now we have all said the same phrase about this year, “FUCK 2020.” So much of what made 2020 suck is well known to all of us, so I won’t waste any words on pandemic related items. Here are the minor complaints I have about a wasted year.

 

If you read the 2019 grievances, then you are aware of some disturbing Amebix and Tau Cross news. I am going to rehash this old news since Tau Cross released a new album in 2020. Rob Miller has become an alleged holocaust denier. I will get to that word “alleged” in a moment. The first two Tau Cross records, the only two I will ever own, are quite good. Rob Miller thanked a holocaust denier in the liner notes of the new album. Apparently, Rob read Gerard Menuhin’s book on the holocaust, and had his eyes opened to some alternate reality related to the Jewish experience. I have not read the book, and am taking it on faith that the internet news has it correct, hence my use of the word “alleged.” Tau Cross’ record label took it seriously enough to drop the band.

 

My second complaint is aimed at two people, Mrs. Explosive Diarrhea B and Adele. For some reason, my spouse is quite taken with Adele, and I have to admit that she has a good voice. But every fucking song sounds the same. I realize I am being a hypocrite since I love tons of bands that have the same problem. Something about Adele makes my sphincter pucker and blood pressure rise. Aaargh, I fucking hate it. My lawfully-wedded-wife only owns something like ten records, and one-fifth of them are Adele albums. They are in constant rotation.

 

Sonny James frustrates the shit out of me. I have been listening to a lot of Sonny James lately. This dude had a great voice, was a fantastic guitar player, was capable of great songs, but his songwriting was about as creative as Adele’s—mostly turds.

 

I am frustrated with all those non-touring bands who are not writing or recording. What’s the holdup? You can’t tour so get in the studio and do something with your time. If I can’t see you live, I should at least be listening to a new album. I keep reading how bands are writing new music or are in the studio. Where the fuck are the new records? Get off your asses you prima donnas. Shit, even Sun Ra released an album in 2020, and he has been dead for decades.

 

Opposed to those lazy non-touring musicians is Tanner Olson of Across Tundras. I swear this guy is putting out an album every week. I am going broke trying to keep up with him. Tanner, you don’t have to record every song. It’s okay to put one away in a drawer or file cabinet now and then, or better yet look into selling some songs to those bands sitting around with their thumbs and/or heads up their asses.

Null:

 

1.         Digital Music, across the board, fuck that shit.

 

2.         COVID-19. 

a.         All I wanted to do was hang out upstairs with my health care worker girlfriend, 

drink beer, watch Grizzly Adams, and listen to cassettes, but no. I’m in the basement by 

myself.

b.         No punk rock shows, or shows of any kind. Period.

c.         I couldn’t go hang out at the one used music store in town and shoot the shit with 

other music nerds.

d.         It was painful watching music venues close their doors for good.

e.         It was sad watching friends in the music industry lose their jobs.

3.         Nobody makes a high-quality ghetto baster with a cassette deck anymore. Nobody.

 

Scott:

 

In a year of mass deaths, which has included the loss of many musical artists, it feels strange to dwell on any one or two of them. But I was especially struck by the deaths of the drummer Sean Reinert and the bassist Sean Malone. Reinert died in January and Malone in December: sad bookends to a shitty year. They will be best remembered as members of Cynic, the incomparable technical death/prog metal band that, fifteen years after their 1993 debut, made an unlikely resurgence and released two excellent albums and EPs. But Reinert and Malone played together in other contexts as well, notably (for me) Malone’s instrumental prog project Gordian Knot. The song, “Reflections,” is one I have loved for a long time, but now it feels newly poignant after the sudden loss of these two supremely talented musicians.

 

https://www.youtube.com/watch?v=_jZdQO7FNnc

 

SoDak:

 

As Scott noted, the mass deaths associated with the ongoing spread of COVID-19 and the general march of global capitalism immiserating people’s lives are both terrifying and maddening. I am losing track the musicians who have died from the pandemic. Thus, it is with sheer disgust that I read about and hear yet another anti-mask song from bloated millionaires such as Van Morrison and the perpetual racist Eric Clapton. Fuck them.  

