CD Monday

CD Monday! It’s back! And we have Small Friend Records & Books to thank!

The kind people there did a grab bag drawing to celebrate their one year anniversary, and as a result, I got to take home an absolute treasure trove of CDs. Label samplers. Promo copies of upcoming albums. Lots of stuff from Get Hip Recordings. Almost none of it was on my radar, and I’m looking forward to making my way through the stack, one CD Monday at a time.

First up is Nick Zammuto’s soundtrack for the 2018 film We the Animals. I haven’t heard too much of it yet, but it’s certain to be a welcome respite from all the Daniel Tiger we’ve been listening to in the car lately. (Kid 2’s burgeoning DT obsession has reignited Kid 1’s. Not good. “I’ll be back when the day is new” isn’t just an understatement, y’all; it’s a threat.)

Speaking of being back… many thanks to Small Friend for getting CD Monday up and running again. Here’s a link to the piece I wrote on the shop a little while back, in case you missed it.

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Shy, Low

Some fun news for fans of post-rock and/or colored vinyl and/or flower arranging…

Shy, Low has repressed their 2015 gem Hiraeth, and they’re offering two snazzy colored-vinyl options: “Cowslip,” which is highlighter yellow with orange pinwheels, and “Forget-Me-Not” — a yellow-in-electric blue with white splatter design. Like the massive, cinematic music contained in the grooves, and like the floral cover art, they’re gorgeous. Take a look:

If I’m reading the Discogs descriptions correctly, my copy from the original run is the “Bell Heather” version — milky clear with a baby pink swirl. Is each variant representative of a flower depicted in the arrangement on the cover? Maybe? My ikebana has a long way to go.

I do know that it’s worth snagging copy over at Bandcamp before they’re all gone.

Update: The band shared the following via Facebook:

We also have some available locally and will have some for upcoming shows. Not many, so if you wait, you may lose out.

 

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Better Oblivion Community Center

A few words about “Chesapeake,” from the wonderful Better Oblivion Community Center album

Can’t stop/won’t stop listening to Better Oblivion Community Center, the collaborative LP from Phoebe Bridgers and Conor Oberst. I’m especially stuck on “Chesapeake,” the sixth of the album’s 10 tracks. It’s an elegant examination of how music is passed from one generation to the next, and how the things that connect us can eventually foster alienation. There’s definitely some bitter mixed in with the sweet here, but the first four lines may be the most beautiful love letter to music I’ve ever read, and they don’t even mention music:

The world will not remember when we’re old and tired
We’ll be blowing on the embers of a little fire
We were the tallest person watching in Chesapeake
You put me on your shoulders so I could see

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The Louvin Brothers

The Wisconsin wing of my family visited Richmond over the weekend, and — calendars be damned — we did a full-on simulated Christmas morning. Vince Guaraldi. Bacon. Bloody Marys. Presents. Snow on the ground. The whole deal. And as we all know, nothing says Christmas like unwrapping an album called Satan Is Real. I’d been on the lookout for a copy since I listened to the incredible Cocaine and Rhinestones episode about the Louvin Brothers. Turns out these Wonderful Wisconsinites™ had gotten me the coveted translucent red Light in the Attic pressing. You can really feel the hellfire when you hold it. A passage from the liner notes on the back:

The fiery setting pictured on the cover of this album was conceived and built by the Louvin Brothers themselves, using chiefly rocks, scrap rubber, and lots of imagination. The scene became a little too realistic, though, when Ira and Charlie were very nearly burned while actually directing the photography for this dramatic cover photo.

I can’t even. I love it so much. The (very bonkers) title track is embedded below. Take a listen:

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Jerry Hahn

A late-breaking New Year’s resolution: To say a little something on here about the records I pick up, whether it’s at one of the many wonderful record stores in town or at a thrift store, which is where I found this 1973 Jerry Hahn album called Moses. I had a good feeling about it based on the cover, though my guess was that it was somewhere in the realm of folk or American primitive acoustic guitar music. Nope — straight up jazz-rock, with exceptionally clean and quick guitar playing throughout, and more wah-wah than you can shake a Les Paul at. (The photo on the back cover is of Hahn with the classic Gibson model in hand.) There’s a great version of Miles Davis’ “All Blues” from Kind of Blue, though the highlight for me — and this comes as a surprise — is probably his version of Donavan’s “Sunshine Superman.” I’ve never had strong positive or negative feelings about the song, and I never thought the application of wah-wah would be such a selling point, but Hahn uses the effect with an uncommonly deft touch — like writing with a pen as opposed to a marker — making the most of the pedal’s ability to mimic the human voice. See what you think:

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2018 in Review: 15 Favorites

Happy New Year’s Eve, y’all! I’m clicking publish on this just before picking up my kids from daycare and heading to a neighbor’s house to send off 2018 in style. It was a really weird year. Good in lots of ways, bad in many other ways, but I’d argue that the music was truly excellent. Here’s one more list — the albums I loved that didn’t fit into the other categories (EPs, Jazz, Blasts from the Past, and RVA), ordered alphabetically. There’s even a quick list of other jams I enjoyed at the bottom.

