Disaesthetic

Best of 2017: #4-6

The Gentlemen of Hodera

Real Estate
In Mind
6

For my first vacation as an independent adult, I visited Japan during Golden Week. The country enamored me. Even just sitting on the Shinkansen, watching rice fields and cities pass by made me forget everything back home. It was a long overdue pilgrimage. Real Estate’s In Mind became the soundtrack to my travels for the week I was there. Something about its easy, calm vibrancy perfectly fit how at peace I felt five thousand miles away from home.

I can sum up my entire serene experience through “Holding Pattern”, the theme of my train travels. Think 70’s J-Rock with its warm guitar tune and hint of psychedelia. The fuzzy guitar hook sounds as pleasant as Japan and its people. I can’t help but reminisce about my stay at Deer Guesthouse, smoking Lucky Strikes and drinking Orions with Andrew. We’ll forever cherish our time in Nara, its indigenous deer, and treasure the coolest host ever, Yamamoto. Hope to see that guy again someday.

Real Estate made one of the best albums of this decade, in my opinion, with Days. Their last effort Atlas didn’t quiet hold up over time. In Mind, however, moved into new artistic spaces for the band.

They utilized synthesizers heavily like never before. The opener, “Darling”, introduces oscillating synths right away, foreshadowing the rest of the album. “Serve the Song” drenches a mellow song in phaser effects. This album possesses Real Estate’s established brand of indie rock which is treated with new dreamy soundscapes and far out grooves, man. Normally I’m not one for psychedelic rock, but it’s balanced here for those not dropping out, like me.

These songs sound as Japanese as The Pillows at this point of their careers. Different bands but both share the same Nippon vibe.

Admittedly, without my visit to Japan, In Mind wouldn’t rank this high. It’s definitely their second best album and I sense it will age well with me. The connection to my trip makes this album so important in canonizing my year. It’s the soundtrack to one of the highlights of the year, and of my life.

Japandroids
Near to the Wild Heart of Life
5
It’s almost been a year since Japandroid’s third studio album came out. Staying relevant this long for my annual list seems so unlikely. Human nature says we’re more likely to prize something fresher. Near to the Wild Heart of Life could easily wither away into memory but seeing them play in LA last year, their first American show in three years, and then again in March back home, made them a fixture.

Check my in-depth review here. I concluded Wild Heart needed time to marinate and would likely take several listens to stick. Many months later, I play it regularly on vinyl.

These tracks all hold up as a collective, a point I’ve focused on with albums in 2017. I’ll take eight strong songs instead of sixteen tracks with half or more garbage/filler tracks. “North East South West” sounds better now than when I reviewed it in February. Perfect song for a road trip through the American Heartland. Think Springsteen and Mellencamp. The verse on “Midnight to Morning” still hooks me. “No Known Drink or Drug” reminds you Japandroid’s simplicity is what makes them a special group.

Reviews varied heavily between writers upon release. Those who praised the record found its ambition to grow in the studio appealing, where detractors thought they lost their piss and vinegar. I understand both takes. Seeing them live, however, proved they’re still premiere performers. Celebration Rock soundtracked the indulgence of drinking Four Lokos and smoking cigarettes with my friends while growing into my twenties.

Wild Heart came out four and a half years later. I’m 26 now and I don’t drink out in the parking lot anymore. I’m entering my late twenties now and I go to bed at a reasonable hour, usually. I give kudos to The Guardian for perfectly naming it “emo-rock for adults.” It certain fits my own mantra. I’m a grown up emo kid now.

Hodera
First Thing First
4
“How do you find these bands?” asks Greg, one of my best friends. I shrug triumphantly like I’m Michael Jordan. I’ve set myself up on the proper channels to make sure new and up and coming artists hit my radar. Hodera showed up on a Facebook ad. They had just over a thousand fans, if I remember correctly. I knew when I heard “Baltimore” for the first time that these guys were already special. They painted the night you met a lover. Everyone tries to do it but few do it as vividly as Hodera.

I think about the ones who have passed through my life. You remember how fulfilling it felt. Makes me want to keep trying.

