Sebastian Langkilde

Most Disappointing Albums of 2017

Most-Disappointing

Jonas Bjerre // Photo Credit: Stephen McKendree

I’m just gonna say it, Mew’s Visuals disheartened me. Oh yeah, we’re going right for the hangnail. Anyone acquainted with me knows Mew is still one of my favorite bands. They were the first ambitious dive into more unknown and independent artists back when I was finding my tastes. Frengers might be my favorite album, ever. Definitely on the list of albums I’d take stranded to a deserted island but Visuals departs from everything I always loved about them.

The composition of songs seem pop focused and built from keyboards and synths rather than anamorphic guitars. Don’t make any assumptions about my opinions on digitally produced sounds either. + – explored this territory too however the roots of Mew could still be heard. Check the bridge from “Satellites” two minutes in for yourself. I remember how triumphant it felt hearing that section after such a long hiatus. There’s no reference back to the progressive melodies from No More Stories… or any of the enchanting multi-layered percussive recordings. I don’t find myself drifting from the present like I usually would. I don’t doubt their intentions but I can’t help stepping outside my biases and say most of Visuals sounds like hipster car commercial trash. It honestly hurts to say that but listen to “85 Videos” and “Carry Me to Safety” to judge for yourself. “The Wake of Your Life” sounds like some Young The Giant bullshit.

I don’t have any explanation or cause for why they took this direction. Mew have always worked on their terms. I don’t suspect any kind of A&R or label coercion but I am disappointed in what they’ve produced this time. Hopefully it’s nothing more than an experiment.

Perhaps the most disappointing album came from Volumes, whom I hyped heavily since last year. Strong singles but a disjointed portfolio. “Feels Good” still stands out despite most of the remaining index. It’s one of few tracks from this batch building of No Sleep and the dynamic vocal structures and “djent” rhythms established since their inception. Perhaps “Feels Good” was conceived before the departure of Michael Barr. Volumes hasn’t fully synced with replacement Myke Terry yet. Rather than focus their growth around a talent who can actually sing and back Gus Farias they opted for an extremely stark rap venture.

Plainly the attempt
doesn’t work

“Hope” compels the sneer I get when Kevin Malone spills his stock pot of chill in The Office. It’s a mess and plainly the attempt doesn’t work. I’ve always liked Volumes’ stylistic incorporation of hip hop through two frontmen hyping each other, layering their vocals strategically. This full dive into actually rapping flounders. Using Pouya for “On Her Mind” actually works because he’s a rapper and they accomplished writing a foundation, in their style, to rap over. Different Animals seems a lot like the cover art, buckets of paint thrown at the wall.

There’s an honest attempt to make the most of Terry but the execution didn’t yield what I wanted. This idea artists produce what we want is convoluted and problematic but it shouldn’t matter what we want. Many times record companies force artists to create what audiences want however I don’t suspect Volumes were pressured to make anything specific. Going of that logic, they made exactly what they wanted but I doubt they got the targeted response. Certainly not from me.

Northlane didn’t disappoint in the same way as Mew or Volumes. Their campaign to promote and release Mesmer failed garner people’s attention. The album itself didn’t bother me but I think psychologically it’s an interesting album release to reflect on. Northlane tried the Beyoncé route, releasing an album digitally unannounced and without promotion, a foolishly idea that ultimately failed the project.

It worked for Beyoncé for many simple reasons, mainly she’s arguably the most popular female singer in the world. Never forget she and her camp famous worked in secret and struck right before Christmas, 2013. Before then she had her first child and looking back the world seemed to think of her as a famous celebrity rather than a once in a lifetime artist. Northlane forgot they weren’t Beyoncé and lost a great opportunity to generate the appropriate buildup for Mesmer. I found musically most received it well, including bigger publications. Again, they missed an opportunity to raise awareness and anticipation in releasing “Intuition” at the beginning of the year.

Thanks again for reading. Check back next Friday for some blind hype on next year’s expected albums.

Best Albums I Didn’t Notice Last Year

Best-of-16-I-Missed

Evan Stephens Hall of Pinegrove

Every year I put together a seemly irrefutable list of my top 10 albums. Last year wasn’t too different. I wouldn’t change my top 2. The Hotelier and Fit for a King will always represent the ying and yang of 2016. Looking back I would definitely amend some of my other choices with albums I found this year. I always miss an album or two each year but I overlooked several great ones in 2016, some of which would make my top 10 now.

It’s common to dismiss or ignore albums during their release and only later acknowledge their greatness. Pinkerton was labeled one of the greatest flops. Decades later it’s one of their most influence records. It took the world twenty years to figure out Meshuggah become the most influence metal band at the turn of the 21st century. Sometimes it takes us years to catch-up with genius ahead of its time. Took me a year discover the following gems.