Jack Rafferty’s 2020 Music List

By Jack Rafferty

 

No ranking this year. Most are from 2020 but not all. This year was shit, but at least there is good music. Didn’t get around to everything I would have liked to. I have included those at the end. Perhaps, I will write belated reviews for them. 

 

Nick Shoulders, Okay, Crawdad (2019).

I didn’t discover Nick until this year. He has swiftly become one of my favorite new artists. Okay, Crawdad is a vibrant debut, filled with all the beauty and grit the Ozarks have to offer. From melodic yodeling and whistling to his high-toned crooning, Nick paves a unique and lovely path for himself in country and americana tunes. Very much looking forward to new stuff from him. 

 

Colter Wall, Colter Wall (2017).

Colter is one of my favorite modern county musicians, and this is my favorite album of his. It contains some gloomier and slow-paced tracks like “Codeine Dream” and “Snake Mountain Blues,” with more upbeat tracks that still contain that tone well-versed in sorrow, such as “Thirteen Silver Dollars” and “Motorcycle.” This album certainly got me out of bed more than once this year. So far, Colter’s newest albumm released this year, hasn’t resonated with me quite as much as previous releases. Perhaps, I need more time with it. 

 

Lankum, The Livelong Day (2019).

The discovery of Lankum was akin to a revelation for me. No album got more listens than this one from me this year, not to mention the rest of their discography. This is their best, though. This is Lankum coming into form. What an absolute treasure of an album. One of the few I have ever found that is nearly perfect. There is such a wealth of great music coming out of Ireland at the moment, and Lankum is very easily my favorite of it all, though I have strong feelings about many artists in that bunch. The Livelong Day is incredible. 

 

Thou, Blessings of the Highest Order/A Primer of Holy Words (2020).

Thou opted for two cover albums this year. One specifically for Nirvana, the other spanning Black Sabbath, Minor Threat, Pearl Jam, Soundgarden, and more. Notable interpretations for me were Nirvana’s “Stain,” “Aneurysm,” and “Even in His Youth.” Also “No Excuses” by Alice in Chains, Sabbath’s “Sweet Leaf,” and “Well Fed Fuck” by Born Against. The covers were a refreshing thing for Thou to do, and they honestly can do no wrong in my eyes. 

 

Lianne La Havas, Lianne La Havas (2020).

Lianne La Havas has captivated me ever since I heard her recorded live performance of “Forget.” This new self-titled release is her most tender and mature work to date. “Paper Thin” specifically got me through a lot this year. So happy and lucky to have an artist like La Havas around. Excellence. 

 

Black Crown Initiate, Violent Portraits of Doomed Escape (2020).

While Black Crown has released some of my favorite progressive death metal of the last decade, their most recent, 2016’s Selves We Cannot Forgive, was my least favorite so far. It was still a really fucking solid album, it just didn’t stand up to Wreckage of Stars or Song of the Crippled Bull, both of which I consider to be masterpieces. So, with Violent Portraits of Doomed Escape, I was hoping for a comeback. My decision regarding that is a complex one. To start, I do think that this album is better than their 2016 release, and I do think that it comes close to their first two. However, I also must acknowledge that I am in a different place than when I really got into BCI. For this reason, I do think my opinion of this album is slightly skewed in terms of comparison. Regardless, from as objective of a perspective as I can provide regarding music, this album is fucking incredible and a real achievement for the band. One of my favorite albums of the year. 

 

Moses Sumney, grae: Part 1 & 2 (2020).

Aromanticism is such a tender and gorgeous fucking album. Ever since I had the joy of listening to it, I have anticipated more releases from Sumney. I was pleasantly surprised when grae ended up being a double album. These albums take essentially everything that made Aromanticism so lovely and just build upon it. There does seem to be a greater inclination toward experimentation with a diversity of sounds here, which is by no means a bad thing. Ultimately, though, I do not think a single track matched “Don’t Bother Calling” from Aromanticism. That being said, I do think grae as a whole project is stronger in its entirety that Aromanticsm, which is a hell of a compliment. 