Thank y’all wonderful people for sticking with this dusty old blog in 2018. Be safe out there tonight. See you in 2019.

Arctic Monkeys — Tranquility Base Hotel & Casino

File this under “Things I didn’t know I needed…” If you would have come up to me and said, “One of the bands you like is going to make a completely sincere album about a space casino,” I’m not sure how I would have reacted, or if I would have guessed Arctic Monkeys were the band. Then again, you could argue that the seeds for Tranquility Base Hotel & Casino were planted in the making of A.M., in which Alex Turner found a new and uniquely convincing narrative voice as a chronicler of messy late night interactions. That’s what makes Tranquility Base work so well: It doesn’t sound like Turner is acting, even though it couldn’t be clearer (ahem, space casino) that what he’s singing about is imaginary.

As a side note, I listened to this almost exclusively while on a non-imaginary trip to Las Vegas earlier this year. My first time there. Alex Turner was my spirit guide. Like I said, “Things I didn’t know I needed…”

Car Seat Headrest — Twin Fantasy

This year’s winner for Difficult Album Categorization. It’s not a reissue, since the songs have been rerecorded, but the original Twin Fantasy was released all the way back in 2011, so this doesn’t exactly feel like a new album. In the end, none of that matters, because there’s power baked into these songs, their themes, and their memorable melodies that transcends how they’re presented. And I genuinely enjoy how Will Toledo forces you to examine your assumptions about whether recording a song means it’s “finished.”

Honorable mention for difficult album categorization goes to Ryley Walker’s excellent rework of Dave Matthews Band’s Lillywhite Sessions, which were never actually released, making Walker’s album the first official Lillywhite release? I guess?

Phil Cook — People Are My Drug

This album has all of spiritual buoyancy of Cook’s Southland Mission album, and it arrived at a time when his brand of relentless optimism is needed most. I’ll never forget giving it a spin when my faith in humanity was especially low, after a creepy encounter I had while canvassing here in Virginia’s 7th Congressional District for Abigail Spanberger. I got home, put this on, made a pot of chili, and the world felt right again. Well, almost as right as it did when Spanberger won 🙂

Jonny Greenwood — Phantom Thread OST

Cooking with mushrooms will never be the same in the Jones household. Not sure what I mean? See the movie, and then try to cook with mushrooms while this soundtrack is playing in the background and not get creeped out. It’s impossible.

Lonnie Holley — MITH

Holley is a true original. I’ll never forget how his 2017 show at the Broadberry was staged — Holley on keys and two cellos. Tons of improvisation. It was wild. I follow him on Instagram, and I still haven’t seen that arrangement repeated. I was ready for anything when MITH came out, and while there’s still a wildness to the way Holley delivers his songs, there’s a sharp thematic focus to the album, with “I Woke Up In A Fucked-Up America” leading the way.

As a side note, this made the Bitter Southerner’s Best Southern albums of 2018 list, and I loved the way Chuck Reece’s podcast explored “I Snuck Off The Slave Ship.”

Jump Little Children — Sparrow

Off Your Radar readers know about my love for Jump Little Children. I was so thrilled to see the band had gotten back together and recorded a new set of songs, but given how much time had passed, I was cautious in terms of my optimism. Lead single “Hand On My Heartache” was a great start, though — and a big hit in the Jones household, given that my daughter loved it right away — and the rest of Sparrow ended up following suit. We’ve listened a bunch as a family, which I love because of how I first learned about the band from my older sister.

I had a really hard time picking a song to feature for this one, because so many of these songs demonstrate what’s been great about Jump Little Children all along. I ended up going with the title track, which opens the album with a nice balance of quiet moments and anthemic builds.

Adrianne Lenker — abysskiss

I fell hard for “cradle,” which I first heard while on a trip to Maine with my family. It seems so fitting in retrospect, and not just because I listened to the song while I was literally putting together a Pack ‘n Play. There’s such a wonderful sense of intimacy to the album. Even when Lenker is singing “No one can be my man/No one can be my woman,” the closeness of her voice makes you feel like you’re on the inside of some warm, small space that she’s constructed with her words and arpeggiated chords. I love spinning the album at home and feeling grateful for the warm, small space in the world my wife and I have constructed together.

