Tag Archives: Jonny Greenwood

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: Blasts from the Past

I know there’s virtue in living in the moment. We could all stand to put down our phones and more fully appreciate what’s happening right in front of us. Then again, escaping the present is pretty damn attractive these days. Nostalgia is a thriving racket, and to be fair, not all musical blasts from the past are about wishing for a time machine. From archival releases that uncovered hidden gems to reissues that made owning a piece of history a little easier, here are some noteworthy old sounds that were made new again in 2018.

Duck Baker — Les Blues Du Richmond

I picked up some pretty snazzy Record Store Day stuff this year, but this is a clear favorite. I didn’t actually get it on Record Store Day, though; it wasn’t really on my radar, but the more I read about Duck Baker and his Richmond connections, the more intrigued I was. Fortunately, a copy was still available a few days later. This set ranges from highly templated tunes like “Maple Leaf Rag” to discursive compositions that wander to unexpected places before reemerging. Really interesting, really fun. The folks at Tompkins Square do really great work with archival releases like this one. So glad I didn’t miss out on this.

Jack DeJohnette — Hudson

A blast from the recent past. This was released just last year, but it got a snazzy new vinyl reissue on Record Store Day in April of this year. I’m crazy for John Scofield’s guitar tone, so getting to hear him “sing” on creatively constructed versions of Dylan, Hendrix, and Band songs is a real treat.

Jonny Greenwood — Bodysong. OST

For a number of years, I’ve had a 45 with two “extras” from the Bodysong. score, so I was thrilled to see they were reissuing the score itself, which is wonderfully varied, creepy, and intense. Now I just need to see the film…

Hiss Golden Messenger — Devotion: Songs About Rivers and Spirits and Children

This was one of those “Whoa they made this just for me!” moments. Early Hiss. A rarities disc. Liner notes by Amanda Petrusich. I couldn’t resist, though parting with my old copies of Haw and Bad Debt wasn’t easy, even if it was the sensible decision. I think that copy of Bad Debt might still be at Deep Groove, if anyone’s interested. (And dammit you should be! It’s an incredible album.)

Jason Isbell — Sirens of the Ditch

I’d been meaning to get to know this album better, and I was happy to see some non-album tracks included here. While the new-old songs are well worth a listen, “In a Razor Town” remains a masterstroke.

Jess Sah Bi & Peter One — Our Garden Needs Its Flowers

An absolute gem from the gang at Awesome Tapes from Africa. This album radiates a powerful sense of warmth, even as it deals with themes as weighty as Apartheid.  I have the proprietors of Small Friend Records & Books to thank for this being on my radar. I saw it on their Instagram, listened, loved it, and zoomed to Shockoe Bottom to pick it up. I have a feeling it’s going to be an even more radiant listen in the spring.

Ben Kweller — Sha Sha

I’ve written about why Ben Kweller occupies such a special place in my heart. It has to do with my dad’s recommending Kweller’s old band Radish when I was young and in the process of learning how to play the guitar, and how the meaning of that recommendation has grown over time. I hope reissues of On My Way and Changing Horses are also (forgive me) on the way. The latter exists on vinyl, but I’ve never seen a copy in real life.

Joseph Spence — Bahamian Folk Guitar

While the reissue game can seem like a cash grab at times (especially when there are plenty of reasonably priced used copies available online), this is a great example of how upping supply can make spinning something really special — and Joseph Spence’s loose, complex playing is truly a wonder — less of a pipe dream. What a wonderful album to put on at home. If you have this on as background music, the air in the room feels lighter. If you listen intently, it’s like following discursive but gripping storytelling.

Sufjan Stevens — The Avalanche

If I could magically conjure stats on which I’ve listened to more — Illinoise or The Avalanche, I’m not sure The Avalanche wouldn’t win out. As far as extras albums go, it’s uncommonly strong. And I’d consider it an essential part of a full appreciation of Stevens’ gift. His is a story of impossible productivity, and few artists throw away ideas of this quality.

Gillian Welch — Soul Journey

I jumped on the Gillian Welch bandwagon with both feet when The Harrow & The Harvest came out in 2011, and I ended up ranking it as my favorite album of that year. But I’ve been slow to listen backwards in the Welch-Rawlings universe; so slow that — and I know I’m writing this on the Internet but please don’t tell anybody — I confused the announcement of the Soul Journey reissue with news of an upcoming album. WHATEVER. I’ve had the good fortune of seeing Welch and Rawlings perform a number of these tracks live in the last few years, though I’m not sure any of them tug at my heartstrings like “Back in Time” does. “I wanna go back” is right, am I right?

More 2018 in Review:

2018 in Review: EPs
2018 in Review: Jazz
2018 in Review: RVA
2018 in Review: 15 Favorites

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Kishi Bashi

The word “transcendent” gets bandied about like nobody’s business, but I’d like to apply it in a very specific way to Kishi Bashi’s performance at June 14’s Friday Cheers.

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Brad Mehldau

I can’t resist offering a quick addendum to yesterday’s post about Vitamin String Quartet.

While VSQ boasts a killer catalog, I’ve yet to find a song to depose Brad Mehldau’s version of “Exit Music (For A Film),” the current king of instrumental cover music mountain. But to be fair, that’s a tough throne to topple. My attachment to “Exit Music” runs waaaaay deep. Why so deep? Because never was a story of more woe than this of Juliet and her Romeo.

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Radiohead

The King of Limbs

Concert Catch-Up Week, Day 3: Radiohead
(click here if you missed Day 1: Todd Snider, and here if you missed Day 2: Justin Townes Earle

I love picking music apart. Like some eager high school biology student with a scalpel in his hand and a dead frog lying belly-up on his desk (The album art above seems downright icky after reading that, doesn’t it?), I like dissecting songs, finding out what makes them tick, what makes them exceptional, and what they reveal about the people who wrote them. Actually, “like” might not be the right word to use; after years of playing in bands and nearly 250 posts on this here blog, this type of analytic thinking has become almost totally involuntary. I’ll sometimes catch myself coming up with angles for posts about even the dumbest pop music, like why that video of Jimmy Fallon and the Roots playing “Call Me Maybe” with Carly Rae Jepsen is actually pretty great, or how “Am I The Only One” by Dierks Bentley perfectly encapsulates the way relationships with your friends evolve during your mid-20’s (please someone dare me to actually write this).

With this propensity in mind, I had a quick chat with my brain as we hurried into the Verizon Center to catch the beginning of Radiohead’s June 3 performance. It went a little something like this…

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You Spin That?!?

So this past Friday night, I spun at a super exclusive club. So exclusive that only two people were allowed in. I bet you’re dying to know which club it was, right? OK, OK, I’ll tell you, but you can’t tell ANYBODY. It was… my living room. That’s right, the two people in attendance were me and Mrs. You Hear That, who was sleeping peacefully on the couch the entire time. Sounds bumpin’, huh? Awww yeah! Because my set was so underground, I wanted to share some (11, to be exact) of the tunes we — OK, I — listened to while we — OK, I — watched college basketball. If you want to consider this a basketball playlist, go right ahead. Just know that it has nothing to do with basketball and would probably ruin even the most well-intentioned Final Four watch party. Just for fun, in spite of my sub-par photography skills (Glare? What glare?), I snapped pictures of all the records I played. What can I say? I’m a sucker for album art. Hope you enjoy!

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