Reading the vinyl insert validated my affection for them. These guys cut their teeth playing basements in New Brunswick, New Jersey, like my favorite band, Thursday. Something about that area fosters bands who connect so personally with people.

First Thing First reminds me how urgent Full Collapse felt fifteen years ago. “Out of Sync” hominizes my mid-twenties existences. I think about growing up with Bro Gang and missing spending everyday with those guys. If everything could ever feel this real forever, maybe I would know what true happiness felt like.

It’s such a passionate beginning to a sincere and complete record. “Highways” and “Four White Walls” makes you examine yourself. I asked myself constantly what the fuck am I doing here or with this goal. Realizing that you’re working through obstacles helps keep the faith you’ll shed all the grime and find the gem you always were. Sometimes it feels impossible to see or believe in the best of ourselves but we are who we choose to be.

“The Saddest Sentence” owns a special place among these songs. Very light on lyrics but more powerful than most tomes. One composed thought can damage us so much. “I can’t do this anymore” or “Jesus wept” fill in the blank for yourself. That idea holds so much ground with me, and always will.

Hodera hasn’t toured out west yet. I asked them on Facebook if they planned on visiting San Diego anytime soon and got a nice wink to stay patient. I don’t care if I’m the only one who buys a ticket. I will buy mine as soon as they go on sale.

Best of 2017: #7-10

Reba Meyers // Credit: Marshall Amps

This is my second favorite time of the year, just after summer time. You get all the special holidays, NFL playoffs, and the NBA season getting more serious. I find time slows down more learning earlier this year it’s a great time to vacation. Everyone’s broke by new year day. I look forward to going somewhere next year. I’ll never forget my religious in Japan but I think I need something more… tropical I’ll say next time. Vacations add to the plus column for this time of year.

Ranking my favorite albums of the year though, a tradition like Christmas eve. I’ve listed the best each year since I got started buying songs on iTunes almost ten years ago. I wish I had archived my old tumblr posts before deleting the entire account. I started extensively writing back in 2010 after joining a journalism class my senior year of high school. Check out my favorites last year. I fortunately listed previous years on my listography. Take a look before proceeding with this list. Those old lists archive where my tastes were that year. I look back ever year to remind myself of where I was.

Perhaps that’s why I find myself doing this each year. I’m anthropologist. Music says a lot about us individually and culturally as a society. Look back twenty years later and you’ll find music always tells the story of that year, and those times. My lists have evolved from me just gushing over albums I really liked into recognizing where I am now and how that might speak to the rest of us. I really hope you enjoy these entries below, at least a fraction of how much I reveled in writing this. Four through six next week!

Uniform
Wake in Fright
10

“Everyone was saying it was morning in America. Someone had to say, ‘It’s fucking midnight man!'” Vic Bondi said on the American Hardcore documentary eleven years ago. Just like then, we’re in another Reagan-esk climate where life gets crueler for most and the wealthiest among us retain and further ingratiate society’s resources. I’m not here to get political, only to indicate when people like Trump, the Koch brothers, or any other oligarch shatters the glass of society its pieces always reflect the eventual revolt.

When I see Black Flag’s four bars I’m reminded to never surrender. Symbolically its a way of life. The primal roar of Uniform and the image of their cross and scythe represents the same anarchy towards society’s numbness to cultural issues. Wake in Fright confronts a world on fire. There’s no amnesia with these guys about any moral that’s melting. “Tabloid” mobilizes the blood flow with Ben Greenberg’s buzzsaw guitar ripping flesh like Kerry King in Slayer. Michael Berden’s voice sounds like a smelting factory or burning witches.

Just two men and a drum machine make the sound of chaos for an audience. It’s a contemporary version of hardcore punk in the early eighties.

“The Killing of America” defines the band’s social voice yet sounds as gruesome as the subject matter. If Slayer orchestrated the symphony of war, Uniform would fit perfectly in percussion section. The music video shows every mass shooting in America by location. According to the Gun Violence Archive, in 2016 there were 383 mass shootings resulting in 432 mass shooting deaths. The reality and art match in unison. Most of the big publications have no awareness about Uniform’s unapologetic attitude to bring the worst of society into their art.