 

John Prine, John Prine (1971).

Really, I’ve been listening to all of Prine’s albums quite a lot this year, but this one is my favorite, so I’ll stick to talking about it. John’s passing this year really hit me hard, as he has gotten me through a lot. This album and John in general cannot be summed up in a mere paragraph, so I won’t try. One of the most important songwriters of all time. One of the most important albums of all time. 

 

Vile Creature, Glory! Glory! Apathy Took Helm! (2020).

This is the album that caught me the most off guard this year. I had previously known nothing about Vile Creature, and the album cover art (such wonderful cover art!) gave me mixed expectations about how the music would sound. Right out of the gate, from the first second of play, this album is one of the more punishing and emotionally raw I’ve experienced this year. I also love how such a dense sound can come from two people. As brutal as this album can be, Vile Creature does an excellent job of navigating the pacing and by giving the overall experience of the album a greater identity and texture through its lulls. “Lull” seems an inappropriately negative term to use, but I can’t think of a better one at the moment. The album delves into moments of quietude, murkier depth, and at times even vibes that are ethereal, always building back to those crescendos. Such a great, sludgy, doom-laden, quality album. 

 

Ulcerate, Stare into Death And Be Still (2020).

I’ve learned to expect the best from Ulcerate. Their 2016 album, Shrines of Paralysis, really pushed the boundaries of sound and composition in experimental death metal, while still remaining sonically consistent throughout. This has been the trend with all of their albums, becoming more refined and honed with each release. This year, they have surpassed everything prior with Stare into Death And Be Still. It is one of the most complex and rewarding death metal listens I have had the privilege to experience in a long while. Ulcerate have really nailed establishing atmosphere without sacrificing the importance of riffs or the immaculate grooves they create. The guitars could possibly be just slightly more up front in the mix, but other than that it is truly a powerful experience. 

 

Laura Marling, Song for Our Daughter (2020).

Love Laura Marling. Love everything she does. Love the different feelings and sounds and character she brings to each new album. Song for Our Daughter isn’t my favorite release of hers, but that is by no means a damning statement. It simply didn’t resonate with me as others had. It is still excellent, and deserves attention and praise. 

 

Orville Peck, Pony/Show Pony (2019/2020).

I had enjoyed Peck’s 2019 debut quite a lot, and talked about it on my list, though looking back, I don’t think I really did it justice. Peck is possibly the most interesting and exciting new artist in country music. From his intoxicating theatricality, sense of drama, apocalyptic crooning, fantastic melding of so many styles and genres, his inclination toward film-making and experimentation with imagery, Orville has truly soared from day one. It is also important to note the multitude of ways that he has subverted tropes of country as a genre through integrating elements of drag, gender fluidity, racial diversity (without seeming pandering), and so much more. This is certainly not to say that Orville is the first to do this, but with the attention he has received as an artist, it is notable. While I had mentioned on 2019’s list that I loved some tracks on Pony, while disliking others, that has since ceased to be true. Some tracks just needed more time to simmer in my brain. That album is masterful, and Peck’s follow-up EP, while not quite capturing the grandness of Pony, contains “Summertime” and “No Glory in the West,” which I consider to be his best songs yet. His collaboration with Shania Twain is intriguing, but kind of missed the mark for me. Overall, though, I eagerly await anything Orville goes on to do, as it will be wonderful, I am sure.

 

Sightless Pit, Grave of a Dog (2020).

When I heard there was a group forming that contained members of The Body, Lingua Ignota, and Full of Hell, it’s fair to say I lost my fucking shit. Each of those groups (Ignota specifically) has captivated me powerfully in recent years. Lingua’s 2019 album, CALIGULA, is my favorite album of the last decade. It is that good. Despite all of this hype, I must say that Grave of a Dog was slightly disappointing for me. I mainly chalk that up to being the fault of my own expectations. This album has grown on me as the year has progressed, but it took me a while to get on board with it. While I still enjoy each individual member’s original projects more, I respect Sightless Pit’s ambition and the sounds that they experiment with. Some notable tracks that I do really enjoy are “Kingscorpse” and “The Ocean of Mercy.”Lingua Ignota has also released some interesting covers this year, such as “Jolene” and “Wicked Game.” I enjoy them, but very much look forward to new material. The one single released in 2020 of new material, O Ruthless Great Divine Director, shows that Lingua will only continue to progress and flourish as an artist. 

