#and you know sometimes with younger artists its a matter of talent and cool styles and creativity

[svampira]

normally im not really envious or affected by artists who are younger than me being better at art but i just realised one of my favourite artists on tiktok is 2005.... im gonna jump off the balcony

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#130-121)

#130: Franco Battiato and Alice -- I Treni di Tozeur (Italy 1984)

“In una vecchia miniera, distese di sale E un ricordo di me, come un incantesimo”

“In an old empty mine, the salt extends And I seem to remember it, like a dream”

Franco Battiato was one of Italy's greatest songwriters, known for his complex songs in a mix of genres. Unfortunately, I haven't listened to most of his discography, but I do know of "Per Elisa", the song he wrote for Alice which won Sanremo 1981 (coincidentially, the first year Italy withdrew from Eurovision, welp). It's thoughtful and its incorporation of Fur Elise is well-done with its synthesizers.

In comparison, I treni di Tozeur is not a song readily caught by first listening, and that’s why it’s not my favorite of its year. This doesn’t mean it’s not a good song, though—it's sounds eerily futuristic even for the synth-based 1980s, and actually timeless. The lyrics seem ambivalent, but I think there’s some philosophical bent towards them. One of the commentaries talk about the train to Tozeur being built in the early twentieth century to satisfy the whims of the King of Tunisia, at a huge cost. Maybe there's some social commentary sneaking in there.

The performance was good, but it seems like Alice had a bit more control of her voice. She did so with style, and I actually liked her outfit.

In addition, the opera singers at the end were the cherry of the cake. A mix of classical and modern, indeed, which earned itself classic status.

Personal ranking: 2nd/19 Actual ranking: =5th/19 (with Belgium) in Luxembourg

#129: Linda Martin -- Terminal 3 (Ireland 1984)

“Staring into a space, searching through every face He's been away too long now, he must have changed”

I feel like there are two types of people in terms of 1984--those who have Alice and Batiatto (#130) as their favorite, and those who have Linda Martin as theirs. As shown by how close they are on my list, I love both, but Linda Martin just eeks it out.

The storytelling aspect of the song is very strong, as Linda waits for her lover to come from an international flight. Ironically, it can't be from Dublin, as no Irish airport has a third terminal. Maybe it's from London's she's waiting for her love? Or the flight is coming to the United States, rather than from it? Mysteries indeed.

(Now my life goal is to be at Terminal 3 at 10:30; one of David Tao's most famous songs is 飞机场的10:30--Airport at 10:30, which deals with the same topic)

The New Wave instrumentation and orchestration add up to the drama too--the brass grabs me from the first beats, and the strings and rock influences remain as the song goes on. It's kind of hard to believe Johnny Logan was behind this, especially considering he's better known for his ballads. If she had to win one Eurovision, Terminal 3 had to be the one.

Personal ranking: 1st/19 Actual ranking: 2nd/19 in Luxembourg

#128: Halla Margrét - Hægt og hljótt (Iceland 1987)

"Kvöldið hefur flogið alltof fljótt Fyrir utan gluggann komin nótt Kertin er’ að brenna upp Glösin orðin miklu meir’en tóm"

"The evening has fled all too fast Outside the window night has come The candles are burning low The glasses have become much more than empty"

As their debut entry was fun and "in-your"face", Iceland’s second entry has an afterparty feeling, but I've heard some comparisons to being a Christmas song. It doesn't sound like it to me, but it's still really serene and beautiful, as if the snow was falling outside (not unlike #213 on this list).

The lyrics are quite gentle and pretty, painting a dainty picture. However, they also contain enough melancholy to add a tinge of darkness to the scene, which is why I don't think it would work as a Christmas song. Halla’s vocals are very pure, and adds enough delicacy to the composition. The piano and orchestration also helps.

What stands out more is the funny notes related to Hægt og hljótt--one refers to the last line of their chorus, which is bufflaxed to "anus in the air" in English, another mentions how Halla's dress is see-through against the white piano, almost as if she was a ghost. Very strange, especially the latter as the lyrics focuses on the upcoming dawn. Or it would make a good fan-fiction, come to think of it.

Personal ranking: 3rd/22 Actual ranking: 16th/22 in Brussels

#127: Raphael -- Yo soy aquél (Spain 1966)

“Yo soy aquél, Que por tenerte da la vida, Yo soy aquél, Que estando lejos, no te olvida,

“I'm that one, Who gives his life to have you I'm that one Who's far away and doesn't forget you”

When I first did this sorter, Yo soy aquel ended up close to being in my top 50. It was a surprise, because despite being one of my favorite songs from Spain, I didn't think about as much in terms of great songs, even though it's a beautiful song.

The opening bars to this song are filled with drama, which gives way to Raphael’s crooning for the one he loves. The lyrics are a bit repetitive, sure, but they still work in how Raphael wants his love to know he will be there. I particularly love the way the song builds, which, combined with his singing, creates a brooding atmosphere. The explosion in the chorus is really effective, which the orchestra compliments and actually amplifies. You could actually feel his passion thanks to those strings.

1966 was an incredible year (especially for a black-and-white contest), and if I could switch one of Spain's wins, I would drop La La La for this in one second (even though there's another song from this year on my top 250). Massiel doesn't hold a candle to Raphael.

Personal ranking: 2nd/18 Actual ranking: =7th/18 (with Yugoslavia) in Luxembourg

#126: Liam Reilly -- Somewhere in Europe (Ireland 1990)

“We should be together, and maybe we just might If you could only meet me somewhere in Europe tonight”

For my European friends, I wish for this lyric to come true! I am sadly ill-traveled, haha.

When I started to consider this top 250, I thought "Somewhere in Europe" would be song #250, because it was pleasant and pretty, but wouldn't trouble the rest of the list. When I was re-arranging the list, this was one of the songs which got a great boost, and now it sits just outside of the top half of this list!

As for this song, I like it a lot. It not only a pretty little ditty, but it also takes the theme of unity and takes one on an adventure. Because of the piano-based instrumental, I keep thinking that it's like a Billy Joel song, as it's quite homebrewed. While I don’t think this would’ve made a better winner than Insieme (or White and Black Blues, for that matter--France winning would bring some new energy to the contest), Liam Reilly proved he was a talented songwriter, and it shines with the orchestration too.

As a result, I keep thinking that it would be a good New Year's Eve song--it's nostalgic yet calming, and seeks out a better future. Unfortunately, Liam Reilly died on New Year's Day this year, which makes it a bit sadder. RIP.

Personal ranking: 8th/22 Actual ranking: =2nd/22 (with France) in Zagreb

#125: Rita -- Shara Bachravot (Israel 1990)

לבוקר הזה יש טעם של חופש זר כמו של מוות או ברכה כי הלכתי ממך”

“This morning, Has the taste of strange freedom Like of death or a blessing Because I went away from you”

(I actually heard of Rita before stumbling on her Eurovision entry--one song I really like is Idan Raichel's Mechake (Waiting), and I searched the web. One of the results was Rita's version of his composition, which compared to Raichel's, is a bit more produced. Still great!)

1990 focuses on freedom in many ways, especially because of the Berlin Wall falling and the end of communism. Shara Barkhovot also talks about freedom, but does so in another way.

It’s basically a tale of a relationship ending, with a woman leaving her partner in the morning. It’s frequently interpreted as running away from abuse, and the imagery involved does a good job in conveying that feeling.

It’s dramatic and passionate, with Rita “emoting” the song rather than merely performing it. Unfortunately, it does go off the rails later on, with her vocals losing out at points. I still like how she played with the microphone stand, though!

Personal ranking: 7th/22 Actual ranking: 18th/22 in Zagreb

#124: Helena Paparizou -- My Number One (Greece 2005)

“You're my lover Undercover You're my sacred passion and I have no other.”

Helena Paparizou was one of those artists that I knew that participated in Eurovision, but didn’t listen to her song until much later. I found out about her with the song “Heroes”, which I played a lot when I was younger (about 11-13 years old), and didn’t think about her in the contest, other than she won and she received a wide ovation when she returned to Greece.

My Number One is all kinds of fun, from the ethnic instrumental to the sometimes silly lyrics. I also love the performance featuring Helena playing a human lyre, which is a definite highlight! A fun and energetic bop (the last of a holy trinity of ethno-influenced dance winners during this time), now I’m a happy fan of hers (I really listened to Kati Skoteino a lot since 2018, for example. Plus her Mambo interval the following year is fantastic.)

On whether this or "Die For You" was the better song, it's hard to tell, especially on how close they are on this list. Whereas 2001 was the weaker year and Die for You had to win it, My Number One was in a stronger year and held its own. And yet it's not my favorite...

Personal ranking: 2nd/39 Actual ranking: 1st/24 GF in Kyiv

#123: Vanilla Ninja -- Cool Vibes (Switzerland 2005)

“Don't want you to come so close to me Don't need you to blow my fantasy But I know that you are livin' far beyond those lies I can see the danger rise in your eyes...”

From my last place in 2004 to my favorite in 2005, what a glow up from Switzerland! Though to be honest, I have a hard time determining why this song in particular is my favorite of its year. I did come in knowing that Switzerland was the only one of the original seven to not win in my timeline, so that may have impacted my thinking.