I haven’t heard another artist speak so directly to issues like gun violence since Uniform emerged. The urgency in their records and live show breath the kind of real life we’ve been missing since the original wave of hardcore.

Cigarettes After Sex
Cigarettes After Sex
9

A few years ago Cigarettes After Sex seemed like some bedroom gem I found on Bandcamp. Never thought they’d have a sold out a show in San Diego. Thankfully I won’t miss them again but they’re charging twice the price now, and why shouldn’t they? Obviously their sensual bedroom jams caught the attention of audiences across the county. They’re selling out multiple venues and embarking on a world tour next year. Their self-titled debut is a hipster foreplay soundtrack after a night out on the gentrified neighborhood, i.e. my North Park experience.

I haven’t seen the same level of appreciation I have from other publications. After another album release the Pitchforks of the world will probably trip all over themselves to praise how great this band is now. No, they were good 5 years ago, got serious in 2015, and put together a debut far ahead of bands together for three or four albums.

“Apocalypse” sounds exactly like waking up with someone you just met last night. He or she doesn’t have to be anywhere. You don’t want them to leave, so let the infatuation take over. You’ll find this theme throughout. They’re not breaking any kind of new ground in the love song department but Cigarettes After Sex have established themselves as the hipster millennial heart-ache band. Listen to “K” which sounds exactly like its title; a disappointed text message.

I can’t pick these albums each year simply off one single. When I hear an album I’m looking for some kind order or theme, but most importantly coherence. Not just talented people making great songs but the sculpting of a finished product. No filler tracks. Everyone song placed purposefully. On their first record Cigarettes After Sex don’t just manage but excelled beyond the years of their existence. I can’t stress enough this is their first album and on the level of bands multiple studio albums.

They’re simply impressive and I’m excited to see them next year. I get a great sense of satisfaction doing these lists with bands I remember putting great work when no one was paying attention. Well they’re listening now.

Joey Bada$$
All-Amerikkkan Bada$$
8

In a few years I might regret only putting this eighth. Joey Bada$$ popped up on my radar five years ago with his 1999 mixtape. Still one of the best summers of my life. His vibe recalled conscious rap from the early nineties. Think Nas and Tupac. All-Amerikkkan Bada$$ modernizes his influences for today’s political and social landscape. Just take “For My People” his best song to date and an anthem for all time. It’s one of the best songs of the year too. Joey throws respect to Jay with “I don’t wanna be good, nigga, I’m tryna be great.” There’s a positive unionizing theme that’s easy to remember and vibe with.

“Temptation” borrows more from Me Against the World than anything else. Zianna Oliphant’s speech in the intro gets my eyes a little wet when I even think about it. Joey has a knack for tapping into your emotions in the beginning of songs like this one. In the first verse there’s a great diss at Drake “I really came up from the bottom. Strugglin’, my momma on her last dollar.” Drake started in acting and made his way as a rapper. Joey made his way a couple years ago on Mr. Robot with a reoccurring role.

His ability on this record to utilize his influences and add more anthemic pop sensibilities makes him a unique individual. Joey writes songs now to reach the ears of the world, not just the rap community. He’s becoming more like Jay-Z than any other MC.

“Y U Don’t Love Me? (Miss Amerikkka)” and “Devastated” feel more uniquely his own than heavily influenced by the nineties. Miss Amerikkka finds Joey hating America in one breathe but longing for it to love him back. It’s a bit more ambitious than the rest of the project and doesn’t try any pop gymnastics. I enjoy the album being front loaded with “singles” or hits and the back end features traditional riffing with Schoolboy Q and J. Cole. More for the people than the masses.

As great and raw as 1999 was it didn’t have these kinds of captivating elements. It had all the pure lyricism but not the advanced song crafting. Clearly Joey matured past being a kid making mixtapes. He’s starting to master song writing. He’s not good, he’s great.