 

Sadistik, Delirium/Elysium (2020).

Seems like there isn’t a year that goes by where I don’t have a Sadistik project to cover, and I always have good things to say. This year Sadistik delivered two EPs with differing vibes. I will say that I tend to gravitate toward Sadistik’s darker releases than his more melancholy ones, which makes me prefer Delirium to Elysium. They are both great, though. 

 

The Black Dahlia Murder, Verminous (2020).

TBDM continues on their trend of “we are never going to make a bad album, ever.” I do feel like, at this point, folks who know and listen to TBDM know what to expect from their music. It is not to say that they are predictable, simply that they maintain a standard of quality for themselves. Sure, there are albums that are better than the others, but TBDM remains pretty fuckin consistent throughout their discography. They don’t experiment much, but they don’t have to. They are very fucking good at what they do, and they know they don’t have anything to fix, only build upon. Verminousis yet another wonderful addition to their discography. This one didn’t resonate with me as much as Nightbringers, but I figure that is more due to where I’m at in my own tastes, and no fault of the band. 

 

Terminal Nation, Holocene Extinction (2020).

Few albums fuckin’ smacked the shit out of me more than Terminal Nation’s incinerating death metal-imbued hardcore powerhouse, Holocene Extinction. This album doesn’t slap, it just kicks you in the fucking jaw and will not apologize about it. 

 

clipping., Visions of Bodies Being Burned (2020).

clipping.’s There Existed an Addiction to Blood nabbed the #4 spot on my 2019 list. Every release by clipping. continues to solidify them as one of the most inventive and enrapturing hip hop groups operating today. Visions of Bodies Being Burned is no exception to this. A worthy follow up to TEAATB, Visions immerses its listener in ever-darker Horrorcore brilliance. I still think I like TEAATB more, but only slightly. If I were ranking this year, this one would be very high on the list. 

 

IDLES, Ultra Mono (2020).

Ultra Mono took some time to grow on me, as I was initially disappointed in it. It wasn’t a bad record upon first listen, by any means, but it certainly did not meet my expectations following the superb Joy as an Act of Resistance. After giving the album some breathing room, and allowing myself some time to adjust to it by appreciating it for what it is and not what I was expecting it to be, I can happily say that I really enjoy this album. It still doesn’t light a match to Joy, but there are some great fuckin’ tracks on here. Some notable ones are “War,” “Grounds,” and “Anxiety.”

 

Igorrr, Spirituality and Distortion (2020).

It is pretty much guaranteed that whatever Igorrr releases, it will be intriguing. Spirituality and Distortion upholds this expectation. This album sees the most eclectic and varied sonic landscape from Igorrr yet, which is quite the achievement, given the absurd variety in their previous releases. Still some of the oddest choices of integration and mixing of sounds that you will find in any genre. There are many sections on this album that feel much more musically focused, however, something I always longed for the group to hone further, as they were at times hit or miss with their experimentation for me. It sometimes felt as though certain sounds were played with to an extent of being creative, but not really evoking anything emotionally. This has thankfully improved with every album, with this one really showing improvement. This album also has the most time featuring soprano vocalist, Laure Le Prunenec. She is my favorite part of the ensemble, so this is very welcome. Igorrr remains beyond description or definition. The abstract and undulating amorphous being of dreams. 

 

Phalanx, Golden Horde (2020).

Absolutely fucking blistering grind/punk leaning death metal. Crusty razor-sharp tones, raspy, tormented vocals, pummeling rhythm. Good, good shit. I want more. 

 

Cosmovore, Intro the Necrosphere (2020).