I happened to stubble upon Totorro through Xavier, a nice fellow who liked the band I was in. He snapchats whatever he’s vibing to. I caught a melody of “Chevalier Bulltoe” and I’ve been hooked since. Come to Mexico wouldn’t have made my top 10 last year however they deserved recognition then and now. I’ve read comparisons to Chon and Dredg on Bandcamp but they remind me of a happier Penpal. Obviously instrumental bands have higher musical proficiency, but Totorro’s ability to layer multiple sounds, without feeling cramped or overwhelmed, distinguishes them.

Architect’s All Our Gods Have Abandoned Us stayed in my gym playlist all year round. Certainly a better album than the bottom tier of from last year’s top 10. “A Match Made in Heaven” has remain in my rotation since I’ve heard it. The last minute’s airy and open breakdown pushes me through the wall during my cardio workout. Through each song the guitar tone carries such incredible weight without losing any clarity through muddying down-tuning. “Downfall” and “Nihilist” exhibit these hues best.

I’m fascinated by how much they’ve already accomplished yet only now have they connected with me. Forming in 2004, they have six other studio albums, none of which I could say anything notable about. The death of lead guitarist, founding member, Tom Searle last summer pushed out every emotion, every ounce of will the band had in the studio. The result bares their best and most meaningful work to date.

I’m pretty fortunate to have opened on a bill headlined by Fallujah a few years ago. Probably a hundred people or less showed up but I remember my excitement playing with a unique band who had just put out The Flesh Prevails. There wasn’t anything quite like it. Coming from the bay area during a metal renascence explains their unique concoction of spacey lucid sounds detailing their extremely nerdy brand of death metal. On Dreamless Fallujah perpetuate these glorious elements to new heights.

The solo on “The Void Alone” sounds like traveling through space discovering the new frontier, three trillion light years away. Andrew Baird’s drumming on “Scar Queen” leads every direction and motion of the track. It’s one of the most impressive performances I’ve heard in years. Honestly reminds me of Brandon Trahan’s brilliance on “Orphans” in 2010. The usual suspects of course throw in their generic criticism of “do something new” but if more of the same means more excellence, I’m in.

As years go by, trends in “The Scene” oscillate, existence of bands fleeting, but Dance Gavin Dance stay rock solid. A decade later on their seventh album they’re arguably better now than ever. It’s also the most stable line-up going on three albums now. Since parting ways with Kurt Travis in 2010 I stopped paying attention. Thanks to some friends Mothership pulled me back into the fold. Tilian Pearson appears fully integrated after two studio albums. Instant Gratification resembles some of DGD’s raw past with cohesion where Acceptance Speech seemed disjointed in comparison.

Every recording and writing element came together on Mothership. Never a better produced DGD album with seemless unison between each song. There’s a boogie groove I haven’t felt from them since Happiness during the “Inspire The Liars” bridge which funks like a get down club. My favorite “Betrayed by The Game” soars vocally and sonically through Will Swan. The main hook flutters beautifully along with Pearson’s memorable callback lyrics. Seeing them in March further imbued me to these songs. Next month I will see them perform Mothership in it’s entirety. I’d put it within or at least very close to my top 5 last year.

How I missed Pinegrove in general is beyond me. I owe all my gratitude to my Bro Gang brother Jake. He showed me Cardinal on the way to meet up with fellow Bro Gang lifer Greg. At first I didn’t think much of them until an epiphanous moment hearing “Cadmium” in my car. I felt their volition and jubilee. There’s something very comfortable about their sound and Evan Stephens Hall’s twangy vocals. Obviously that description could dismay some after this past week’s comments from Hall; however, I’m going to let whatever happens with his situation play out. I don’t feel any different about their music.

Seeing them perform plenty of Cardinal material reinforced my affection for the album. Experiencing “Size of The Moon” live had a profound effect on me. It reminded me of all these silly arguments I’ve had with people. You lose time and occasional bonds over stupid pointless shit that should have never mattered. I’ve become somewhat afraid of meeting new people from fear ranging from embarrassment to loss. Maybe I’ve lost some passion, maybe I’m afraid to lose more, but this coming year I’m looking to get outside my comfort level more. I’m tired of the seclusion over the past 2 years. I want to meet someone. Have those experiences again. Share time with someone, not just myself.

Look forward to my most disappointing albums of 2017 next week. New lists every Friday until December 29th.

Best of 2017

Best-of-2017

Julien Baker, Kendrick Lamar, and Reba Meyers

The end of the year is upon us and my favorite time of the year begins. I’m excited to dive deep into 2017’s seismic year for music. It’s one of the best of the decade, perhaps on the level of 2012 when Frank Ocean, Kendrick Lamar, The Contortionist, and Japandroids were putting out their seminal projects. I really can’t wait to sharing my take on this year’s offerings. Imagine walking into this hyped gourmet bistro you’ve heard so much about and it exceeding your presumptions. This year has something for everyone. For me it’s a year where the albums I hoped for were above all the expectations I had.