Cool Vibes a dark rock song, with occasionally dramatic lyrics (though then again, emo rock was getting popular during that time), but an intriguing musical atmosphere. Despite 2005 being known as the "ethno-bop year", there were a number of interesting rock songs (e.g. In My Dreams), and this holds up by its sheer seriousness, versus the occasionally silly vibe of those others.

And with that string motif, it does sound like a song that needs an orchestra to realize its full potential. There's a lot of hidden angst throughout the song, and the multiple key changes actually helps here.

Personal ranking: 1st/39 Actual ranking: 8th/24 GF in Kyiv

Final Impressions on Switzerland: Not one of my favorite countries in the contest, unfortunately. I find most of their entries to be quite non-descript, with some of them being very bad. That said, they do have a number of gems on here, and some great ones that just missed out (Moi, tout simplement; Io senza te; She Got Me especially). And with the track they are now, they could actually win in the next few years. Hopefully with a French-language song. :)

#122: Tanja Ribič - Zbudi se (Slovenia 1997)

“Zbudi se, dobri princ Rada bi ti dala vse Svoje sanje in mladost Da ne bom iz pravljice”

“Wake up, good prince I would like to give you all My dreams and my youth Break the spell of the fairy tale”

Sometimes I forget I love this song. As 1997 is one of the strongest years (if not the strongest year song-wise), there are so many good ones one can't remember all of them. Zbudi se a bit dark and fits in very well with the rest of the 1990s with its mythical character (and might be the first Balkan ballad proper), but Tanja does it so well. And she would later be more known for her acting!

When I do listen to it, it just takes me away. It’s a dark fairytale, with beautiful lyrics and an intriguing atmosphere. The narrator longs for her loved one, filled with magical imagery and dreaminess. I also appreciate the transition between the lyrics and the chorus, which can be very hard to do! And of course, the orchestration, including the harp parts in particular, create a fantastic soundscape.

Personal ranking: 8th/25 Actual ranking: 10th/25 in Dublin

#121: Lúcia Moniz - O meu coração não tem cor (Portugal 1996)

“Dança-se o samba, a marrabenta também, Chora-se o fado, rola-se a coladeira.”

“We dance the samba, the marrabenta too, We weep the fado, and roll the coladeira”

Curiously, for a song which was one twelve away from a top-three finish, O meu coração não tem cor seems a bit less known within Portugal. It even didn't get a studio release, and Lucia is better known for being the love interest in Love Actually. And yet it's still a fan-favorite within Eurovision.

The lyrics call out to everyone in the Portuguese diaspora (or the Lusosphere in general), and welcomes them to engage in their cultural traditions. We have fruit and dance and crying and laughter all at once. All kinds of fun, except when the clips grayscale and I keep thinking of those "in memoriam" scenes.

And it managed impress in another way; it came in 18th in the audio-only pre-qualifer which only appeared in 1996. Thanks to the brazen and fun orchestration, along with Lucia's very sweet voice, it was lifted up in the final to a solid sixth place! Very well-deserved.

Personal ranking: 5th/23 Actual ranking: 6th/23 in Oslo

[lifejustgotawkward]

My Favorite Albums of 2018

Now that we’ve reached the end of December, I’ve compiled a list of my favorite albums from this year. I’m particularly proud of the emphasis that I placed on listening to new music by women, which will be obvious as you make your way through the post. As I hope is the case every time I make these annual rankings, my goal is not so much that anyone should be awed by my short paragraphs of explanation (doubtful since my schedule didn’t allow me enough time to edit my writing too closely - let me know if there are any weird errors!), but rather that my mentions of these artists will spread positive awareness of them. If I can share my appreciation for a singer or band and subsequently inspire someone to become a fan, the work will have been worth it. Have a good time with this, everybody!

Tagging @shadowfaxstables, @entrancedintime, @mr-top-secret, @walkingwiththemoon, @thehoodedone, @yung-lawsuit, @oystersaintforme - I hope you enjoy the music!

15. Seinabo Sey, I’m a Dream

Standout Tracks: “Never Get Used To,” “I Owe You Nothing,” “My Eye,” “Truth,” “Breathe,” “Good in You”

I might never have heard of Gambian-Swedish singer-songwriter Seinabo Sey if I didn’t regular check out Pitchfork reviews, although luckily I started listening to I’m a Dream before reading Katherine St. Asaph‘s piece, which unfairly marks Sey’s album with a 6.0 grade. Sey’s second album, following Pretend (2015), continues her interest in marrying soul/R&B with pop, moving through different tempi to exhibit her perspectives on romantic and familial relationships. Most inspirational among the songs is “Breathe,” an empowering reminder from Sey to herself that no matter what hardships she endures, she is valuable and magical.

14. Black Belt Eagle Scout, Mother of My Children

Standout Tracks: “Soft Stud,” “Keyboard,” “Mother of My Children,” “Yard,” “I Don’t Have You in My Life,” “Sam, A Dream”

There may not have been a more impressive debut single in 2018 than “Soft Stud,” a searing ode to unrequited lust. The rest of Katherine Paul’s album is fairly quiet by comparison, but her first full-length project as Black Belt Eagle Scout burns with longing. A self-described “radical indigenous queer feminist,” Paul draws from her experiences growing up in the Swinomish Indian Tribal Community in Washington to tell stories both deeply personal to her and universal in the desires they communicate. Album closer “Sam, A Dream” is the best example of how Paul blends those two concepts, taking a minimalist lyrical approach to expressing her love for the song’s subject before spending a solid two and a half minutes on a guitar solo to finish the record, a sound so beautiful that you feel like you’re floating when you hear it.

13. Blossoms, Cool Like You

Standout Tracks: “Cool Like You,” “Unfaithful,” “How Long Will This Last?” “Between the Eyes,” “Lying Again,” “Love Talk”

For those of us who love a good tune that pays homage to 80s New Wave and synthpop, Blossoms are your band. They don’t seem to have made anywhere near as much of an impact in the US as they have in their native UK, and British critics weren’t exactly bowled over by this sophomore album (despite it hitting #4 on the charts), but I’ll bet that most of today’s young American bands would kill to put out a single half as catchy as “Cool Like You,” or anything close to the upbeat yet still sort of bittersweet perfection of “Love Talk.”

12. Shannon Shaw, Shannon in Nashville

Standout Tracks: “Bring Her the Mirror,” “Broke My Own,” “Leather, Metal, Steel,” “Love I Can’t Explain,” “Cold Pillows,” "Make Believe”

Stepping away from her role as frontwoman of Oakland, California’s surf-punk outfit Shannon and the Clams, Shannon Shaw’s debut solo album Shannon in Nashville is an entrancing collection of songs deeply inspired by 60s girl groups, Roy Orbison and, of course, Dusty “Dusty in Memphis” Springfield. Even if you’d never heard Shaw’s voice before now, it would instantly become iconic to your ears thanks to melodies that sound just as timeless as their predecessors from half a century ago.

11. Say Sue Me, Where We Were Together

Standout Tracks: “Let It Begin,” “But I Like You,” “Old Town,” “After Falling Asleep,” “About the Courage to Become Somebody’s Past,” “Coming to the End”

Korean-American indie rock band Say Sue Me have a sweet, light touch that makes both their snappy power-pop efforts like “But I Like You” and “Old Town” and also somewhat more serious-minded guitar showcases like “Let It Begin,” “About the Courage to Become Somebody’s Past” (an instrumental that gives me real “This Magic Moment” vibes) and “Coming to the End” equally appealing. I don’t speak or understand Korean, so I don’t know how lead singer Sumi Choi’s lyrics of “After Falling Asleep” translate, but the fact that I love it anyway is a testament to the fact that fantastic music always transcends barriers of language.

10. Robyn, Honey

Standout Tracks: “Missing U,” “Human Being” (feat. Zhala), “Baby Forgive Me,” “Send to Robin Immediately,” “Honey,” “Ever Again”

I didn’t expect to love Robyn’s newest album upon first listen back in October, but now I do, so here we are. A couple of months spent absorbing her woozy beats has made me appreciate Robyn’s ability to evoke moods that feel specific to her particular talent as an artist. The loss that inspired the album - the death of one of her closest friends, Christian Falk, in 2014 - pervades nearly all of the tracks, but they are relatable and will still make you want to dance, closer to light than to darkness. Even in songs like “Human Being” and “Baby Forgive Me,” where the rhythms and (to cite the latter’s credits in the album liner notes) “sad robot voice” play with notions of human artistic creation juxtaposed with machine-manufactured products, Robyn herself is always in front and center, and in the album’s crown jewel, the title track “Honey,” her maturity as a storyteller is evident.

9. cupcakKe, Eden

Standout Tracks: “PetSmart,” “Cereal and Water,” “Garfield,” “Prenup,” “Blackjack,” “A.U.T.I.S.M.”

