Tag Archives: Jason Isbell

2015! Holy Crap! Part 5: Top Ten

10. Jamie xx — In Colour

Jamie xx

From when I first wrote about In Colour:

In Colour makes me wish I knew more about the electronic genres he’s citing/mining/channeling, so I can stop using EDM as a catch-all term. These songs feel elemental, like Jamie’s taken the basic ingredients of the music he grew up with and combined the best bits with a ruthless and discerning efficiency. I don’t know which ingredients are which — what synth sounds come from house vs. techno vs. drum and bass vs. something else on this hilariously detailed Wikipedia page — but for the first time I can remember, I want to know.

Jamie xx — “Gosh” [Spotify/iTunes]

9. Sufjan Stevens — Carrie & Lowell

sufjan stevens

I know I keep harping on how good 2015 has been for new music, but one (admittedly subjective and unscientific) measure of how good it’s been is how many albums could easily be considered the year’s best had they come out in another year. That’s one of the first things I think about when I check to see where Carrie & Lowell is ranked in other lists. In fact, it reopened what was, for me, a closed discussion: Which is the best Sufjan Stevens album? Illinoise. I used to be sure of it. Now, I’m not.

This here is an emotional sledgehammer. The Mike Tyson of chronicling a painful family history and your place in it. Sufjan is simply the best at this. No one else can take a profound sensitivity and turn it into a document that makes me want to compare it to a sledgehammer and Mike Tyson. It’s paradoxical, but that’s Sufjan Stevens, and Carrie & Lowell may turn out to be his best work.

Sufjan Stevens — “No Shade In The Shadow Of The Cross” [Spotify/iTunes]

8. Joanna Newsom — Divers

Joanna Newsom

Read the next entry and come back, OK? Done? Much of what I said about The Epic can be said here, except substitute an abundance of notes for an abundance of words. I’m still trying to wrap my brain around all that Joanna Newsom has given us in Divers. I could actually say the same of Newsom herself. I found a used vinyl copy of Ys earlier in the year (after I heard “Sapokanikan”), and used that as a gateway to Newsom’s wild, intricate universe. I’m still getting my bearings inside her world, but here’s how I know I’m a happy citizen of it: When Jim DeRogatis panned the album on Sound Opinions, I got really pissed. I started mentally writing a blog post in reaction — here’s a sampling of the thoughts going through my head at the time:

  • “OK, now you’re just being mean.”
  • “Would you say these things to her face?”
  • “I’m boycotting the shit out of Sound Opinions.”

These are the knee-jerk reactions of someone whose feelings were hurt. I did not publish that post, and I have not been boycotting Sound Opinions. All the same, I learned that I’m on Team Newsom for good, even if I don’t yet fully grasp the game we’re playing.

Joanna Newsom — “Sapokanikan” [iTunes]

7. Kamasi Washington — The Epic

Kamasi Washington

Last year, Black Messiah was the album I ranked somewhat speculatively, because I hadn’t had all that much time with it. (Probably should have been higher than #7.) Kamasi Washington’s ranking is somewhat speculative as well, but for a very different reason: Because it’s so damn long, I’ve only listened all the way through once or twice. I’ve listened on Spotify a fair amount, and I’ve spun my vinyl copy a number of times, usually picking a disc and side at random, but I’m not sure I have a grasp on the thing as a whole yet. Regardless, there’s a magnetism to the project that makes it hard to discount or ignore. Some of that pull comes from the content and its scope, some from his connections to artists like Thundercat, Flying Lotus, and Kendrick Lamar. Some comes from how people are talking about Washington resurrecting a West Coast jazz scene that was flagging (I guess — I don’t really know much about that scene). Whatever it is, I’m not filing The Epic away any time soon.

Kamasi Washington — “Miss Understanding” [Spotify/iTunes]

6. Matthew E. White — Fresh Blood

Matthew E. White

This is White’s third appearance in the 2015! Holy Crap! series. It was one of my favorite physical releases, one of my favorite Richmond releases — only natural it resides here as well.