Cosmovore does a particularly grimy and lurking death metal, and what this band really nails is atmosphere. Though not as dissonant and way more low-end note focused, I get Artificial Brain vibes, just more abrasive, straight forward, pummeling. There is still that sense of drama and the ethereal feeling evoked from the high vocals, however. Really short but wonderful EP.

 

Ulthar, Providence (2020).

Speaking of Cosmovore, I really enjoyed the hell out of Ulthar’s debut of the same title. While the whole Lovecraftian thing is achingly overdone at this point, the sound Ulthar utilizes does meld well with themes of the cosmically nightmarish and the horror of the unknown. I love how heavy this band leans into the blackened elements that they introduce to their Bay Area-inspired death metal roots. Providence just takes everything that was good about Cosmovore and makes it better.

 

MSW, Obliviosus (2020).

Best funeral doom album of the year. Slow and gorgeous and harsh. 

 

Imperial Triumphant, Alphaville (2020).

Vile Luxury was a real stand-out gem of dissonant experimental music. Alphaville sees a greater realization of Imperial Triumphant’s identity as a band. The chaotic and depressive dystopian thematics and soundscapes are all the more apt each year. Love this band. 

 

Huntsmen, Mandala of Fear (2020).

American Scrap made it quite high in my list a few years ago. I really enjoy Huntsmen’s melding of sludge and American folk. I still think I like their previous record more, but Mandala of Fear still has a great deal going for it. It can seem rather lengthy upon repeat listens, but there are some wonderful moments here. 

 

Elder, Omens (2020).

This album has Elder at their most ethereal and prog-rock focused. I’ve noticed the trend toward this, especially with their most recent full length, the beautiful Reflections of a Floating World. This most recent installment carries that direction even further, stepping greater distances away from the sludge and stoner doom of their earlier sound. While some of the psych elements remain, this is a much lighter, though no less demanding, listen. Omens is a fantastic journey and one that only Elder can provide. 

 

Primitive Man, Immersion (2020).

Primitive Man already proved itself as a goliath with Caustic. Immersion merely establishes what we all know to be true. Primitive Man is one of the heaviest bands in existence. One of the most brutal and punishing musical experiences one can have. Absolutely malevolent. 

 

Albums I Should Have Taken Time to Listen to or Given More Time to:

 

Pallbearer, Forgotten Days

Caligula’s Horse, Rise Radiant

Pyrrhon, Abcess Time

Wayfarer, A Romance with Violence

Emma Ruth Rundle, Thou, May Our Chambers Be Full

Havukruunu, Uinuos Syomein Sota

Oceans of Slumber, Oceans of Slumber

Inferi, Of Sunless Realms

Undeath, Lesions of a Different Kind

Ichiko Aoba, Windswept Adan

Marche Funebre, Einderlicht

Gorillaz, Song Machine, Season One: Strange Timez

Bell Witch, Aerial Ruin, Stygian Bough Volume I

Wake, Devouring Ruin

Unleash the Archers, Abyss

All Them Witches, Nothing as the Ideal

Dumal, The Confessor

Mrs. Piss, Self-Surgery

Matt Heckler, The Magnolia Sessions

Adrianne Lenker, songs

Paradise Lost, Obsidian

Night, High Tides - Distant Skies

Serocs, Vore

Of Feather and Bone, Sulfuric Disintegration

Sutrah, Aletheia

Oranssi Pazuzu, Mestarin kynsi

The Ocean, Phanerozoic II: Mesozoic, Cenozoic

 

 

 

Chastity Morgan’s Funeral Songs

From time to time, we present questions to our fellow taint ticklers. Recently, we asked: “What are five to ten songs that you would like to have played at your funeral?” There are numerous ways to approach this question. For music addicts, it is hard to limit the number of songs. Furthermore, the list is likely to change many times, as we remember additional songs and hear new music. Nevertheless, it is worth going through this process, as it is helpful to plan, and fun to share various musical connections. Below is Chastity Morgan’s list.  