All Hail Queen cupcakKe. On her second album of the year, following January’s Ephorize, the Chicago rapper continues to show why she’s one of the best women in the game. “PetSmart” starts things off incredibly, exhibiting one entertaining brag after another, then the rest of the album displays more of her often laugh-out-loud humor, endless pop culture references, a bunch of her quintessential sex-centric jams (”Garfield,” “Typo,” “Blackjack”) and a song dedicated to people on the autism spectrum (”A.U.T.I.S.M.”). Every now and then there are moments that indicate that cupcakKe still has room to grow, like when she uses the R slur on “Garfield,” but ultimately her heart is in the right place; besides the aforementioned “A.U.T.I.S.M.,” she has also recorded songs in support of the LGBTQ+ community (”LGBT,” “Crayons”), so I am certain that she’ll eventually learn from her mistakes. As one YouTube commenter wrote on one of her videos: “She should be where Cardi B is.” Indeed.

8. Chelsea Jade, Personal Best

Standout Tracks: “Ride or Cry,” “Pitch Dark,” “Colour Sum,” “Laugh It Off,” “Over Sensitive,” “High Beam”

New Zealand-based singer-songwriter Chelsea Jade has not yet hit it big in America like her younger compatriot, Lorde, but there is an ample proof on Personal Best that Jade can craft earworms with memorable hooks and intelligent lyrics. (Seriously, when was the last time you heard the word liminal used in a pop song, as Jade does on “Laugh It Off”?) She has her foot in the door in America as a lyricist, credited as one of the writers of this year’s Chainsmokers single “You Owe Me,” but one hopes that the “Accidental Dream Pop Hero” of Auckland, NZ will claim her own chart-topping stardom one day.

7. Beach House, 7

Standout Tracks: “Lemon Glow,” “L’Inconnue,” “Black Car,” “Lose Your Smile,” “Girl of the Year,” “Last Ride”

I thought I knew what to expect from a Beach House album after following their career for the past few years, but “Lemon Glow” and “Black Car” hit me like gorgeous sledgehammers anyway when they were released earlier this year, still taking my breath away every time I hear them. I don’t know how Victoria Legrand and Alex Scally manage it, but they keep finding sophisticated ways to update their mining of the same musical territory in a tried-and-true comfort zone. Beach House’s secret seems to be that they have deduced all the algorithms necessary to hypnotize listeners. 7 is perhaps less exciting to me than the duo’s last album, Thank Your Lucky Stars, since the freshness of first being introduced to their music in 2015 has faded, but I’m glad to report that their new songs are absolutely worthy of praise.

6. Soccer Mommy, Clean

Standout Tracks: “Still Clean,” “Cool,” “Your Dog,” “Last Girl,” “Skin,” “Wildflowers”

Nashville, Tennessee’s Sophie Allison, who performs under the moniker Soccer Mommy, wowed me with this ten-track album full of indie rock gems. At age 20, she is ready to take the music industry by storm, evoking her heroes Liz Phair and Mitski while always maintaining a recognizable individual style. This is most apparent on the more upbeat tracks - “Skin,” for example, is a brutally honest articulation of yearning, and if ever there was a year that needed a blistering takedown of abusive relationships like “Your Dog” as its rallying cry, it’s 2018.

5. Courtney Barnett, Tell Me How You Really Feel

Standout Tracks: “Hopefulessness,” “Charity,” “Need a Little Time,” “Nameless, Faceless,” “Help Your Self,” “Sunday Roast”

It took a while for Courtney Barnett’s latest album to sink in with me. Tell Me How You Really Feel is the definition of a slow burn; it has just as much of Barnett’s trademark dry humor, but it also brings to the surface a sensitivity beyond what she revealed on her breakthrough album, Sometimes I Sit and Think, and Sometimes I Just Sit (2015). Most of all, I think she’s enjoying exploring what she can do with her melodies, like the guitar solo on “Help Your Self,” her incorporation of Margaret Atwood’s famous “men are afraid, women are afraid” quote in the chorus of the #MeToo/#TimesUp anthem “Nameless, Faceless” or the amount of time it takes her to reach the “Keep on keeping on/You know you're not alone” part of “Sunday Roast.” Listening to new music by Courtney Barnett is as rewarding an experience as any modern-day alternative rock fan could want.

4. Caroline Rose, LONER

Standout Tracks: “More of the Same,” “Jeannie Becomes a Mom,” “Getting to Me,” “To Die Today,” “Soul No. 5,” “Animal”

I was magnetized to Caroline Rose’s music from the intriguing opening notes of “More of the Same,” the first of many riffs that LONER gifts to us. My favorite track is “Jeannie Becomes a Mom,” which continues a classic singer-songwriter tradition of relating the ups and downs of another woman’s life, especially her dreams for a brighter future. She also moves through a few genres besides indie rock with skill, employing elements of trip-hop on “To Die Today” and R&B on “Talk” and “Animal” in engaging ways. (According to Rose in a press release, LONER is “as much inspired by Justin Timberlake and Britney Spears as it was late-’70s punk,“ which I can believe.) Rose’s sense of humor might be the best part of the album, though, as seen in her sharp wit and sarcasm on “Money,” “Soul No. 5” and “Bikini,” the last of which is a bouncy number mocking the industries that compel women to become sexualized puppets tailor-made for public consumption.

I also find this Out Magazine quote from Caroline Rose about how she incorporates her own sexuality enlightening: “When I was first starting, I was kind of afraid to make being queer a part of my identity for fear that it would consume it, because that happens to a lot of artists, unfortunately. When you’re first starting, that is the way people identify you cause that’s all you get. You get one elevator pitch and if you’re lucky, a 30 second clip of what your music sounds like—and that’s the pitch. But I hit a point where I was like, ‘That’s dumb.’ People should be as much of themselves as possible, ‘cause then everyone would be super unique. No one else is you. You are independent of other people and you can do whatever you want with your identity and your body and the way you dress and the way you act. I realized I should just be myself—middle fingers up and no fucks given, ‘cause life is really short. My life is zipping by and I’m okay with that, but I want to make sure I do it right.”

3. Wild Moccasins, Look Together

Standout Tracks: “Boyish Wave,” “Temporary Vase,” “Longtime Listener,” “Missing You (the Most),” “No Muse,” “Waterless Cup”

Few bands that I discovered in 2018 have dazzled me quite like Houston, Texas’s Wild Moccasins. When the pair at the heart of the group, vocalist/keyboardist Zahira Gutierrez and guitarist Cody Swann, ended their romantic relationship a few years ago, they turned their complex jumble of reasons and reactions into art. But Look Together isn’t a mopey breakup record; “Longtime Listener,” the song that immediately turned me into a fan, is a slice of New Wave heaven, while “Missing You (the Most)” and “No Muse” are just as jaunty but dig into the more personal side of the duo’s songwriting. “Missing” ends with a repetition of the lines “You only want me if you get the chance to change me/You only want me if you get the chance to save me,” while “No Muse,“ a pointed examination of how men (especially artists) undermine and belittle the women in their relationships, features this cogent chorus: “I’m no use to you unless I’m undressed/I’m no muse to you/You cut me in two unless I say yes/I’m no muse to you/And you can sing about it all you want/I must not want it bad enough, bad enough.”

2. Miya Folick, Premonitions

Standout Tracks: “Thingamajig,” “Premonitions,” “Stock Image,” “Stop Talking,” “Deadbody,” “Baby Girl”

Thanks to Pitchfork, I first heard of Miya Folick when her single “Deadbody” came out this past March. It immediately struck me as a manifesto for our new age, where women can move forward with confidence thanks to the #MeToo and #TimesUp movements. That song alternately demonstrates subdued menace and loud, unapologetic anger, but “Stock Image” and “Premonitions” show that Folick has a strong leaning towards modern pop music; “Stop Talking” is so commercially accessible that it’s as much of a bop as any sugary confection by Carly Rae Jepsen. Folick’s debut album - after having released a number of EPs and standalone tracks over the past few years - showcases a woman whose voice and songwriting abilities have limitless potential, and she’s only just getting started. To quote some of Folick’s lyrics from “Stop Talking,” seemingly a summary of her artist’s statement: “You have to make a choice/Don’t be an accidental voice/We have to speak with grace/We will become the words we say.“

1. Mitski, Be the Cowboy

Standout Tracks: “Geyser,” “Me and My Husband,” “Nobody,” “Pink in the Night,” “Washing Machine Heart,” “Two Slow Dancers”

It’s no mistake that so many end-of-year best-of lists have placed Be the Cowboy at the top of their rankings. Mitski’s fifth album finds her wading through deep pools of emotion in brief, lovely bursts of song, with twelve out of the fourteen tracks running two and a half minutes or shorter. It was pretty difficult for me to pick only a handful of highlights from an album that is so impressive in every conceivable way, so just know that every cut is a masterpiece. She puts words to the feelings we all carry inside, diamonds that glisten for fleeting moments but linger in the memory for a long time afterward.