Matthew E. White — “Tranquility” [Spotify/iTunes]

5. Grimes — Art Angels

Grimes

“Kill V. Maim” sealed the deal. More specifically it was the cheerleader-y pre-chorus — one of those certifiable moments when you decide halfway through a song that you love it, you will always love it, and you love the tracks before and after for just being near it. In truth, if that moment hadn’t come during “Kill V. Maim,” it would have happened eventually, because Art Angels is unreasonably packed with excellent, memorable, marketable songs — “California,” “Flesh Without Blood,” “REALiTi,” “Artangels” — to the point where you start thinking that it’s just not fair. This should be a greatest hits collection, not an album of all-new material.

Side note — if you have a chance, look up “SCREAM” on YouTube and watch the craziness unfold. Can you imagine being there for that? I’m not sure I could even handle it, but I’d love the opportunity to try.

Grimes — “Kill V. Maim” [Spotify/iTunes]

4. Jason Isbell — Something More Than Free

Cover_hi_res

Doug Nunnally wrote some incredibly insightful words about Something More Than Free for RVA Magazine — I’d direct your attention there and zoom in on a particular passage here:

At times, it feels like a companion piece to Bernie Sanders’ campaign as it touches on similar themes of correcting issues that grew from grey areas while simultaneously voicing the frustration of blue-collar workers and the dwindling middle class.

This gets at something I’d been hoping to articulate about these songs, and about Isbell’s work in general. Isbell’s politics run counter to those of many with his accent, and I’d guess those politics are informed by something subtle but powerful that comes through in his songwriting: A consistency in the value he places on each person’s story. He gives his characters a fundamental sense of dignity — a generous allowance for imperfection that’s not apologetic as much as it’s understanding. Factual, even. No life is devoid of pain — not the father in “Speed Trap Town,” not the son; not the older generation in “Children Of Children,” not the younger — and when you build up from that basic sense of generosity, you get a worldview that’s compassionate and wise. It’s the kind I’d like to cultivate as I get older, and the kind I’d like to pass along to my daughter. Listening to Isbell is a good step in that direction, I think.

Jason Isbell — “24 Frames” [Spotify/iTunes]

3. Father John Misty — I Love You, Honeybear

Father John Misty

This album, while home to plenty of pretty singing and playing, is an ode to our ugliest impulses — those thoughts we fight against to get through the day and feel like a normal, contributing member of society. There’s a whole lot of “Fine, I’ll be the one to say it” on I Love You, Honeybear, and while I’d usually associate that kind of speech with attention-craving, I think Josh Tillman thinks this country (see “Bored In The U.S.A.) is operating at a severe deficit when it comes to self-reckoning, and I think he’s right. It doesn’t mean we should all be saying awful things to each other and following our ids wherever they lead us, but it does mean we should spend a little more time thinking about why we do the things we do and how we can collectively reach a more honest place. It might not be pretty, but that’s OK.

Father John Misty — “Chateau Lobby #4 (in C for Two Virgins)” [Spotify/iTunes]

2. Kendrick Lamar — To Pimp a Butterfly

Kendrick Lamar

Going to retread what I said on Sound Gaze a bit here, but To Pimp A Butterfly reminds us that, despite 2015 being a phenomenal year for new music, not everything that happened this was year good. Police violence. Racism. Poverty. These problems aren’t new, but they’ve rocketed to the front of America’s consciousness (and conscience) as part of — what I hope will be — a movement pushing us closer to solutions. In that sense, TPAB is the perfect marriage of subject matter and timing — the album of the year, in more ways than one.

Yet its timeliness is only part of what makes it great. Lamar’s versatility, the depth and drama afforded by jazz instrumentation, the meta-narrative that builds as the album progresses… it all feels like proof that we’re looking at a once-in-a-generation talent. Let’s hope America listens.

Kendrick Lamar — “Alright” [Spotify/iTunes]

1. Natalie Prass — Natalie Prass

Record box

I wrote for RVA Mag that this album was “true north” for me in 2015, and there was actually a physical manifestation of this. Mrs. YHT got me this really nice wooden record case for our fifth wedding anniversary, and I decided at some point that it would hold current-year albums and be emptied each New Year’s day. One side effect is that I can’t help kinda sorta ranking the albums in the box, with the most played, most beloved ones working their way to the front. Natalie Prass’ album spent the entire year there. The top inch or so was visible in my living room all those months, giving me a zillion opportunities to consider and reconsider how much it meant to me, and the only time it wasn’t in the front of that case was when it was being played. Like I said — true north.

