Tag Archives: Lucy Dacus

2019 in Review: RVA

Why do people make year-in-review lists? Why do I make them? I make sure to ask myself those questions each year when I start this process, because it’s easy for these things to feel competitive or exclusive. It’s worth making sure you are (as they say on the reality shows) here for the right reasons. For me, it boils down to two things: 1. Wanting a record of the music that mattered to me in the preceding year (I refer back to these posts all the time to jog my memory about what happened that year), and 2. Lifting up artists who have helped me survive another trip around the Sun via their creativity. I’m so grateful for the Richmond music community, and while I know that this is just another list on a blog, I can’t not take this opportunity to send out a message of thanks.

It feels extra fitting publishing this post on the same day President Obama shared his favorite songs from 2019 — a list that included Angelica Garcia’s “Jícama.” So thrilling and well-deserved. You can bet her upcoming LP will be on next year’s list of favorite RVA albums. In the meantime, here are the Richmond releases that meant the world to me in 2019. No rankings — they’re listed alphabetically, with a few exceptions where multiple albums from the same artist are grouped together.

To the folks who made this music, you have my deepest gratitude. Thank you for doing what you do.

Analog Suspects — Transmission 001
Noah-O x Fan Ran — Dirty Rice: Deux

The perpetual motion machine known as Noah-O had another big year, with two full-length sequel LPs as highlights. Transmission 001 started the year off in style, giving a name — Analog Suspects — to his partnership with DJ Mentos. The duo picked up right where 2016’s The Rain left off, with generous doses of introspection and inspiration, and a number of piano-based beats that set a no-nonsense tone (“GAS” stands out in this respect). Dirty Rice: Deux dropped in October, adding a second chapter to his collaboration with Fan Ran, this time with vinyl courtesy of the recently founded Fantastic Damage imprint. Both albums are excellent — evidence of Noah’s relentless drive and dexterity. Or, as he puts it during Transmission 001 track “Gary Webb,” “I’m leading by example / See, I practice what I preach.”

Butcher Brown — AfroKuti: A Tribute to Fela

I love this so much. I have a fuzzy memory of either Devonne Harris or the official Butcher Brown account posting a question on social media a while back about whether anyone would be interested in a Butcher Brown Afrobeat album. I can’t find the post now, but I remember nodding vigorously and responding as quickly as humanly possible with a gesture of support. One reason that exchange has stuck with me is that the answer to “Do I want a Butcher Brown ___ album?” is always yes. You can fill in the blank with anything, because their combined mastery means they’re capable of making compelling music in any genre. They certainly sound excellent here, paying tribute to the great Fela Kuti.

Lucy Dacus — 2019

Each time Lucy Dacus releases a song or album, we’re given new angles from which we can observe her mastery of language, and I’m in awe once again. “Fools Gold,” y’all. Holy shit. The brevity. The pound-for-pound weight of each word. The way you can both picture and taste champagne when she sings “coppery coins.” I’m not sure I’ll ever see or sip that substance and not think of that line. I love this EP so, so much, and while I cherish its cover tunes dearly, I have to agree with Pitchfork, which said of the original compositions on 2019, “These are among the best songs she’s ever written.”

DJ Mentos — Fresh Air
DJ Mentos — The Maxell Tapes Vol. 1

I had the great fortune of interviewing DJ Mentos for River City Magazine, and I consider that conversation to be a top musical moment of my 2019. I have the utmost respect and admiration for his craft, especially his ear for incorporating jazz. (His “Flute Funk Volume 1” mix will change your life. Seriously.) In addition to the Analog Suspects LP mentioned above, he released two top-notch instrumental albums this year: Fresh Air over the summer, and then The Maxell Tapes Vol. 1 on the same November day he appeared on SiriusXM’s Sway in the Morning show. I asked him during our interview about where that tenacious drive to share music with the world comes from:

My dad played a lot of music for me when I was really little, and I cherished that. But growing up and listening to hip hop, there’s a real shared camaraderie between old school hip hop fans. When we talk about the early Def Jam days, or the golden era Native Tongues time to Wu Tang and Biggie, we all shared something really special. There’s a love of that shared musical experience. But I also love talking to people about music that I don’t even necessarily like… I think there are people who love music, there are people who are sort of indifferent, and then there are people like me who are obsessed. I wouldn’t compare it to a drug. I wouldn’t compare it to love, or food, or shelter. I guess for some of us it’s spiritual… 

There’s a lot of music to discover. That’s the other aspect — there’s music to listen to again and again, and then there’s that high of finding something that first time. That I would compare to a drug, because when you discover something that you had never heard and seen and it resonates with you on that deep level, that’s so exciting. That’s what I want to share with people. So whether I’m DJing, or making beats, or texting a link to a friend, I’m trying to give you that high that I got.