Code Orange
Forever
7

I’ve admitted over the past few years feeling distant from metal. When I quit City of Crooks in 2015 I started checking out of the scene. I’m not one of these pretentious “I grew up” guys. I still love certain bands. Meshuggah and Metallica made some of my favorite albums last year and of their careers. I totally missed the boat on Fallujah last year. It’s just not dominating my ears like in past years. Rap, indie, and everything else impacted me more. This year even more so. There’s only one heavy record on this year’s list, a first for me, but it’s a seminal career defining album.

Code Orange appointed themselves among the elite heavy bands on the planet. In my opinion the number one live act you should go see right now. I bought tickets to see them with Meshuggah January 29th at The Wiltern. It’s going to be a wet dream to see these two nuke Los Angeles that night. I missed them coming through San Diego with Gojira and couldn’t miss them again on an even better ticket.

Forever like I mentioned before is already critically acclaimed. I wrote a review back in February. If you want in depth analysis I encourage you to read my piece. I prefer to talk about its impact since the release. The album is universally praised by their peers. When Randy Blythe, Lamb of God, loves your album that’s all the justification you need.

If I could draft a band for a chaotic anything goes group I’d pick Reba Meyer. She can sing beautifully and thrash on guitar with the best of them. Watch her performances on social media since Forever came out. The whole band devastates every performance but she’s the one leading it. They’re special as a group but she strikes me as the mastermind, especially as a fan of her side project Adventures.

I can’t get over how fucking slow metal publications are on these guys. Metal Injection called the album “a little inaccessible at first” while drooling over other chaotic projects. This is far more accessible than anything Nails or The Dillinger Escape Plan has done overall. Find me a better metal album that’s more artistically pleasing in every way.

The musicianship is insane, yet it crosses over into popular territory earning them a Grammy nomination. Say what you want about the academy, the acknowledgement to me says it all and hopefully a win will say even more.

The Best of Next Year?

I wish Apple Music could better sort pre-released albums available to subscribers. At least for the purposes of this thought piece. 2017 will go down as one of the best in the decade, at least in the short term. I wonder how we will look back on several mainstream records like Jay Z’s 4:44 or Reputation by Taylor Swift.

Last year I remember reading about these two, untitled at the time, albums and thinking these would get a lot of attention. In the short term I think we’re seeing the decline of Swift and 4:44 didn’t connect with me like DAMN. or All-Amerikkkan Bada$$.

Reflecting in a few years on XXXTentacion’s 17 and Brand New’s Science Fiction could produce polarizing perspectives. I thought very highly of both until some disturbing allegations came forward this year. The State of Florida charged Jahseh Onfroy’s (XXXTentacion) with domestic abuse of a pregnant woman. The details are disgusting.

For years I knew Jesse Lacy, Brand New frontman, had nudes leaked on IsAnyoneUp back in the day. I didn’t want a virus searching for that shit, but take my word for it. Lacy’s shit was out there. To learn he was soliciting nudes and sex from minors and exploited them like a true predator taints everything he’s done. I feel the same way about Tim Lambesis and his crimes.

Looking back can’t only seem negative. I’ll remember this year for a wealth of good albums. I don’t want to spoil what those are quite yet. Check back for that next Friday. Looking forward to 2018, there’s already some hints of the best we’ll hear. Obviously by the banner at the top of this post Of Mice & Men sit at the top of my most anticipated albums right now.

Since their last project the band and founding member Austin Carlile parted ways. Admittedly at this concerned me at first. Carlile had an incredible stage presence and channeled that vibe into OM&M’s albums. Cold World may have been 2016’s most disappointing album. Definitely their most subpar project. They wrote full on Nu-Metal songs which reminded me why bands like Limp Bizkit died out.

Carlile’s role diminished along with a pish posh of dabbling in different styles. They got away from what made them special early on. Hearing them live translated directly into their albums.

Carlile’s well documented health problems forced him out of the band. He’s also stated he couldn’t write music with them anymore since he couldn’t make what he wanted. Obviously alarmed by that I took his side until I heard “Unbreakable” Of Mice’s first single without Austin. It’s the best song they’ve made since “The Depths” in 2012.

