Music – Page 14 – Disaesthetic

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.

In My Head

Metalcore is one of the most loaded words in music. Much like emo, people assign a lot of meaning, negative and positive. Too many breakdowns. Every song sounds derivative. What’s left to hear? Why even listen? Most “grow out of it” but in reality they’ve just lost interest. Metalcore fails to keep their attention. How can these bands stay relevant? Easy, write great songs, evolve musically. It’s not an easy feat. Metalcore as a genre invites many not adapt enough musically to ever mature, a problem inherent when making music is so accessible. Even with the saturation in all corners of the market one can find metalcore bands crafting catchy and staying projects.

Just this year bands like Hundredth have taken their sound in surprising directs. Like Moth to Flame simply produced an album with no filler, no nonsense songs. Their last album The Dying Things We Live For used every generically reprehensible metalcore element possible. Just another average disc with no staying power, doubling down on anything positive they’d already done. Slow chugging breakdowns, no real structure other than breakdown upon breakdown. I dismissed them as a band, thinking the best was already behind them like many of their predecessors i.e, As Blood Runs Black or Chelsea Grin.

Dark Divine sees the band retooling their entire approach to song writing. “New Plagues” starts pretty heavy but transition into real riffing, something unfamiliar for LMTF, which leads to an open clean choruses. Take note, this is their new formula on the record. Working with new producer Erik Ron, Panic! At The Disco and Four Year Strong, may have influenced more chorus centric and structural song writing. The result makes for extremely captivating coarse voice in Chris Roetter complimented by the band’s ability to forklift four ton metal. “Nowhere Left to Sink” displays this growth better than the rest. They allow Roetter to work his lyrics in early and build toward the band’s best chorus yet. I enjoy the overthinking everything theme. I get caught up in small details trapping myself in the same hole I was already in. It’s a very relatable theme, but incredibly effective in its presentation.

The record focuses on failure, particular in your mind, and how that pit seems bottomless. You’ll find moments like this built for bigger audiences throughout. “Shallow Truths for Shallow Minds” has the universal “whoa oh” chorus which yes one can easily tag as cheap and generic; however, I find the placement within the song perfect and timely. I hope to participate in a live audience for this one. “Empty The Same” goes along like its predecessors, initially, and intervals into some black hole. It’s quiet for a moment but once through the warp gate you find yourself in a Underoath/Oceana breakdown. I don’t want them to move away so quickly from that section. It raises the hairs on my neck like Birth.Eater or Define the Great Line. I’d like more of that darker breakdown.

There’s enough heavy and old LMTF too if that’s all you want. “From The Dust Returned” has you covered. The verses has the kind of bounce you’ve come to expect along with a speaker wrecking breakdown. “Mischief Managed” brings the wood too, which is in line with previous projects referencing Harry Potter. I’d hope “Instructive Intuition” could convince some of the more stubborn heavy listeners to move over to my side a bit. The pre-chorus slide and pull riffing could get me off my ass and into the pit. The chorus is catchy as hell, easy to repeat, and sing along with.

Anyone reading this or listening; give it a full go. It’s their most complete album and anyone can appreciate really well crafted songs. There isn’t any padding or pointless tracks. Everything here ranges from solid to extremely replayable. I make plenty reference to complete albums in my writing and I complement Dark Divine for that. Especially for the style of music where bands have enough trouble making one good song, let alone expecting an entire album. Like Moths to Flame far exceeded probably most’s exceptions this year. Hopefully they swing by my and your town for visit. I wouldn’t want to miss them next time.