Landon Elliott — Domino

Speaking of River City interviews, I had the opportunity to chat with Elliott last year, before he’d started sharing songs from Domino, and I could tell way back then that something truly special was on the way. We got to speak again closer to the album’s release day, when he was getting ready to put “Hurricane” out into the world — that was another special moment to be part of.

Domino is an impressive achievement from an artist whose star will continue to rise. I’m as sure of that as I was that Elliott’s initial excitement about the album was justified. What I couldn’t have guessed at is how varied the album would turn out to be — how many styles, techniques, and modes of articulation Elliott and his American Paradox collaborators would display on one disc. I’m wildly impressed, and I can’t wait to see what the future holds for him.

Fly Anakin & Big Kahuna OG — Holly Water

Revolt of the Apes reviewed this better than I ever could (and in haiku form, no less) earlier in December:

Can’t argue with that.

FM Skyline — Advanced Memory Suite

Pete Curry achieved a rare feat in 2019 via his vaporwave nom de guerre — releasing an album that generates such high demand that it’s re-pressed to vinyl and re-released within the same calendar year. I missed out on the first pressing, but snagged the 100% Electronica version the moment I saw it became available. Really neat to see Curry making his mark this way.

Andy Jenkins — The Garden Opens

Andy Jenkins made his full-length debut with last year’s Sweet Bunch, and he’s kept the winning streak going with a four-song EP that contains one of my absolute favorite songs of the year, “Starfish Fever.” It’s fast, both in terms of track length and pace, with quick picking and lyrical imagery that appears and disappears in the blink of an eye. But that’s “the end of beauty” in a nutshell, isn’t it? There and gone before you know it.

Sammi Lanzetta — Ceiling Mirror

On the day 6131 Records started accepting pre-orders for Ceiling Mirror, I showed up at their store on Patterson Avenue looking like Fry from Futurama in that “Shut up and take my money” meme. Turns out they were instituting a new in-store pre-order system, and I was the first one to try it out. I’ll say this about the 6131 store: They are such friendly people, and even when I don’t end up walking out with a record, either because I was pre-ordering a disc or because I was looking for something they ended up not having, I leave feeling happy I stopped in. If you haven’t been there, I recommend making a trip there soon. I’d recommend Ceiling Mirror just as highly, and for some of the same reasons, interestingly. Lanzetta conveys this amazing sense of energy, and tapping into it is like electrifying your day.

Tyler Meacham — Property

Meacham’s lyrics are affecting, and her delivery is timeless. I can imagine these songs sounding excellent in a zillion different styles, which is what you might say about standards that eventually enter the pop canon. The title/closing track is especially powerful. While I’m on record as praising dynamite first lines of songs, “Property” has a stunner of a closing lyric: “You don’t have to burn the house down to move all your property out.” Her words echo and dissipate, leaving you space to apply them uniquely to your own life. That’s pop music’s highest calling.

Minor Poet — The Good News

On his Sub Pop debut, Andrew Carter expands on the sunny, lyrically substantive sound that made his 2017 And How! full-length such a success story. At just six songs, it zooms by, making it a great candidate for repeated listening. And if you haven’t seen the amazing “Good News Hunting” video for “Museum District,” it’s embedded below. You’re welcome.

 

No BS! Brass Band — A Decade of Noise

I consider seeing No BS! for the first time one of the most significant milestones in my introduction to Richmond’s music community, and A Decade of Noise is represents a vital milestone in the band’s discography. Their studio albums are exquisite, and I wouldn’t change a single thing about them, but sometimes you want to close your eyes and transport yourself to an imagined room where Richmond’s brass powerhouse is lighting up the stage as only they can, and that’s the gift this album gives you. It also acts as a de facto best-of, given how much of the group’s history is packed into these four vinyl sides. Speaking of vinyl, when I bought my copy, they were bundling records with t-shirts for just $5 more. Easiest decision I’ve ever made.