Bringing in Aaron Pauley a few years ago sneakily and profoundly strengthened the band’s status. He’d already been a great frontman in Jamie’s Elsewhere singing beautifully. Adding him completed the band and letting Aaron lead Of Mice just showed he’s more skilled and equipped to front the band going forward.

They’ve released “Back to Me” “Warzone” and “Defy” since then and look to release Defy early next year. It’s early but this is definitely one I’m penciling in for top 10 next year. I sense this one returns Of Mice back their volcanic sound from earlier this decade.

Clearly I’m elated for new Of Mice but every year has its surprises. I’ve also got ensnared by Pianos Becoming The Teeth’s complete stylistic departure on their “Charisma” single.

I noticed they started zagging away from their tortured and cathartic style with a glimmer auspiciousness on The Lack Long After, a pedestal 4th wave emo album, with their Touché Amoré split single. “Hiding” elevated the trajectory of the band forever.

I remember an ex-girlfriend unsettled by it when I played it for her. Sure, the lyrics were “sad” as she put it but stylistically “Hiding” laid out how PBTT’s sound would evolve for the next five years. Gentler vocals in favor of screaming. Guitars almost about to buckle, teetering towards losing control to their abrasiveness. It’s a beautiful song, despite the subject matter. Fast forward to “Charisma” from Wait For Love and one finds a band undeterred by calamity.

The last 67 seconds has an existential effect on me. I see every horrible event pass by like I’m watching a movie of myself while the last pre-chorus drums up until the chorus finally breaks. I see every event I hope comes to pass in my life: love, companionship, fatherhood, leaving this world peacefully surround by those I love. Reminds me of the moment Jack Shepard has at the end of Lost. Perhaps a bit morbid but hey my blog. Wait For Love comes out February 16th.

On the same release day The Plot in You follow-up one of my favorite albums from 2015. Dispose continues the rebirth from last time. Getting off Rise Records unleashed whatever creative barrier they seemed impaired by. I got to see them in July 2016 headline and execute a setlist worthy of an hour. It’s only gotten better with new singles from Dispose. “Feel Nothing” trims the aggressiveness from “My Old Ways” and retains the sonic weight. I’m still really impressed by how heavy they sound with one guitarist and bass player. Unlike some people.

The video for “Not Just Breathing” continues to perpetuate their brooding aesthetics. Relationships with woman seems so fleeting for TPIY mastermind Landon Tewers.

These are just some of the bands I’ve followed for years. Some bigger names like Frank Ocean, Cardi B, Nicki Minaj, and several more have albums coming next year. Who knows when they’ll see the light of day but Ocean’s projects tend to dominate headlines. Stay woke on this since whatever he puts out sprouts unexpectedly. Kevin Shields of My Bloody Valentine says he’s working on new material. Who knows when or if it happens but I’m keeping tabs on MBV anyways.

Other releases I’m looking forward to include Pinegrove’s next project, which may sit in limbo after band leader Evan Stephens Hall put things on ice. I honestly had to Google “sexual coercion” ignorant as I was about it. Whatever happened I hope both parties can find peace with each other, if that’s even possible.

Sadly we’ll all remember this year for how many powerful men in our society proved themselves unworthy of such might and privilege. Out of the abhorrence however woman have come forward about the abuses they’ve had to endure and empowered themselves. Women seizing this moment strengthens all of us. It’s a hellish mess but it needed to happen sometime. Hopefully we can all look back some day and remember this year as the time misogyny, abuse, and terror towards women began to fade. I hope so if I’m here twenty years or more from now reading back on this.

Perhaps we’ll see this autonomy reflected in the music next year. I’m hoping we’ll see it in every scene for empowerment purposes, as well as a reflection of the times we live in. Join me again next week for the beginning of my top 10 albums. I’m starting with 7 through 10. The following week 4 through 6, and right after Christmas my top 3 albums. I’m ecstatic to share my comprehensive argumentation of these records that defined my year musically, and to some degree personally.