HONORABLE MENTIONS (alphabetical)

Cher, Dancing Queen (”Dancing Queen,” ”Gimme! Gimme! Gimme! (A Man After Midnight),” “The Name of the Game,” “Waterloo,” ”Fernando,” ”One of Us”)

Farao, Pure-O (”Marry Me,” “Get Along,” “Luster of the Eyes,” “Cluster of Delights,” “Gabriel,” “Triumph Over Me”)

Florence + The Machine, High as Hope (”Hunger,” “Big God,” “Patricia,” “100 Years,” “The End of Love,” “No Choir”)

Juliana Hatfield, Juliana Hatfield Sings Olivia Newton-John (”I Honestly Love You,” ”Physical,” “Hopelessly Devoted to You,” “Xanadu,” “Dancin’ ‘Round and ‘Round,” “Make a Move on Me”)

Marie Davidson, Working Class Woman (”Your Biggest Fan,” ”Work It,” ”The Psychologist,” “Day Dreaming,” “So Right” [although the extended version is even better since the opening lines are brought back in the last thirty seconds, making the song’s ending even more effective], “Burn Me”)

HONORABLE MENTIONS #2: EPs (alphabetical)

Ellis, The Fuzz (”The Drain,” “Frostbite,” ”What a Mess”)

Hatchie, Sugar & Spice (”Sleep,” ”Try,” “Bad Guy”)

King Princess, Make My Bed (”Talia,” “Upper West Side,” “Holy”)

Margaret Glaspy, Born Yesterday (”Before We Were Together,” ”One Heart and Two Arms,” “I Love You, Goodnight”)

Sevdaliza, The Calling (”Soul Syncable,” “Energ1,” “Human Nature”)

[sarazanmai]

Stuff I loved in 2018.

Its that time again. The end of a year and a look back on all the stuff I enjoyed. Honestly I almost wasn’t going to write this because I feel these posts are a lot of effort with very little reward, but there was a lot I experienced this year that I think was interesting and worth sharing. So let’s go.

Roger Ebert once said “artistry can redeem any subject matter”. While I’m not sure any subject matter can be salvaged through an artistic eye, it can certainly help. If someone approaches a certain material with a clear vision and purpose to what they do they can create something truly fascinating. The Monogatari series is a very strange one. Its told in a non chronological order, there’s characters who say they’re one thing and reveal themselves to be something else, there’s a lot of references to other anime, the visual style changes sometimes radically, its incredibly meta, some moments of fanservice have a deeper meaning to them while others not so much. Me personally I think the series goes through periods of being brilliant as well as periods where it just is not up to the same standard as before. That said I kind of like that, I like that you go through so many different moods and style shifts. Not everyone will like that, some will get frustrated with the weaker seasons, but for me I think it all comes together and really made for something I won’t forget. I watched the entire series within a week and then later in the year I rewatched it all barring “Koyomimonogatari” which is one of those weaker seasons in my opinion. Despite its bulk, despite its tendencies, the Monogatari series just kept me hooked.

There comes a time where we all must accept certain truths. One of them is a lot of you don’t really understand mecha. I still see all of these reviews and comments claiming that mecha before “Evangelion” were all just light fluffy Saturday morning cartoon fare with little substance. This could not be further from the truth. The Gundam franchise from the very beginning was serving what I am going to refer to as a human element. It was not this soulless creation who’s only goal was to sell model kits. Whether it was Amuro’s PTSD from piloting the Gundam or Kamille and his tragic romance with Four or Char’s true motives during the original series there was always more going on than just giant robots shooting things. This isn’t even taking into consideration other installments like “War in the Pocket” where its a story of war from the point of view of a child and soldier. I have not watched every Gundam anime, I am sure there are some that were just there to exist as another installment in the franchise and didn’t necessarily push the franchise or genre into new areas. But what I have seen in “Mobile Suit Gundam”, “Zeta Gundam” “War in the Pocket”, “Unicorn”, “Iron Blooded Orphans”, and even the polarizing “ZZ Gundam” which I admittedly dropped were all very interesting and very unique experiences. Tomino really hit on something when he created the series and now we’ve come so far that we have a franchise so massive and large it needs an entire wikipedia article devoted to its cultural impact.

Once again, mecha that came before “Evangelion” were still displaying that human element many critics are convinced wasn’t there. In “Macross” its very prominent to the point where it feels like a driving force to the entire show as well as its film “Do You Remember Love”. We spend as much time with the characters and their developing relationships as we do with the mecha battles. The emphasis on music and culture as something that can create a change in the world is one of the themes synonymous with the franchise. While there certainly were times in the show where it leaned a bit into a comical area, I didn’t mind this. It was a show aimed at a younger audience and was trying to communicate these themes on their level so at times things can be a bit silly, but I appreciate what is being said so much that it does not feel like an issue. The heart is still there, the human element is still there. And more complex and serious sub plots are there too. Regardless when it comes to the film “Do You Remember Love” and the OVA “Macross Plus” things were certainly approached with a more mature voice, bringing the franchise to new places. I watched this prior to any Gundam anime in an attempt to get a better feel for the mecha genre. I wanted to expand my tastes and I’m very happy I did because not only did I love this I also want to really explore the genre now more than ever.

With the release of “Lupin III Part 5″ this year I was really turned onto that franchise. I ended up getting this massive itch to explore it when that anime wrapped and while not everything I found was a masterpiece it was a worthwhile endeavor. There’s something to Lupin the character and the series at large that manages to be both fun while also evoking a sense of coolness in spite of his goofiness. It was interesting to go through the various TV series and the movies and some specials and get a sense for how its evolved through time. Rewatching “The Castle of Cagliostro” I really enjoyed it a lot and other installments like “The Fuma Conspiracy” and “The Hemingway Paper Mystery” were hugely entertaining. I really liked “Lupin III part 4″ and “The Woman Called Fujiko Mine” too and the original “Lupin III” anime. I can still hear that voice singing “Lupin...he’s a nice man...but he’s cool...”. And objectively speaking green jacket is best jacket. I feel like this is a series that has undergone so much evolution through the various people that came in to work on it that there’s bound to be something that appeals to somebody. You just have to find it.

I spent a lot of time ignoring “Gintama” and its a bit of a shame that I did because this is a really fun series. Despite how long it is I really didn’t feel like it took me a terribly long time to finish it. And even though its goal is more on the comedic side of things, the series surprised me with how strong of an emotional punch it can provide. The cast of characters is one of the most likeable and fun that I’ve seen in a while and the seiyuu cast was very impressive. Everyone plays their character well and I get the sense they really enjoy working on it. Akira Ishida in particular seemed to really get a kick out of playing someone as ridiculous as Katsura when so many of his other roles lean more serious. And of coarse everyone loves Tomokazu Sugita as Gin. His voice just feels so right for a character like this and it was great having him for something this big when in other anime I’ve seen him in he’s only around for so long. I’ve also got to give the series credit for its female characters. There’s a really sturdy amount and they’re all occupying their own place in this world with distinct identities. This is something that makes this world feel more alive and expansive. Kagura is a character I need to applaud for the fact that she wasn’t there for some sort of lolicon fanservice or to have a really awkward crush on Gin or Shinpachi. No she just cares about food and her dog. What a queen. Speaking of Shinpachi he was the MVP of this series, good boy. And there’s our Shinsengumi boys and of coarse Gin himself, so many great characters. I am sure a lot of people look at how much there is to “Gintama” and get nervous at the size of it, but there’s really no need to. When it clicks with you then there’s no putting it down.

“Showa Genroku Rakugo Shinju” might be one of the greatest anime in recent years. It takes you through so many periods in this man’s life and the people around him and manages to hold you the entire way. Once again Akira Ishida is someone I need to give major credit to. He’s a very talented seiyuu and in this anime his performance was so impressive I was almost beside myself. Given the performance style the series is built around the cast all needed to be really great at reciting these stories and articulating them. And for the scenes where the characters are not on stage, when the interpersonal drama comes out, everything just hits in such a powerful way. I can’t remember how often I cried during this anime, but it never felt like I was being manipulated. It all felt as if it came through organically and easily. Even more subtle scenes like a character finding out he’s having a child hit on just the right emotions. If you are in the mood for a fantastic character driven drama this is absolutely one I’d recommend.

Speaking of character driven drama “Sangatsu no Lion” is another one to tune into. It initially presents itself as a very intense and dark story, but as the viewer stays involved you find that this is not about wallowing in self loathing but healing. The family that has taken this very troubled young man in and helped him navigate through his mental illness is so likeable and endearing. You find yourself wanting to see him get better and hope that these girls, as well as the other shogi players, find happiness for themselves too. Its not always simple though. There are ups and downs to the characters and their arcs, but it never feels bitter or angry. It feels like reality. Over the coarse of its two seasons it manages to do what so many other shows about a character with depression fail to do. It never feels exploitative or like it has no sense of how to handle such a topic nor does it feel hopeless. As difficult as things in Rei’s life can become you know deep down this isn’t the end of the line, things can get better. It also does a very good job at holding your attention whether you understand the intricacies of shogi or not. You’re told what feels like the essential basic rules to the game and you aren’t thrown into a state of culture shock if you’ve never looked into the game before. I feel like what we have here is a modern masterpiece and more people have been watching it and celebrating it as a great achievement and that makes me so happy.

