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

The Persecuted, Terrorist U.S.A. (Rabbit Rabbit Records, 2020)

 

By SoDak

 

In dropping the needle on the new seven-inch record by The Persecuted, a band from both Salt Lake City, Utah, and Austin, Texas, the opening notes remind me of the U.K. Subs and other early British punk bands. The vocals, however, are more reminiscent of U.S. bands such as Resist, Deprived, and Aus-Rotten, from the late 1980s and early 90s. This is straight-forward, no frills, no bullshit, political punk rock, which can be refreshing, as it has been a while since I have heard new music in this vein. 

 

The opening track, “Terrorist U.S.A.,” is a medium-paced song, focused on the deaths associated with U.S. foreign policy, where bombing for peace is the American way.

 

Run through the flock while the reaper is calling,

Search for your family in the rubble that’s burning

No way to escape the bombs that are falling

An innocent victim of terrorist knowledge…

 

33 thousand civilians were killed

Bombs dropping like flies in the sands of the hills

Corpses decaying lying dead in the streets

All in the name of bringing freedom and peace.

 

The pace of the songs increases with the second track, “The Prisoner.” The chorus is to similar to the famous D.O.A. song with the same title, given the repeating of “the prisoner,” which has always been catchy. The third song, “Enslaved,” addresses being trapped in wage-slavery, as our lives are wasted, from “the cradle to the grave.” Both “So Many Lies” and “Brussel Bombs” focus on news media, misinformation, and the creation of fear. “State Patrol” takes aim at the role of the state and police in imposing control and domination through oppression. The drums and guitar on the final song, “Nixon’s Back,” have a driving beat, that is a bit hypnotic with the rhythmic vocals. The lyrics address the ongoing rise of fascism in the United States, where power and greed dominate, invoking the response:

 

Ridiculous politician

Should be shot

Has no concern for life at all

Begging from the poor

While the rich stay rich

The rich stay rich

The poor stay fucked.

 

The seven songs on this record clock-in at just over twelve minutes. They are catchy with gruff vocals, inviting the listener to sing along, expressing anger at the powers that be, who create so much death and misery. 

 

The packaging for the record is quite nice, perfectly fitting the style of music. The lyric booklet in particular, a five-by-five, is well-done, filled with classic punk graphics. This is the third release from Rabbit Rabbit Records, out of Chicago. Kudos. 

 

Persecuted Bandcamp:

https://the-persecuted.bandcamp.com

 

Rabbit Rabbit Records:

https://rabbitrabbitrecordspress.bigcartel.com/

 

SoDak’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 SoDak’s list.  

 

By SoDak

 

“Immortal death,” as Lucretius remarked, is the end of life. In this, death is meaningless to the one who has died. I will exist no more. What others do, if they choose to mark this moment, is really up to them. Perhaps a few friends, who I have been lucky enough to share life with, will gather to tell some stories and enjoy their time together. What I list below are a handful of songs that folks may elect to play, if they need suggestions to get things going. 

 

Son Volt, “Windfall” (1995). 

Son Volt is home to me. I find much comfort when listening to their records. As I approach the Black Hills of South Dakota to visit friends, I almost always play Trace and from the first notes of the opening song, “Windfall,” I am happy. 

 

Five Stairstep, “O-o-h Child” (1970).

Throughout my life, “O-o-h Child” has moved me. The song is grounded in hardship, but filled with hope for a better future. Still chokes me up to this day. 

 

Willie Nelson, “Angel Flying too Close to the Ground” (1981), “Blue Eyes Crying in the Rain” (1975), “Help Me Make It through the Night” (1980), “Your Memory Won’t Die in My Grave” (1996), or “The Scientist” (2012).

As a child, I was captivated by Willie Nelson, and he has consistently accompanied me through the years. As each day passes, I fall more and more in love with his music. He is one of my all-time favorite singers. His guitar playing is mesmerizing as well. There are long stretches where I only listen to Willie. This is not a casual experience, as I tend to be overwhelmed with emotions when listening to him. For me, Willie is the voice of earth. I hear it reverberating everywhere. He soothes my heart. Here I list some song options, as there are so many great Willie songs. I am particularly partial to many songs that feature Mickey Raphael, as he has accompanied Willie for decades playing the harmonica and has a very distinctive sound. 

 

Johnny Cash, “Hurt” (2002).