Buck Meek — Buck Meek

The two brilliant Big Thief solo albums are back-to back alphabetically! How perfect is it that? Meek is Big Thief’s guitarist, and I love his approach — restless and inventive, not unlike Blake Mills’. I even hear some of the same guitar tones. Meek’s lyrics are just as gripping. I could go on and on about “Joe By The Book.” Who knows how many times I’ve listened to it. It doesn’t even cross the two-minute mark, but it’s a study in how details enrich lyrics, with colloquialisms like “Who’d you fool to borrow this race car?” and “You should get paid to waste my time” that feel so true-to-life that I wonder if they’re one side of a real phone conversation. Either that or the most economical short story I’ve heard since “For sale: baby shoes, never worn.”

Blake Mills — Look

Speaking of Blake Mills and restlessness… Look came out later in the year (I’m actually still waiting for my online order for a vinyl copy to be fulfilled), and I’m still getting to know it. But I love how Mills is constantly looking for new muses — in this case it’s Japanese guitar synthesizers from the 1970s. According to an interview I read, Look is a document of Mills’ learning to use them — like a sketchbook kept by an artist mastering a new technique. Yet Look sounds like mastery to me, and I envision spending a ton more time with it.

Mountain Man — Magic Ship

This one has been within the vicinity of my record player since it came in the mail. In all seriousness, I don’t think it’s left that room. I’ve reached for it in so many situations: Cooking dinner, first waking up on the weekend and making coffee, during chaotic kid dinners. It pairs with solitude and serious contemplation just as well as it accompanies lighthearted moments of communion. Can’t wait to see Mountain Man at Capital Ale House in the coming year. Get your tickets here if you haven’t already.

John Prine — The Tree of Forgiveness

Much of what I said about Both Directions at Once in my jazz post applies here as well, since this is Prine’s first album of original material since I started getting to know his music. But I’m inclined to think this contains some true all-timers. “Summer’s End” packs an incredible emotional punch and reminds me a little of the power of “Hello in There,” and “When I Get to Heaven” offers a beautiful example of Prine’s benevolently dark humor.

Rosalía — El Mal Querer

Hypnotic spareness. Arresting, beautifully ornamental singing that lays bare the link between cante flamenco and musical traditions rooted farther east. Production from the brilliant El Guincho, who shows as much of a knack for listening here as for building out rhythm and atmosphere. Add in a track that incorporates the melody from “Cry Me A River” and you have an unreasonably generous feast for the ears, especially if you’re interested in the interconnectedness of styles from around the world.

Jeff Tweedy — WARM

I guess I never really stopped to think about the opaqueness of Wilco’s lyrics. There’s always been so much to dig into musically, especially since Nels Cline joined the band and became a focal point unto himself (one of the reasons I love Sky Blue Sky). But this whole narrative about how the lyrics on WARM are direct in a way Tweedy’s haven’t been in the past — I totally buy it. It really does feel like a refreshing creative left turn, and I feel like I understand him a little better after listening to WARM. That’s pretty incredible, given how much time I’ve spent with his work over the past decade or so.

Brocker Way — Wild Wild Country OST

I loved Wild Wild Country, and I especially loved the way it used Bill Callahan’s “Drover” in the series’ climactic scene. In that moment, the lyrics of “Drover” bring the show’s dark and complicated narrative full-circle, and the show brings out shading in the lyrics that I wouldn’t have heard otherwise. When I first saw this album at Small Friend Records & Books, I thought it would be more of a soundtrack, with songs like “Drover” included, but this is the original score, which was done by Brocker Way, brother of the creators of Wild Wild Country. When I saw it had been pressed to maroon vinyl, I had to snag it. I’m glad I did, because it’s haunting in really interesting ways — controversially so.

As a side note, you’ll see an honorable mention below for Callahan’s Live at Third Man Records album, which (coincidentally?) includes a version of “Drover.” Did I mention the song is where the show got its name?

Thom Yorke — Suspiria OST

Creepy, pretty, and perfectly suited for pumpkin carving. Thom Yorke’s first foray into the world of film scoring. Really impressive. Looking forward to hearing more from him in this format.