“Galaxy Express 999″, pronounced “three nine” because why not, is quite the space opera. I watched every episode of the original TV series as well as the two films directed by Rintaro and while they have some flaws or areas that did not age well, they’ve remained famous for a reason. The TV series did a really great job at pulling at your emotions and showing you different worlds. Some felt similar to others, but then there’s so much creativity in other areas. The concept of a space train was inspired by the popular Japanese children’s book “Night on the Galactic Railroad”, which would receive its own anime adaptation, and what Leiji Matsumoto did with this inspiration ended up taking on an identity all its own. You really feel for this bond between Tetsuro and Maetel. You spend so much time wondering just who Maetel is and what her goal in all of this could be. She’s kept just vague enough where I feel we were told all that we needed to. Tetsuro is someone I’ve seen reviewers describe as a little frustrating due to his naivete, but he’s a child. It makes complete sense for him to place his trust in the wrong person or make a mistake like he does. Masako Nozawa, the future voice of Goku and all his male relatives barring Raditz, voiced Tetsuro and I think she really brought a strong likeability to the character. We feel for him and also have a lot of fun seeing him travel through space. Its hard to say what version is stronger, I’d argue the show but know its not easy to recommend something that hefty. Whether someone watches the films or the show or both I think they’re still getting something great out of it.

And they say you can’t sum up a show in one image. So “Madoka Magica” what are we to do about you? Its kind of hard to explain, but I rather purposefully chose not to watch it for this long. Mostly because I was tired of the hype and the fandom basically pulling an “Evangelion” and acting like no magical girl anime or manga prior to this served emotions. But its presence never really died, this anime is almost a decade old now and people still care. And while I don’t regret not tuning in while it was running, I am very happy to have experienced it on my own terms. It gave me one of my new favorite characters with Homura, its visually stunning and marvelously directed. the music is so enchanting, and the story really is good. I think the show from start to end was a great watch and really kept me going and the bittersweet nature of it did work for me. As far as the movies go I did watch “Rebellion” and while I think its good it does complicate what the message to the series is in my opinion. Either way its just the same as “End of Evangelion” where I don’t see it as canon. I think the big question a lot of people have is if this lives up to the hype and I’m not totally sure how to answer that, but it is an anime worth your time all the same.

This will be easy. I have a review already written out for “Slam Dunk” so if you want my more expanded thoughts there you go. This really is a fantastic anime.

Last year I watched the movie “A Silent Voice”, but failed to put it in my year end review out of pure laziness. I am not making that same mistake again. “In This Corner of the World” is a film I am very grateful to have seen. Its a very interesting take on a WWII story. Not that we haven’t had movies about the war from the perspective of a civilian before, but there is something to the way its approached through our protagonist that feels especially powerful. She experiences so much during those years and tries her best to keep living with keeping her family alive as her main motivation and eventually is met with tragedy. Its produced by a studio called Mappa who’ve gained a lot of attention for “Yuri on Ice” and this year’s “Banana Fish. I did not like those anime very much, but I really loved this film and have to applaud them for trying different types of stories. I hope the projects they have lined up for 2019 are as enjoyable as this. I’ve heard the director has an interest in releasing an extended cut and if that happens I’ll be very interesting in seeing what it offers.

Again I will not make the same mistake twice. “A Silent Voice” was directed by a woman named Naoko Yamada. She also directed “K-On” and “Tamako Market”, two series that made it on my post for last year. She has an incredible talent and in my opinion is the director in anime to watch. After the success of “A Silent Voice” a lot of people wanted to see where she would go and what she gave us is nothing short of amazing. “Liz and the Blue Bird” is a film more people need to pay attention to. Those who’ve seen it adore it, fans have given it very high scores and glowing reviews. But I think this movie needs even more attention beyond that because compared to movies like “Doukyuusei” this feels like it made a smaller splash in the community. Yamada’s approach to love and drama is so effective without being forceful, you really feel for these girls and the longing between them. Yamada is a director who cares deeply for respecting the emotions of her characters which is why she has successfully created so many famous emotional scenes without them feeling melodramatic or feeling staged. This is especially clear with this film where she manages to communicate everything we need to know, but in very few spoken words. And the animation as one expects from a Kyoani project is just lovely. It also manages to work very strongly with its blue toned color palette. So many people make these blue toned movies look dreary, but not here. Things still have a brightness to them and even a warmth. I feel very lucky I was able to see this movie this year when so many anime films take so long to be made available elsewhere. When it reaches the US on bluray I am definitely buying it.

When it comes to the seasonal TV anime for the year, this was my favorite.”Sora yori mo Tooi Basho“ or “A Place Further than the Universe” is a very interesting installment in the “cute girls do blank” genre of anime. Here its cute girls go to the arctic. It sounds like a weird premise to a show, but when you see it put into practice its impressive how much you feel invested in these girls and what they’re doing. Its directed by a woman named Atsuko Ishizuka who was once identified as one of the great talents at the famed studio Madhouse. I think, like Yamada, she manages to work within these character heavy stories while avoiding any unnecessary melodrama. A lesser director would have made some scenes so cheesy or so over the top sad and that can take you right out of the experience. At first I was unsure of how big of a hit this anime would be given how many huge shows came out this year, but its managed to top the bluray sales in Japan for quite a while now. I feel really happy it became such a success. People say the cute girl sub genre is played out and that if you’ve seen one you’ve seen them all, that is not true. Sometimes you need a talented director, an off the cuff premise, and you can get something fresh out of a genre that sometimes over saturates the market.

“Pop Team Epic” is an anime the like of which we’ve never seen before. And we will never get it again. A lot of people have said that in order to understand or get the jokes you have to know what it is they’re parodying and that really is not true. This isn’t referential humor like in “Gintama” where the impact of the joke relies on you knowing that material. If you don’t know "Jojo’s Bizarre Adventure” you won’t get it when Gin references Joseph and Caesar’s training with Lisa Lisa. Here the approach to the comedy is so surreal that if you don’t know the reference it just registers as a bizarre thing they did. Sure I know they referenced things like “Hikaru no Go”, but someone who doesn’t would just think its “Pop Team Epic” being weird again. And if you do know what they’re referencing then you know the layers to the joke. The anime is also in a lot of ways very visually strong to the point of being almost avant-garde. It was expensive and time consuming to make even if people don’t realize it. All of these different animation styles, the mixed media approach to certain scenes. They even brought in Miyo Sato, the woman who does the paint on glass animation for “Mob Psycho 100″, to work on the show for a few segments. To a lot of people this show was a meme, but in a lot of ways I think it was doing more than that. We’re not going to get another season or anything out of it, but I’m happy something this strange was able to exist and grab hold of such a large scale audience.

I have an in depth analytical review out for "Berserk”, if you would like to read such a thing there it is. However it does contain spoilers. My unspoiled and condensed opinions are that its fantastic, with gorgeous art, well developed and amazing characters, and tons of soul. Its very intense and not exactly for everyone, but its definitely a masterpiece. Unfortunately it also has a very foul fandom which turned me off reading it for years. I genuinely expected my review to garner a lot of negative feedback given how this fandom is, to my surprise this never happened though. If you can remove the toxic fandom from the equation, which is surprisingly easy to do, then you’re golden. Also this is a romantic manga and don’t let anyone tell you otherwise because they’re cowards.

“Golden Kamuy” is fantastic as a manga. I watched the anime too, but I feel like that works best treated like a companion piece to the manga. I’ve best described the plot as “One Piece” meets “Silence of the Lambs”. This is also something that probably comes closest to evoking the same kind of strangeness that “Jojo’s Bizarre Adventure” has. The best way I can put it is that characters will say things that are weird, but nobody acts like they’re weird. There is also a lot of information fed to the reader about aspects of the Ainu culture and hunting and weaponry. At first it feels as if you’re being given a lot of information on topics that aren’t going to be important, but they end up having more significance than you realize. The same applies to the characters. I was surprised at how many characters I expected to be left behind were made relevant later on. And they’re memorable. Sugimoto, Asirpa, Shiraishi, Ogata, Tsurumi, Tanigaki, even that little girl Osoma was memorable. One thing the story really excels at is how you have a large amount of characters chasing the same prize, but with their own reasons. Nobody loses sight of their own motivation, some we still haven’t learned their true gain in all of this, and we see how this effects the flow of the plot. For such a large cast this would under a different writer feel very cluttered, but not here. And visually the manga looks amazing. Noda’s art is a little odd at first, but when you really look at it he’s got a lot of talent. Everyone looks distinct, the backgrounds look great, the animals look good (we’re not gonna discuss the anime’s CGI). If I had to recommend just one I’d say the manga as the anime does skip material, some due to networks being incapable of showing such things others honestly feel skipped because they wanted to streamline the plot at the expense of characterization and world building. I do still recommend taking in both as this sort of bundle deal though because the anime really is entertaining and has such a strong seiyuu cast it would be a shame to pass it by completely.

Takehiko Inoue is an absolute master at this stage in his career. In an interview with Akira Toriyama he was called someone with a real sense for manga and its amazing to see how he went from “Slam Dunk,” where he had not yet drawn a bare foot, to something like “Vagabond”. The art in this manga is deserving of all the praise it gets, its so detailed that it just leaves you stunned. The story also shows just how on point he is as a writer. I’m sure through the many movies and shows about Musashi Miyamoto a lot of Japanese audiences have a certain way they tend to view him and then here comes Inoue offering a different approach to the man. One where he is still working towards an enlightened state and trying to reign in an animalistic rage. Working in themes of being the strongest under the sun, what it means to live for the sword, how these choices effect the people left behind, its really fascinating stuff. There’s even an entire long stretch of chapters where we break away entirely from Musashi to focus on a young Kojiro and his adoptive father, its a very sudden break away yet it doesn’t feel random or jarring. I think because Inoue knows how to craft compelling characters so effortlessly it made that shift in focus work as well as it did. Its one of the most successful manga in terms of sales and with good reason, its a masterpiece. This is one of those manga that currently is on an indefinite hiatus and I can only hope Inoue is able to finish it. And if for whatever reason he can’t then at least we can say we got what we got.