 

By Chastity Morgan

 

Songs to be played at funeral:

 

Tom Petty, “Don’t Fade on Me” and “Wildflowers”

 

Fleetwood Mac, “Seven Wonders”

 

The Temptations, “I Wish It Would Rain”

 

The Band, “Atlantic City”

 

Sleater Kinney, “Modern Girl”

 

Dolly Parton, “The Grass Is Blue”

 

Bob Marley, “Mellow Mood” and “Redemption Song”

 

Alanis Morissette, “Thank U”

 

Valerie June, “Astral Plane”

 

Creedence Clearwater Revival, “Have You Seen the Rain”

 

Rolling Stones, “Beast of Burden”

 

Jeff Buckley, “Hallelujah”

 

Bob Dylan, “Buckets of Rain” and “Rainy Day Women #12 & 35”

 

Joan Armatrading, “Down to Zero”

 

Willie Nelson and Merle Haggard, “Pancho and Lefty”

 

Is It Too Late for Music Videos?: Reflections Spurred by The Weeknd

By Chastity Morgan

 

The Weeknd just dropped his latest music video for “Too Late,” and I can’t unsee it. I still don’t know if I like it. The Brett Easton Ellis-esque nature of “Too Late” has a much-appreciated bubble-gum pop undertone. Now, I don’t want to give any spoiler alerts for those of you that haven’t had the pleasure of watching it yet. Let’s just say it’s as if American Psycho and The Bling Ring made a music video baby. 

 

In my humble opinion, music videos are a dying art form. Instead of watching the latest videos on MTV, I anxiously peruse YouTube searching for video debuts. Because of their scarcity, I always appreciate a good music video, regardless of my personal preference of the artist. The Weeknd’s video for “Too Late,” made me say, “Hmmm, what’s this mean? Does it mean anything?” It also made me reflect on the history of not just music, but music videos.

 

Over thirty-years later, Michael Jackson’s “Thriller” is still considered one of the best music videos of all time. More than just a music video, it was a short film that revolutionized the way we consumed music. Its extravagance was reflected in its half a million-dollar budget. Later on, half a million would be pennies compared to, “Scream,” which he released in 1995 with his sister, Janet Jackson. By the way, “Scream” stands strong as the most expensive music video ever made, coming in at a whopping 7 million dollars. 

 

“Thriller” was the game changer. It set the stage for a slew of artists and directors who teamed up to create videos in the form of Sundance shorts. Gus Vant Sant who directed Good Will Hunting collaborated with David Bowie and the Stone Temple Pilots. Sofia Coppola brought her quirky indy style to groups such as The Flaming Lips. Spike Jonze worked across genres from the Beastie Boys to Sonic Youth, and most recently, 2020 Vice President nominee (in 11 states), Kanye West. 

 

The purists critiqued music videos for their gluttony and cheesiness. Just ask ZZ Top, who unabashedly loved making videos because they were nothing more than “fun.” Others embraced the new medium as a way to further contribute to social commentary. Metal and rock groups that were already on the fringes of society used dream like imagery to critique the conformity of mainstream society. Don’t believe me? Just watch any Tool video or Marilyn Manson’s “Dope Show.” I will be thoroughly impressed if you can walk away from an old taping of Headbangers Ball without say, “huh?”

 

So, what’s up with The Weeknd? Is he an aspiring film producer starting small with his videos so he can eventually start producing full-length films? Is “Too Late” a dig to ex-girlfriend, Bella Hadid, and the life that he seems to live? Is it a raunchy video to compensate for a mediocre song? Let’s get real, this is not the best track on his album. Is it piggy-backing off of Get Out and adding to the conscientious dialogue of the sexualization of black male bodies in Hollywood? Or is it similar to Midsommar, where everyone who watched it had to make up some deep interpretation, so they could rationalize wasting two hours of their lives on some bullshit movie with absolutely no plot line? Either way, The Weeknd, you piqued my interest. Well played.

