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.
Disaesthetic 