Behold your new shonen king! Not Izuku, not Hinata. Open your arms for the next great shonen! “Dr. Stone” is a manga that at the moment doesn’t have the largest of audiences, but everyone I know who’s read it absolutely loves it. And with the anime being released next year I can only hope that will be the push that people need to experience it. The story is focused very heavily on innovation and discovery which feels so fresh compared to a lot of things Weekly Shonen Jump has been producing as of late. And the level to which things have been thought out really impresses me. In recent chapters it was revealed that in that period of time humanity was petrified the terrain has changed drastically and the maps from the past are now worthless. So that means finding a way to survey the land and get a better sense of the world. Its so exciting to read this sort of thing. And the characters are so fun. Senku is a very interesting character to place at the center of this story. He’s a genius and approaches things as logically as possible, sometimes he can be a jerk and self serving, but he’s always going to do what he can to further civilization because he just loves science that much. Chrome is a really funny character to bounce off of him. We recently were introduced to a new member of the cast that has great potential. I like Asagiri. Its written by the same mangaka behind “Eyeshield 21″ and while I have not read that I can say through this manga that he’s really got a great sense of story telling. I also really like Boichi’s art, he pulls out some hilarious extreme faces and also some really dynamic scenes. Next summer can’t come fast enough because I am so hyped and ready for this anime to start.

“Kimetsu no Yaiba” is another manga that will be getting an anime next year and I am extremely excited. If I had to compare it to anything I would honestly say its like if “Fullmetal Alchemist Brotherhood” and “Hunter x Hunter” got crossbred. Its mangaka Koyoharu Gotouge really feels very influenced by Yoshihiro Togashi in both her writing as well as some of her character designs. Togashi actually said this manga along with “Dr. Stone” is one of the ones in recent years to read which I’m sure made her thrilled to hear. I feel like this is something that does a lot of the things people generally want to see in anime and manga. You have a strong sibling dynamic at the center of the story (and it isn’t one of those relationships), there’s female characters that are involved with the action and its treated like a real fight, there’s themes of family that are always really endearing, aesthetically its very beautiful while still being able to pull off a more intense body horror style moment, fanservice aside from a couple moments is at a minimum, and it is also very funny. There’s a lot of personality to our main characters as well as the Pillars that we have gotten to know and it doesn’t feel crowded. She knows when to use a character and when to keep them out of a certain arc. She also has a lot of respect towards Nezuko who I feel another writer would have shoved aside in favor of her brother. But Nezuko is shown to still retain her autonomy in spite of her predicament, she fights and is sometimes vital to defeating a demon, and the more recent events in the story show a lot of potential for furthering her as a character. The anime is to be released for the spring and its made by Ufotable, based on the PV we have at the moment this show will definitely be gorgeous. I am very excited for what they’ve done with this material and I can only hope other people will be watching too because I do not want this to be a series people sleep on.

“Revolutionary Girl Utena” is a masterpiece. I have frankly a really complicated opinion of Kunihiko Ikuhara. A lot of people think he can do no wrong, I am not one of them. There’s things that happened with “Sailor Moon” that I know weren’t his fault, but there’s also things that happened during S where he had the most control over the project that still bother me. I can never know for sure if these were his ideas or things Toei forced onto him as he did leave the show because of a lack of freedom to do what he wanted, but that said when he really commits to a project he can produce something amazing. He has said many things over the years regarding Utena and a big takeaway from them is that he does not want to tell us what to feel, he wants us to decide for ourselves. I think what Utena fundamentally is about is deconstructing romantic tropes, analyzing chivalry, and the lies men tell women. The series gets more complex and symbolic as it progresses until we get to the movie “Adolescence of Utena” where its refusing to hold your hand any step of the way. Unlike with “End of Evangelion” or “Madoka Rebellion” the “Adolescence” movie is not an attempt at a different ending, but more of an alternative retelling of the story. Its a pure visual masterpiece and a movie that I honestly think deserves to be seen with or without the TV show. That said I would strongly recommend both of them as not only is it one of the greatest shojo ever, it is also Ikuhara at his finest. Moo.

[jeffsalbumoftheweek]

The Bitter Roots Waning Days Interview

As it happens, my would be band, The Bitter Roots will be releasing our 5th Album, Waning Days, on October 27th.  Whenever I put out a new album I like to blog a few words for those lucky few that may have the time or inclination to read more about what went into making the album.  Despite what some folks may believe, it does not take 3 minutes to record and produce a 3 minute song.  An album usually takes me a few years to write and record.  Art is the labor of love.  So if you might indulge me...

This time around, instead of aimlessly ambling on of my own account, I thought it would be fun to do an interview.  With all the fake news floating around out there, who better to trust, who better to conduct this important interview, than my old friend Yale Kaul.   All star drummer, fellow Missoulian, Go Griz, former moderator of the most excellent pre-social media blog Yalestar, and also a frequent contributor to the former Missoula music scene, fanzine, Shat Upon.  So take it away it Yale, give me your best shot.  Order Up.

Y: Congratulations on the new album. What is this, your fourth or fifth one with this band?

J: Thank you.  Yes, this is the 5th full length TBRs record in 10 years now.  I really like to stay busy writing new songs.  I love to make and record new music, and so does Ben.

Y: Where's that on the cover? It looks like Central Washington perhaps? 

J: You have a keen eye.  That photo was taken looking due north off the I-90 overpass at the Templins exit just east of Ritzville.  I took it through the windshield with a cell phone.  I was driving back to Seattle by myself shortly after the death of my Mother in Law as it so happened.  I think the image captures the state of our crumbling and adrift former American Empire rather nicely.

Y: Is our crumbling empire a theme of the album overall?

J: You know, at first it was, because the album started to come together around the tracks Informed Consent, I am Nobody and Cuddly cats.  We had been jamming those out live quite a bit before they went to tape.  They are all pretty dark on subject matter lyrically, heavy rock sounds, and you have to remember this album was recorded in the 1st 6 months after the disastrous election.  But as we added more tunes to the album I think it went more from the Dark to the Light. 

Y: About that baritone guitar: is this the first time you've used one on an album?

J: It is.  For the uninitiated a regular guitar has a 25 1/2" long neck and is generally in standard tuning of EADGBE. The Baritone has a considerably longer neck, mine is 28 5/8" and is tuned to CFA#D#GC.  The main driver for it is to create more space in the mix for my vocal range, which tends to have more contention with standard tuning.  Also tuning down 2 full steps from E to C allows me to appear to have a larger upper vocal range, it is easier to hit the high notes when you tune down.  Led Zep did that for that last big reunion show to make it easier for Robert Plant to sing some of their tunes.  As you age, there is no escape for it, your vocal register tunes lower.

Y: Yeah, your voice definitely sounds lower, especially on the first song. So do you guys play live as a two-piece, i.e. bassless? If so, I'd imagine the baritone guitar can fill in a lot of the lower frequencies?

J: We have played out as a duo quite a bit, but not in 6 years, because we had bass players.  I have played the baritone out as a trio and it sounds rad.  For the Duo live, the best rig we came up with is an Acoustic brand 100 watt head, a mesa 4x12 slant cab, using just my acoustic guitars which are a '78 Guild F50 and a '87 Guild JF-55. Those are big concert grand guitars, it can be hard to manage the feedback live, but we dialed it in a few times to good crowd effect.  Neither us much prefer the duo live, there is something about needing that separate low end to really lock with the drum kit, we prefer it with 3 pieces and 2 voices.  I also have a lot of harmonies I need someone to sing with me for the full intended effect in the live setting.

Y: The recording itself sounds very pro! You guys did the whole thing in your home studio right?

J: Thank you.  We do the tracking in my studio which is 24 track tape, it is a good sized studio, it takes up the entire basement of my house.  It has separate rooms for guitars and drums as well as a control room.  Then we take the tape and the machine to Studio Litho where we dump it to pro tools and mix it down from 24 tracks to stereo 2 track using Litho's gorgeous vintage API console.  We do no digital editing or correcting, nor do we use any auto tuning.  We master the mix as well at a separate room that is now called Resonant here in Seattle, where final volume level and EQ adjustments are made on the stereo mix down.  The advantage to tracking at my place is that we can do it as many times as we like because we are not on the clock, under pressure, spending money to use another room.

Y: So when we were younger men, back in the Burnin' 80s™, I knew you were big into Hendrix, Bad Brains, Soundgarden. Obviously your music palate has developed over the years. What's turning your crank these days?