Just now realizing that the front of the case actually does face north. Whoa.

Natalie Prass — “Bird Of Prey” [Spotify/iTunes]

I did a full Top 25 for RVA Mag — here’s the rest:

11. Shye Ben Tzur, Jonny Greenwood and the Rajasthan Express — Junun
12. Jr Jr — Jr Jr
13. Alabama Shakes — Sound & Color
14. Punch Brothers — The Phosphorescent Blues
15. Asaf Avidan — Gold Shadow
16. Shamir — Ratchet
17. Pokey LaFarge — Something in the Water
18. Phil Cook — Southland Mission
19. Mutoid Man — Bleeder
20. Daniel Bachman — River
21. Pops Staples — Don’t Lose This
22. Son Lux — Bones
23. Courtney Barnett — Sometimes I Sit and Think, Sometimes I Just Sit
24. Tobias Jesso Jr. — Goon
1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 25, 25. The Trillions — Superposition*

*Because of the principle of superposition, this album technically occupies every position in the Top 25.

More retrospective fun!

Part 1: Fav Physical Releases
Part 2: Blasts from the Past
Part 3: Excellent EPs
Part 4: Resplendent Richmond Releases
Bonus: Sound Gaze Retrospective Spectacular

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Bob Dylan

Somewhere along the way, I developed a disinterest in gear that bordered on distaste.

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Friday Cheers

Friday Cheers

Time to say goodbye to another Friday Cheers season. Sniff. It’s incredibly sad to think of how far off the next one is, but I figure I can suppress some of that longing by looking back at highlights from the shows I was able to make it to.

Without further ado, I present the inaugural YHT Friday Cheers Awards.

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Jason Isbell

Jason Isbell

This has been one of the best live music weeks of my life. Sunday: Old Crow Medicine Show with Sturgill Simpson. Wednesday: Sufjan Stevens with Moses Sumney. Tonight: Jason Isbell with Horsehead. I feel a little like a dog whose owner opened up a brand new bag of food and dumped the whole thing on the floor. If one good thing about music is when it hits, you feel no pain, I’d say a second good thing is that when you gorge yourself on music, you don’t risk yakking it all back up. (Unless you count blogging about it, in which case I have a serious case of reflux.)

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Happy Valentine’s Day!

Hope y’all are having a spiffy Valentine’s Day and have someone sweet to buy something sweet for. Here’s a sweet song to add into the mix — Warren Zevon’s “Mutineer” covered by the married duo of Jason Isbell and Amanda Shires. The performance above comes courtesy of WNRN in Charlottesville, but the pair just released a recorded version the other day (iTunes link below).

Much love from my corner of the interweb.

Jason Isbell and Amanda Shires — “Mutineer” (Warren Zevon cover) [YouTube/iTunes]

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Top 10 Albums of 2013

Countdown gif

It’s customary to start year-end lists by chewing some fat about how making them is strange and difficult work, and in general, I find that these intros can be exceedingly skippable. Everyone knows that album rankings are subjective (even when they’re created on behalf of a publication or website), and no one needs to be reminded that the list maker didn’t listen — and couldn’t have listened, of course! — to every single thing that came out in the preceding 12 months. You don’t share Santa Claus’ knack for bending the space-time continuum. Understood. But before I get to my Top 10 albums, I would like to share a quick story about how I came up with my list, and how Beyoncé helped me find meaning in this whole strange and difficult exercise.

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Jason Isbell

Jason Isbell

I love when my sense of perspective gets messed with. Good art — books, music, movies… whatever — should leave you thinking slightly differently than before you were exposed to it. Take “I Am A God,” for example. There’s a good chance that, if you’ve heard the song a few times, a croissant is no longer just a croissant to you. It’s a threshold. A dividing line. Between two classes of rich people. Between faking it and making it. It’s also a punchline, delivered in a way that makes it hard to take the word at face value anymore (I have to think that people’s patience when waiting on an order of croissants won’t be the same, either).

I don’t know that Jason Isbell intended for it to — and this may be an entirely idiosyncratic reaction — but Southeastern has done something similar, though considerably more uplifting, with the word “down.”

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