 

 

System of Slaves, Self-titled EP (2020)

 

 

By Beert

 

As a DJ of a dumb little radio show on KTEQ 91.3 FM in Rapid City, South Dakota (currently only in podcast format until this fucking COVID situation dies down), I find myself extremely lucky to hear from bands or labels from time to time. I am super appreciative that these fine folks send along some music. This is how I came across System of Slaves. Their drummer, David, sent the band’s four-song, self-titled EP, which they recorded in February of this year. Immediately upon listening, I was blown away.

 

System of Slaves is a four-piece band from Cardiff, United Kingdom. They blend multiple genres in a way that makes their sound unique. They reference Neurosis and Nausea as points of familiarity, which is appropriate. But I also hear His Hero Is Gone, Dirt, and even some points of Crass mixed into their music.

 

This EP is full of ferocity and passion. It is a heavy and ripping cacophony of music with intelligent, heartfelt, and pissed off at the state of affairs lyrics, with dual vocals. Such lyrics bring to mind The Proletariat.

 

The first song is “Obsession.” Musically, it starts with a dirge that quickly fires into some deep and powerful musical energy. The feeling I get is a focused anger. Once they get into the song, you can’t help but grit your teeth and feel your heartrate climb. The dual vocals are definitely a great mix and add a dynamic element. Lyrically, the song is intense. While I am not the greatest interpreter of lyrics, this song comes across as a story about living in a volatile and violent relationship, which results in the abused having to call the police, even though they know the police are not going to help, and will, in fact, continue the brutalization.

 

Breathless

And bloodied

(my obsession)

Is my suppression

Each blow telling me

Just fucking kill me

Look what I made you do

And I was such a good girl too

 

(I am the fucking law)

You’re not the fucking law.

 

“Chaos and Order” is the second offering. It addresses the division and definite inequality in the sexes (in this case male versus female), noting the overwhelming privilege and disproportionate leverage held by men. By maintaining this status quo, we, as humanity, will continually be held down by the state and patriarchy. Within this song, there is hope that if we build equality between the sexes (and between all humanity), we can tear down the powers that stand on us. We need to stop fighting between ourselves in order to fight the real tyranny.

 

It’s in you and me, can’t you see

It should be love – But we are taught to hate

Woman against man just helps the state.

 

Musically, it is very reminiscent of Nausea, but the recording holds a thicker, fuller sound. The song also starts with some chugging and speeds up about halfway through. Going back deep in my memory to live shows, I could really see the kids in the crowd rising up and starting a riotous pit moving along to this song. There are all kinds of great sing along spots to cause the swell of the crowd to move to the front, fists in the air, and uniting with the band.

 

“Breakoff” is a song about realizing the blindness we sometimes hold in love, where we choose to sometimes give in to some boundaries we normally wouldn’t. Upon this realization, we learn to love and respect ourselves enough to end something that is toxicity and that has entangled us. I think we can all see some parts of our past where this was evident. Sometimes, it just takes time to realize this. 

 

You can’t stop me I’m leaving you

Immediately

You fail to see I’ve lied to myself

Frequently

We disown our deception then face it

Honestly

My face didn’t fit, it never did

You hated me.

 

“Renegade” leads in with a slower interlude (is it a prelude if it starts a song?). Then the song blasts through your ears. It drives along with various parts of power and slowing down, almost to give a moment to realize the lyrics, which deal with the pain and despair of poverty and the hopelessness felt when you’re at that point in life. Thoughts about suicide and feelings that life is not worth living are clear. These sentiments are all too real when you feel that you are trapped in a situation where there is no way out.

 

I’m fucking dying here, bullet to my brain

When will it ever end, can’t go on again

Mental exhaustion, every day’s the same

Poor becomes who you are, I can’t take the pain.

 

As a whole, this EP is right on. There is not a bad song out of the four. I couldn’t even rank them from best to least-best. I love this record, and I am so thrilled to have been contacted to give it a listen. I needed to write this review, because I truly believe that System of Slaves deserves to have their gospel spread. They are reminiscent of older hardcore/punk/d-beat styles, but with a fresh sound. And the dual vocals are a plus and done very well. Get this EP and support these kids from Cardiff!

 

www.systemofslaves.bandcamp.com