J: Excellent Punk Rock Talk question right there.  I try to check out newer stuff as much as I can.  There is a rock band from Scotland, Biffy Clyro, they sell out arenas in Europe in minutes, they are very very talented, and fun to see live too.  There is a band from Bend OR called Larry and his Flask.  They are the craziest punk bluegrass rag time rockabilly thing.  The Rev Horton Heat are big fans of those guys too, we saw Larry open for both The Rev and Fishbone, so that is saying something right there, they do fish style durges too, its super cool.  But with streaming, I have been able to delve deeply into catalogs of one artist or another.  We could not dream of such access as kids when records were 7 bucks, that was a lot of money back then.  Renting at Rudy's was what 2 bucks?  With streaming I can listen to for instance lately in chronological order as I prefer, the entire back catalogs of Steely Dan, Tom Petty, David Bowie, B-52s, REM.  All the Fat Wreck chords bands Strung out and Lagwagon, those are great bands.  Stiff little Fingers, Smiths, System of A Down, Audioslave, Rage and others.

Y: Also, Ben: he and I went to high school together, although I never knew him back then (he's 3 years ahead). Where's he coming from musically? Is his use of the traditional drum grip any indication? [I may have that wrong, but I thought I recalled him using that grip in early Silkworm shows... And is he involved much in the song smithing?

J: Ben has super eclectic tastes in music.  He loves the Rock, loves to play Rock, also a huge Soundgarden fan, Tool, Stone Temple Pilots etc... But he also listens to a lot of classical and plays a lot of classical music on the piano as well, J.S Bach is his favorite, he also follows all the session drummer dudes and he goes to the clinics and demos they do in music stores when they come around Seatown, guys like JoJo Mayer for instance.  He switches his grips depending on his mood or the song, he also switches at will, left and right handed orientation to the snare and hi hat, sometimes in mid tune, he is that good.  In albums past I have gotten some fine keyboard parts and bass parts from him as well, but for this record I did all the music and words and then as always we collaborate on the drum parts, the tempo and the final arrangements.

Y: So the album is called Waning Days, which immediately reminded me of the book "Dark Age Ahead," Jane Jacobs' last book before she died, where she goes deep on five areas where the west (but mostly the US) is pretty much clusterfucking itself into oblivion (culture-wise, financial, higher education, climate, etc). The book is just over 10 years old and it's looking more and more like she was spot-on. HOWEVER: it must be noted that aside from the album title and cover photo, there's not a real pessimistic outlook in the songs, or at least not that I could detect. So I ask you: am I missing some overarching theme of cultural and institutional decline among the songs?

J: Perhaps.  Track 1 Informed Consent is a song about sexual assault and in particular the demise of Bill Cosby, and Trump pussy grabbing, so there is that.  Track 2 I am nobody is about how as you age and your youthful self aggrandized importance in society wanes, as you just become another average Joe going to the mall and getting loaded too often, the lament of many as you grind into middle age and realize, yup, this is it, this is living, this is all there is.  Whatever you make it or can afford to make it.  Track 4 Cuddly Cats is a direct statement against the music business and the music business in the internet age, where music itself has become window dressing after thought for other commercial ventures, where kitties get more attention than actual artists trying to convey a meaningful message, where fake and sexy imagery is all that matters, trying to sell you stupid crap you don't need anyway.  Those messages are there in the lyrics, however subtle.  So there is some darkness but on the whole the message of the record is counter.  Yeah we are in some Waning Days, but there is hope and light, all is not lost.

Y: You've been at this a long time. Inasmuch as you're able to say, what are some of the lessons you've learned about navigating the music industry, especially now as a man in his 40s with a job and family and so forth? Obviously until about the 2000s people still made a living playing music, but now that number is vanishingly small, and those people make most of their money playing live shows and slinging merch. But at least nowadays it's easier than ever to at least get your stuff out there, right? So what's a person to do?

J: I have never had a record deal, never had a manager or an agent, and although I have played a ton of shows and used to promote out of town shows even in Missoula back in the day, recorded now 11 albums, I never felt like I was part of the music industry.  I have never made any real money from music. I think of myself the same way I am pretty sure most of my good friends think of me too as just an artist and a huge music fan, a recording artist. 

There is no budget in the music industry anymore.  Floyd, our Mix and Master friend of many years now, he is one of 2 guys left in Seattle makes a living just recording people as a hired engineer on a project.   There is no investment in new talent anymore.  Way way back for instance, Journey put out 3 records before they got Steve Perry and then became huge.  Today no record company would give you budget for 3 records in the hopes you hit on the 4th one, no way.  You would be surprised how little playing live pays these days as well, even for artists with hits in their back catalogs.  There are only a few corporations that control nearly every live venue of any size in the entire country who book pre-paid package tours at venue capacities of 250 all the way to 40,000 people.  These companies take a lions share of the revenue, especially in the smaller rooms.  It is corporate parasitic control of the medium and the media, fuck them all.

Despite the relative ease of self publishing these days, It may surprise you that It is not really easier to 'get your stuff out there' anymore because of the complete information overload now, music is just 1s and 0s just like all other commodified information, entertainment and or otherwise.  It is just not worth much anymore because there is just too damn much of it out there, new and back catalog alike. A small needle in a million haystacks.  You can have the #1 record in America buy selling a mere 50k copies in a week.  To contrast, when Nevermind came out in the weeks to follow they were selling 100K an hour, dig it.

So the thing to do is just to be your creative self and do it because you love to do it, because it is a part of you, and be glad you don't have the pressures of an industry telling you what you should sound like.  If you don't get famous in your 20s, chances are, you are not going to get famous playing rock music, so just don't worry about it, don't quit, keep playing, keep creating.  As Tolkein said in the beginning there was light, and there was music.  We are of light and music.  There will always be new songs to write and share.

Y: Well yeah, by  'get your stuff out there' I meant anyone can put their entire creative output somewhere where 3+ billion people could potentially get it, and with very little upfront capital outlay, but then of course it's effectively commodified. And whether anyone ends up giving a shit... that's another matter of course. It's a paradox of unforseen consequences.  

J: Totally.

Y: Well hell, I don't have any other specific questions other than the usual "what's next for the Bitter Roots?" So what's next for the Bitter Roots? Any other hard-fought wisdom you'd like to impart to other independent artists, or to the world in general?

J: What is next for us is more songs and more recording.  We have already started in on a new set, probably take a few years to put out.  No shows planned at this time, maybe in the future, who knows.  I don't have any profound words of wisdom other than, as an independent artist trust your own judgement and don't worry too much about external validation, cause these days the state of shit is as hollow as Facebook.  Stay positive, Trump's days are numbered and we the good, the meek, the thoughtful, the artistic and domestic alike will rise again and steer us all toward a more equitable future in the fashion of MLK and Obama.

[purpletigerblog-blog]

Deezie Brown talks about the importance of branding, the need for genuine music platforms, and speaks on Kevin Abstract.

Purple Tiger Blog: Thanks for getting in touch with us on such a short notice. We've been rocking with what you have going on for a while now, so it's pretty exciting to finally get to speak with you.

Deezie Brown: Absolutely, it's always a blessing when platforms not only reach out but genuinely support up and coming artists. These types of resources play a huge roll in the future of local musicians, and I'm glad you guys are doing your part by pushing the envelope and creating a blueprint for other platforms as well. 

Purple Tiger Blog: Most definitely, so with no time wasted, let's get straight into it. You already know at Purple Tiger we are really huge on content! Content means more than anything to us. I know you're involved with Here Forever Media Group, which is a powerhouse when it comes to creative content. So with out a doubt, content really matters to you. Please share with us some key components of Deezie Brown that help shape the creative content of your art. 

Deezie Brown: Yeah I've been working with the guys over at HF for about 3 years now and it's crazy seeing the growth, my focus in the creative process is basically using my addictions to describe my pain. I think one of the key elements to my vision is my addiction to the fashion lifestyle. We hear all the time from artists and public figures bragging about these types of pieces, but it's not everyday you hear someone saying they don't want these items, they actually need them to cover the pain mentally. What if the the industry had brainwashed an individual and painted a picture of what success looks like for them, this would be the solution to dealing with it for me. Purple Tiger Blog: That’s interesting. I'm sure you've caught some flack about this already. Has anyone ever brought up the name Kevin Abstract to you in response to your helmet? And what's with the helmet anyways?

Deezie Brown: Funny you ask that. Kevin Abstract was actually brought to my attention by my label mate and close homie Proz Taylor a couple months ago. Though the helmet may force you to see similarities, if your someone who doesn't judge a book by it's cover and critiques the artist by every element they have to offer including there Image, presentation and of course they're actually sounds then you'll be able to see the difference between us two. A lot of people forget that Daft Punk are the originators of this also just for shits and giggles. All in all I use the helmet to mentally provide protection from everything the industry has to offer in the most creative way possible. People can't judge what they don't understand.  It's also a good conversation starter.  Purple Tiger Blog: If there were a total of 3 things you could change about the music world for indie artists, what would it be?