10 more 2018 albums I enjoyed:

Nathan Bowles — Plainly Mistaken
Bill Callahan — Live at Third Man Records
Father John Misty — God’s Favorite Customer
Mary Lattimore — Hundreds of Days
Lindi Ortega — Liberty
Screaming Females — All at Once
Shovels & Rope — Busted Jukebox Volume 2
Ryley Walker — The Lillywhite Sessions
Wilco — Live At The Troubadour L.A. 1996
Neil Young: Roxy — Tonight’s the Night Live

More 2018 in Review:

2018 in Review: EPs
2018 in Review: Jazz
2018 in Review: Blasts from the Past
2018 in Review: RVA Part 1

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2018 in Review: RVA Part 1

This year’s going to be a little different. I’ll be blurbing about more of my favorite Richmond releases from 2018 over at The Auricular, so call this 2018 in Review: RVA Part 1. Here are eight of the in-town albums I got the most enjoyment from spinning this year.

Beltway Recording Company — Outer Sounds From the Inner Loop

There’s so much to say here, but I don’t want to ruin the surprise. This album is not what it says it is — somehow it’s even more. More to come about this one (I hope) in the coming year. For now, please enjoy the seemingly well-worn groove of “River Road,” an exceptionally catchy tune with lyrics that happen to fit the River Road in Richmond suspiciously well…

Butcher Brown — Camden Session

All day, every day. In the studio, live in the studio, live at a show: Yes to Butcher Brown. Can that be a new ad campaign for Richmond music? Just “Yes to Butcher Brown”? I would wear that t-shirt. Someone please make it so I can buy two: one to wear around regularly and one for when the pits of the first one get gross.

What we were talking about? Oh right — hell yes to Butcher Brown and their in-studio Camden Session. True story: I almost bought it from England when it was first announced, not knowing then that it would be available at stores in town around the same time it became available online.

Lucy Dacus — Historian

From the post I wrote when “Night Shift” came out late last year:

It was that exceptional coda that stood out when I saw her perform “Night Shift” at The National in 2016, but having an opportunity to sit with the quieter moments has been rewarding, as is always the case with Dacus’ music. Forgive me if I’ve said something similar in the past while singing her praises, but Dacus’ lyrics comprise some of my favorite writing anywhere, in much the same way that John Darnielle’s Mountain Goats lyrics feel like they transcend their form.

Fly Anakin & Ohbliv — Backyard Boogie

Next time you’re in the vicinity of Scott’s Addition pretending to have legitimate errands so you can tack on a brewery stop, head to the intersection of West Clay Street and Roseneath Road, park your car, walk a few paces east on Clay, and then look left. There you’ll find one of the most stunning murals in all of Richmond: a Nils Westergard work depicting the two Backyard Boogie collaborators, Fly Anakin and Ohbliv, gazing upward. It’s a fitting tribute to a thriving Richmond hip-hop community, and Backyard Boogie is among the year’s finest releases in any genre — a perfect marriage of Fly Anakin’s relentless energy and Ohbliv’s endlessly innovative approach to producing.

Michael Millions — Hard to Be King

I reconnected with Hard to be King while working on my year-end playlist for Off Your Radar. “Apologize Less” will zoom across the finish line as one of my favorite songs of 2018, with moving piano-laced production from Brandon “NameBrand” Bass and a chorus payoff that feels like a fitting resolution, New Year’s or otherwise: “What what I feel, apologize less.”

Nickelus F — Stuck

My first visit to Vinyl Conflict was long overdue. I finally stopped by in December to pick up a copy of Stuck after hearing that supplies of the yellow-vinyl version were dwindling. I had the best time chatting with Bobby Egger, who owns the store and runs the label that reissued Stuck on vinyl. His enthusiasm for his new, hip-hop focused Fantastic Damage imprint was inspiring, as was the way he talked about Nickelus F’s complete mastery of music making, from production to lyricism. Listen to “Yea Aight” below to hear a true auteur at work.

Opin – Drifters EP

Speaking of limited-run releases, Opin pressed just 50 copies of this four-song EP, which includes a wonderfully extrapolated and brightly lit version of the fabled Japanese pop song “Shinzo no Tobira.” Clear vinyl. Lathe cut. Harding Assembly Lab. I couldn’t put my order in fast enough.

Natalie Prass — The Future and the Past

I go to great lengths to keep track of the albums I listen to each year, but my concert-going is way more chaotic. I can’t seem to keep a list of the shows I go to, and I’d guess that I went to fewer shows in 2018 than any year in recent memory. That said, I know damn well what my live music moment of the year was: Watching in awe as Angelica Garcia and Kenneka Cook provided backing vocals for a stripped down version of “Lost” at the Broadberry. You know it was a powerful moment when you get goosebumps again just thinking about it. Man, was that something.

More 2018 in Review:

2018 in Review: EPs
2018 in Review: Jazz
2018 in Review: Blasts from the Past
2018 in Review: 15 Favorites

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