Ohbliv — Soulphonic
Ohbliv — Give Thanks

When I pulled this album up on Bandcamp and gave it a listen back in January, I couldn’t have known just how much time I’d end up spending with Ohbliv’s handiwork in 2019. I went from owning zero albums of his (nobody should own zero Ohbliv albums, to be clear), to owning three within this calendar year. I pre-ordered Soulphonic right away, then went down to Plan 9 with my daughter when the man himself was signing copies of Give Thanks. (“Enjoy the vibes,” he wrote on my copy. I certainly have.) I also snagged a copy of the Retrospective compilation during BK Music’s closing sale. That’s eight total sides of beats by the iconic Richmond producer, and while they’re great in just about any situation, I make it a point to spin them when we have friends visiting from out of town, so they can hear what Richmond sounds like at its best.

Alan Good Parker — Everything’s Normal

One of my favorite albums to come out of Richmond this year. This decade, for that matter. The playing (Parker is as complete a guitarist as you’ll hear), the way the collection moves from beginning to end (no two tracks set the same mood), the song selection (a Big Thief cover y’all!)… It’s outstanding at every turn. I’ve spent a ton of time with Parker’s playing over the last handful of years, given his work with the Spacebomb House Band, and hearing him featured like this is tremendously rewarding. If you enjoy jazz and haven’t yet given Everything’s Normal a spin, make it the very next thing you listen to.

Saw Black & the Toys — Christmas in the Background

On a basic, physical level, music is all about wavelengths. The air vibrates with a certain frequency, your ear and brain work together to translate those vibrations, and bing-bang-boom, you got music. But wavelengths matter on a whole other zoomed-out level involving moods and people and time. Sometimes you find an artist who’s writing the songs you need to hear at a particular moment. That’s how I feel about Saw Black in general, and about Christmas in the Background especially. When you look at the album as a whole, there’s a beautiful ambivalence — an acceptance of the fact that the holidays present a complicated stew of emotions for many people. That’s the wavelength I was vibrating on this Christmas, and being able to spin this record made finding that sense of acceptance a little easier.

Sleepwalkers — Ages

I didn’t do much writing on here as much as I would have liked to in 2019, but when the first tracks from Ages were made available, you can bet I got off my Blog Butt™ and put up a post in celebration. I looked forward to this album more than just about any other in recent memory, from basking in the afterglow of Greenwood Shade’s brilliance to interviewing the band for River City Magazine to getting a preview of some early mixes out at White Star Sound to seeing that the group was partnering with Spacebomb. Ages is exactly the Sleepwalkers album we’ve been dying to hear, and it’ll stand for years as one of the city’s great musical achievements.

Spacebomb House Band — Known About Town: Library Music Compendium One

I am a devoted disciple of the Spacebomb House Band tapes, and I was so thrilled when they announced they’d be compiling some of the best cuts for a Record Store Day release. I mentioned this in my Black Friday post, but I’ll repeat here that I keep the latest tape SHB tape in my car at all times, ready to provide groovy driving music in all sorts of situations. Hauling off to an errand that’s kinda far away. Zooming down the highway with a full tank of gas. Driving just to give myself time and space to think. I can’t recommend these tapes — and this compilation — highly enough. (Small Friend still had a copy last time I was there. Just sayin’.)

Various — All Together Now: 15 Years of the Richmond Folk Festival Live

I can’t imagine what it was like to select tracks for this compilation. So many performances over the years. So many genres and traditions. (Spacebomb’s site mentions sifting through 1,300 hours of recordings.) But isn’t that the folk festival in a nutshell? It’s this monster exercise in curation, and thanks to the hard work and great musical taste of the organizers, it turns out to be a successful celebration of kaleidoscopic talents, year after year. All Together Now is just that — a wonderfully ranging collection of styles, beginning with the joyous reggae track below by Clinton Fearon and the Boogie Brown Band.

More 2019 in Review

2019 in Review: Instrumental
2019 in Review: Jazz
2019 in Review: Audiovisual
2019 in Review: 25 Favorites

1 Comment

Filed under #features, #rva

Deau Eyes

We’ve grooved with the Budos Band. Illiterate Light lit up the night. Now it’s very nearly time to say goodbye to the 35th Friday Cheers series, but not before a finale I’ve been looking forward to since this season’s schedule was announced: Lucy Dacus. Deau Eyes. Is it tomorrow yet?

There’s a unique poetry to tomorrow’s lineup that’s worth noting before you head down to Brown’s Island. For starters, this will be Dacus’ second Cheers performance; her first came in 2016 when she opened for Kurt Vile. And while you often hear the word “triumphant” used when artists return to venues they’ve played before, it’s especially fitting here, given the rave reviews she earned last year — both for her Historian album and for the EP she released with Julien Baker and Phoebe Bridgers under the name boygenius — and given that hers is the headlining set this time around.