Johnny fucking Cash. My folks had very few records or tapes in the 1970s, but they had a couple by Johnny. I remember being in the car, as a very young child, as an 8-track tape played Johnny over and over. The boom-chicka-boom and deep voice might as well have been part of the car. At the house, I would repeatedly play their copy of I Walk the Line (1964) on the console stereo. The record is loaded with outstanding songs, including the title song, “Folsom Prison Blues,” “Give Me Love to Rose,” “Hey Porter,” “I Still Miss Someone,” and “Big River.” I also listened obsessively to “Ring of Fire” on another collection—the voice and the horns are so fucking powerful. Once I had money for records, I bought each Johnny record, following him through the years. His cover of “Hurt” by Nine Inch Nails still floors me every time I hear it and is appropriate for this moment. 

 

Gillian Welch, “Leaving Train” (1998) or “Hickory Wind” (1999). 

Could flip a coin here. Gillian creates a calming space for reflection. 

 

Robert Earl Keen, “So I Can Get My Rest” (1993).

Another one for comfort. 

 

Jason Isbell, “If We Were Vampires” (2017).

Perfect song. Important reminder to make the most of life and to try not to waste it. 

 

New Model Army, “Green and Grey” (1989).

New Model Army remains one of my favorite bands. They are part of what constitutes me.

 

Bonnie “Prince” Billy, “I See a Darkness” (1999).

My preference is the very mellow version of “I See a Darkness” rather than the upbeat version that was released years later. 

 

Blue Öyster Cult, “(Don’t Fear) The Reaper” (1976).

Have been enthralled by this song since I first heard it in the 1970s. Still love it. 

 

Iron Maiden, “When the Wild Wind Blows” (2010).

Another constant thread throughout my life has been Iron Maiden. Have enjoyed so many Maiden concerts with dear friends and loved ones. Has been great growing older with the band.

 

Subhumans, “No” (1983).

One of my favorite punk rock bands. Short and to the point. 

 

Black Sabbath, “Children of the Grave” (1971).

This song still gives me goosebumps. It is fucking brilliant. It remains a great call for revolution.  

 

Mike Ray, “Lucretian Eulogy” and “Bone and Blood.”

Assuming my dear friend Mike is still present when I die, I hope he will play a couple songs for friends. His voice and songs are always in my head. 

 

As folks move toward sitting around a campfire, they may want to play songs by: Tracy Chapman, Iris Dement (“No Time to Cry”), Nomeansno (“Heaven Is the Dust Beneath My Shoes” and “Now”), Townes Van Zandt, Merle Haggard, John Gorka (“Temporary Road”), Bill Morrissey, Don Williams, Dave Alvin, Jimmie Dale Gilmore, Lucy Kaplansky (“Still Life”), Alejandro Escovedo, Tom Rush (“Child’s Song”), Richard Shindell (“I Saw My Youth Today”), Warren Zevon (“Keep Me in Your Heart”), Tom Petty, Mary McCaslin (“Prairie in the Sky”), Dead Silence (“Hope”), Dissent, Richard Buckner (“Blue and Wonder”), Journey, Highwaymen, (“Highwayman” and “Silver Stallion”), A.P.P.L.E. (“If in Heaven”), The Cure (“A Forest”), Neil Young (“Old Man”), Bruce Springsteen (“The River”), The Everybodyfields, early to mid-R.E.M., William Ackerman (“Conferring with the Moon”), Built to Spill (“Goin’ Against Your Mind”), Patti Smith (“Dancing Barefoot”), Cringer (“Blasphemous”), Depeche Mode (“Blasphemous Rumours”), Modern English (“I Melt with You”), Whiskeytown, The Psychedelic Furs (“Torch”), Citizen Fish, Bad Religion (“Sorrow”), Mandolin Orange (“Hey Stranger” and “Golden Embers”), Uncle Tupelo, Thad Cockrell (“Some Tears”), June Star, Bruce Cockburn (“Child of the Wind”), Jawbreaker, Samiam, Frog Holler, Rush, Steve Earle (“Me and the Eagle”), Guy Clark, The Replacements (“Here Comes a Regular”), John Denver (“Poems, Prayers, and Promises”), Nick Drake, Emmylou Harris, Jackson Browne (“These Days”), Firehose, Bill Withers (“Ain’t No Sunshine”), The Clash, Jesse Sykes (“Reckless Burning”), Varnaline (“Hear the Birds Cry”), Bastard Sons of Johnny Cash (“Burn Down” and “Beautiful Cage”), Strawman, J Church, Motörhead, Marvin Gaye (“What’s Goin’ On”), Cheryl Wheeler (“Howl at the Moon”), Meat Puppets, Ramones, Waylon Jennings, Kris Kristofferson, Gaslight Anthem (“The ‘59 Sound”), Pollution Circus, Political Asylum, George Strait, Midnight Oil, Andy Irvine, Fred Eaglesmith (“Water in the Fuel”), Tom Russell, and many more Willie Nelson songs.