Deezie Brown: I think the amount of good platforms and resources ratio to PR scammers is way off. You've got artist like myself that have been chasing what I would call “freedom and happiness” for quite sometime and there's nothing more annoying than someone saying that they can provide assistance to your journey when in reality its only to bend your pockets for 0 results. Another thing I'd like to see is a better support system between local artists. I'm in no power to justify how this should look because I need improvement in this area as well, but what I will say is it definitely needs some adjustments in order for us to see a little bit more progression as locals. Lastly and I think this may only apply to hip-hop artist what others may be able to relate as well in Sub-genres. When you think of Rock music you think of Punk, Metal, blues and etc. but in the hip-hop world we are stuck with one place to Distribute 20 different styles of rap music. There should be no reason you type in hip-hop on Spotify And a Kendrick Lamar record is followed by a Lil’ Yachty joint. No disrespect on either artist I think there's a time and place for both individuals at some point but the content and imagery the younger generation of rap are displaying doesn't blend with the message that every other rapper is trying to get across. I think the younger generation can agree with me also when the tables are turned, we got Trap & Hip-hop/Rap that's two genres to fit who knows how many rappers into. Something gotta give soon. 

Purple Tiger Blog: I feel like there are artists falling out of the sky these days. Some are really good, many are forgettable. These days, it takes much more than just talent, sometimes even more than hard work. I know a few acts who've established themselves by other means. I've dived into exploring some people just from the look of their album cover, a promo clip of a video they were prepping to release, even the particular wardrobe in their default picture. How important do you think it is for artists to have proper creative direction and branding? 

Deezie Brown: Well your creative direction is the first thing people see kinda like a book cover. Im really big on not hitting play if an artist can't respect the value of artwork. Choosing your creative director can vary between a lot of things but for me it's quality and turnaround time, along with communication, this goes for both parties. Also how you carry yourself plays a big factor these days it's really up to you on the presentation, but the cool thing is there's a audience for every artist. 

Purple Tiger Blog: What are some of your short term and long term goals as an artist?

Deezie Brown: For me a short-time goal is effectively branding myself . Creating something that people see and instantly think of you.  I feel that long-terms goals should be coming up with ways for your brand to grow. If you 100 followers make it a goal to grab 200 in two months and so on after that. Another long-term goal for me would be finding ways to provide your fans and supports with your music not depending on blogs and other outlets. This has been the hardest thing for me and my guys and it's still a ongoing process but I think it's get information for every local artists. People should be coming to you for your content unless there's really good relationships you have built with platforms so you're not paying for blog post.

Purple Tiger Blog: Awesome. It was great to chat with you and get a little insight to your methods and artistic beliefs. Great stuff. Hope to have you back soon to chat about some more topics.

Deezie Brown: Most def, thanks for having me.

[howaminotinthestrokesyet]

Coachella Review Part 1: The Bad One

The first weekend of Coachella ended yesterday to great acclaim among music media, but I have mixed feelings about what I saw. Let me be clear that I only watched the live streaming video on YouTube, but it is my belief that the cameras give you a very good sense of what it is like there. There were some great moments, some not so great moments, and some epiphanies in my mind that sprung up as I watched hours of this festival. For years, I had always looked upon Coachella as the top of the heap of summer music festivals. This was the place that Daft Punk started the EDM movement in 2007 with a legendary set that many have pointed to as a turning point in electronic music. The festival takes on a more mysterious feel to it rather than other ones like Lollapalooza and Bonnaroo because people in music tend to give it more weight. Coachella seems to matter just a little bit more than the other festivals. I have always seen it as the pinnacle of music festivals, which has always been a dream to have enough money to attend. The problem being that Indio, California is remote, expensive, and a camping experience. I do not do the whole tent thing too well. Last year, I attended Bonnaroo, which I took a shuttle bus from Nashville each day. The other festivals are good exposure, but playing a set at Coachella means an artist or band has truly made it. NME would even go on to say on Monday that Arianna Grande performed a set so amazing that it was possibly the greatest performance ever in the history of the festival. Yet, I am here to tell you that this festival’s excellence might be just a bit overrated much like the hyperbole of NME and perceived greatness of Arianna Grande. Do not get me wrong that the headliners are amazing, but they are much the same as many other festivals. You will see the same artists over and over all summer at Bonnaroo, Lollapalooza, Governors Ball, and a host of others. The supporting acts leading up to these headliners is where this year my opinion has diverged for the first time. I never realized until this year that there is a theme to the artists that play this festival. All these artists are up and coming, but the bands are pretty much a playlist for chill music overall. I am not including the rappers or the dj’s, which are many, but the artists who sing and provide more traditional music. The mood throughout the day is low-key, slow, and partially boring. Again and again, my one thought was that this was lounge music. I thought back to other years realizing this subdued vibe is very apparent. The crowd seemed a bit quiet throughout the weekend as this may just be an intended style and theme of the festival that people just do not realize. This is Coachella and you should be going f’ing nuts, but they were not doing so. Do not get me wrong because the crowd was dancing and jumping, but they seemed to really be playing it low-key as if they were too cool for school. I got news for you Coachella, you’re not. Sorry Zoolander.

Now, the other festivals seem to cater to a diverse collection of artists meaning there is usually something for everyone. Other festivals seem so much more accessible to the average fan. Yet, Coachella is not only a hipster’s dream, but it is borderline snobbish in the lineups they put out every year. Think of this fact for this year. The lineup was filled with international artists, k-pop, and some rather bizarre wardrobes throughout the weekend. I am all for diversity, but I also enjoy accessible music. Lyrics provide meaning, but I found there were a few too many artists doing songs in another language, but the people did not seem to care. This could be a symptom of music trends in general as the world has now looked to other subgenres for new content different than the diy rap that has taken over for EDM as what the younger generation is looking towards these days. Yet, the more I thought about it and looked upon Coachella as having much more in common with a festival like Pitchfork, rather than Lollapalooza. Weirdness, offbeat, strange is embraced, but it is so over the top that it sometimes sacrifices quality of what sounds good. There was so much I saw that was borderline ridiculous.  For example, Jaden Smith suspending a car high up in the air as he attempted to represent something that sounded almost like music. Please note Jaden Smith probably gave the worst performance in the history of Coachella. I commented that it was if the movie After Earth was a musical performance. J Balvin emerging with an outrageous anime blowup thing was not blowing anyone’s mindl, but simply really dumb. Another takeaway from many of these supporting rappers at Coachella this year. A majority of them were unimaginative, devoid of talent, and could not find a catchy melody if it fell out of the sky. Perhaps they should have worked a bit more on the music, rather than what visually would start trending on Twitter. It is my belief that if the music pushes boundaries, then the social media will take care of itself. There were numerous examples of this throughout the weekend like Pusha T’s set on Sunday. These rappers are not necessarily bad, but they are dull and boring. I almost fell asleep watching his never heard a drum machine I could not insert into my music set, while in comparison Childish Gambino on Friday showed what a good hip-hop artist actually looks like. Yet, moments like his set seemed to be few and far between, which makes me very sad. I sometimes worry about the future of quality hip-hop music in this country and whether we are witnessing the death rattle as Lester Bangs said of the music aspect of hip-hop. They give the audience in whatever capacity absolutely no motivation to continue to watch or listen to them at that moment in time. This is supposed to be words and music, but these artists make it feel as if there exists only words in life and the music part is a minor annoyance and inconvenience.

I was able to observe a few things about the dj’s that played this weekend as well. One observation was the fact that just like Lollapalooza the thumping bass that occurs live is not the same as the radio friendly pop songs these dj’s release on Spotify and YouTube. I see this as a cheap trick for the music fan that does not attend a set to dance like you were at a mid 90’s rave. I want to hear a dj live that recreates the songs that are released on the streaming services because that is the only reason EDM has remained relevant. The days of Skrillex dominating the chart are over as featured singers have come to the forefront on a majority of a dj’s catalog. I was watching Zedd do his set and noticed that he kept imploring the audience to sing along. I thought that was actually lazy on his part because a musician should be doing that for the audience. I read an article last year about Post Malone being a cultural tourist when it comes to the black experience in America. This got me to thinking about these dj’s and the ways in which they create music. Do they know anything about music at all? I am not trying to insult their process, but I am curious if they only know loops, sequence, samples, but these songs that they use, how do they originate? Are they just copy and paste musicians? One could very easily make the claim that a dj is a songwriting tourist and somewhat of a guest to the creative process. They take the finished product of a song, but do not endure the struggle it took to get there. Some rap could also be looked upon in a similar way because I have written poetry before. I can probably write a halfway decent one in 30 minutes. Yet, I wonder with a lot of music these days the atmosphere of the musical production process. I want to know how the music was created and who actually created it.

Another noticeable thing was the number of special appearances by other artists for the bigger name artists. Most times, they would bring someone out and that person would sing a verse or two, then you would find out the identity of that special guest. I would sit there annoyed because it would be nice to know that ahead of time instead of trying to guess. Weezer clearly let the crowd know who was coming out there, but a lot of the hip-hop acts would not say anything at all. You cannot enjoy the song because I am just sitting there racking my brain trying to figure out who is singing. Now, let also say that there were some good moments too. I found a number of bands that I did not know of, which I definitely will listen to in the coming weeks. Artists like the Wallows, Bazzi, King Princess, Maggie Rogers, Blood Orange, and some others really impressed me. The good parts will be in my review of Coachella next week as the festival concludes in its second weekend highlighted by Kanye West’s Sunday Service.