Living in a post-fact world in Trump’s America, after a supposed post-racial world with Obama, I knew music, as always, would reflect the counter reality in the country. In the 80’s you had Black Flag and punk hardcore’s no surrender battle cry to Reagan’s morning in America facade. Earlier this decade, the metal scene I came from rejected the conventional business practices and embraced the independence and freedom of the internet. I’ll remember this year as one where woman said “fuck you” and used the internet, their social media platform, and wealth to stand against misogyny, sexual assault, and unbalance in their respective societies.

I’m still trying to find my own place in it as a man. In one way I fear I may be too ignorant. Of course I’ll never understand their experiences but I know how ignorant I was in the past with my language. What else am I doing wrong? I don’t fear making a mistake, how else does one learn? I’m afraid however of the exile and branding this overzealous society marks you with. I want someone to explain my wrongs and see I’m not an evil person. Champion my growth as a person, don’t banish me from the village.

Now conversely, I couldn’t be prouder as a citizen of the world to see woman, and all victims of sexual assault, come after their perpetrators’ throats, ruthlessly. I’m so proud to see woman continue to rise in music while the market still favors and is dominated by men. I’m excited to share with you Reba Meyers’ incredible musicianship and stage dominance this year. Meyers and Code Orange are must see live music and in my opinion the hottest ticket in the world right now. Just look. Seriously. No wonder they get to play with Gojira. They’re as sick live as The Dillinger Escape Plan or anyone else I’ve ever seen. It’s hard not to bow down like you did to your childhood legends, for me James Hetfield, Dave Mustaine, Dimebag, so many others. She’s in that group now and Code Orange took their place as one of the best bands around.

Women weren’t the only ones scribing about modern society. Kendrick Lamar owned this year, and officially owns the decade. When I think about last decade Thursday, Mew, Jimmy Eat World, Radiohead, Slipknot, Foo Fighters, so many formative bands come to mind immediately. For me it’s hard to say who dominated last decade but without question Kendrick stands above everyone else since 2010. DAMN. made him completely untouchable. Where Tupac Shakur was this mythical figure my biological father introduced me to, K Dot will be same for my children (someday, I hope). He’s a one of the greats and we should appreciate his work while he’s here.

pastpresent

Past and Present

I’ll also remember this year for exorcising metalcore and “heavy” music predominately out of my system. Before someone says I think I’m above something, let me just say yeah you might be right. I still enjoy a good heavy album. I just recently wrote about one where I pointed out most of these bands struggle writing just one good song, let alone an album. I crave a complete installation. In becoming a vinyl connoisseur this year I expect a full canvas and subtle details to hit me in all the right places when I put needle on wx. If I’m spending on average $20, when I could just stick with my $15 a month for Apple Music. You better not bore me with bullshit and half-assed product. I expect your best and you better occupy my living room as well as your recording space.

Heavy music will always have a place in my life. I went to shows religiously and played with these bands. How I managed an opportunity to perform before Fallujah, Lorena Shore, Wovenwar, and a bunch more is beyond me. Those were fortunate experiences I’ll always be proud of and brag about forever. Once my life changed last year I opened myself to so many new experiences. The music never pushed me away, who I became didn’t identify with heavy music anymore. I can’t go to the gym without it. Veil of Maya, Novelists, and Threat Signal are this years best in the gym for me but I don’t seek out this music outside the gym.

After completing my therapy I didn’t feel the same. I’m not angry, hateful, and thankfully as spiteful as I was. Sure I still have short comings but I’d rather remove myself from my negative emotions and situations. I was at peace for the first time in a long time when I spent time in Japan this past spring. Real Estate’s In Mind or Father John Misty’s Pure Comedy let my mind daze. I marveled at the Japanese country standing still as I sped by seasoned farmers tending to their rice paddies. Men and women driving unfamiliarly small vehicles. School kids making out by the train tracks. These albums were the soundtrack for those trips. Like anesthesia, I sat and saw outside myself. My body was just a vessel for a moment and I flew through the countryside. It was a high without the substance abuse.

In living on my own for about 18 months I’ve had to find ways to enjoy solitude. I’m writing this in a neighborhood cafe by my place. It’s a modest pleasure I’ve always considered a luxury. I made this place my spot when I moved to North Park. The apartment is great but it’s also nice to leave and go somewhere. As Christian Madsbjerg writes in the bible I’m reading “escape the zoo… observe life on the savannah.” Out here I can walk around the savanna I wanted and enjoy how my life looks and sounds. This year Julien Baker, Hodera, Turnover, and so many more resonated with my experiences. I’m excited to share with you what I meant by that last sentence and how these artists stack up as this year comes to a close.

Starting next month I will have a new piece every Friday leading up to my top album of the year on December 29th, right before new years. I’m sharing this post with a wider audience than last year so if you haven’t read my work before check out last year’s list. Aside from my annual top 10 albums I’ve put together new lists. Next Friday I’ll share albums that should have made last year’s top 10. At least I found them this year! See you all then.