The lineup is made even more meaningful by the fact that Ali Thibodeau of opening act Deau Eyes was there in the crowd during Dacus’ 2016 show, standing front-and-center and celebrating her friend’s Friday Cheers debut. I recently had the good fortune of speaking with Ali Thibodeau of Deau Eyes for a River City Magazine article, and here’s how she described that moment in relation to this one:

Did you grow up going to Friday Cheers?

I love Friday Cheers. It’s really cool. It’s one of my favorite things that happens in Richmond. I’ve felt really privileged to have been able to have watched my friends up there doing their thing. I know when Lucy played with Kurt Vile, I was in the front row, and was so stoked. My face hurt from smiling the whole time. I feel kind of full circle because it’s definitely somewhere we would go and hang out, around Belle Isle and Brown’s Island and all of that during the summer and stroll into Friday Cheers. I’m thrilled to be a part of it this year. It feels like a real hometown accomplishment.

Thibodeau and I touched on a number of other topics in our conversation, from her upcoming album’s lead single “Paper Stickers” (embedded below) to running a successful Kickstarter campaign and creative control more generally. Click here to check out the full article and here to snag a ticket for the Cheers finale. This show is special, y’all.

Leave a comment

Filed under #interviews, #live, #rva

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

1 Comment

Filed under #features, #rva

Lucy Dacus

I’ve been in the list-making bunker, trying to figure out how to wrangle a whole mess of albums I really enjoyed this year, but I thought I’d step out briefly to join in the celebration of Lucy Dacus’ new tune, “Night Shift.”

It’s the lead single off her upcoming album, Historian (out March 2, pre-order here), and it’s a triumph, bursting at the seams with the brilliance that made “I Don’t Wanna Be Funny Anymore” such a breakout success, including:

  • Astoundingly vivid and memorable lyrics, with an opening that grabs your ears like few I’ve heard: “The first time I tasted somebody else’s spit I had a coughing fit.”
  • Emotional intelligence that permeates every word, with brutally incisive lines like “You don’t deserve what you don’t respect, don’t deserve what you say you love and then neglect.”
  • Vocals so rich and ranging that you feel like you’re along for the journey the lyrics describe.
  • A lengthy coda that opens the song up dynamically in a cathartic combination of resignation and hope.

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. Maybe award-winning novels are in her future, as well.

On more than one level, this song makes me look forward 2018. 2017 was a year in which I found myself enjoying more new music than ever while feeling less inspired to write about it in personal terms. Some of that was time scarcity, some was political-shitstorm-related paralysis, some was focusing on writing assignments in which my life didn’t figure prominently. But “Night Shift” brings me back to a place of excitement and energy. Some musicians make you want to run to the nearest instrument and start noodling; Dacus makes me want to start typing.

Speaking of which, back to the bunker for me. Hope y’all enjoy “Night Shift” as well.

Lucy Dacus — “Night Shift” [Spotify/YouTube]

1 Comment

Filed under #nowplaying, #rva

2016 in Review: Top 10 Albums

Last 2016 in Review post — I promise. That said, I lied about the “Top 10” part. I’ve included the rest of my top 25 at the bottom, as well as some albums that I couldn’t resist mentioning, because they’re also amazing.

Without further ado…

1. Lucy Dacus — No Burden

Lucy Dacus

Earlier in December, in a New Yorker piece about her favorite songs of 2016, Amanda Petrusich wrote something that helped me name the reason I so badly wanted to place Lucy Dacus’ No Burden at the top of this list:

Whole musical worlds were invented this year, and, perhaps most notable, listeners seemed better equipped than ever to accept and navigate them. I sensed both a collective ache for progressive work and a willingness to metabolize it.

Between the in-town excitement that accompanied the February release of No Burden, the wave of national acclaim that rushed in, the consistently excellent shows she played all over town, and the poised atmosphere she commanded at each of those performances, Dacus really did establish her own new world here in Richmond. It never ceases to amaze me how truly talented musicians can create something out of nothing but their own experiences and insights. It feels like an exception to the rule in physics that energy can neither be created nor destroyed.

The second part of the Petrusich quote above also resonated — the idea that audiences are looking for something progressive. Something that will move us forward. I sense that in Dacus’ music in large part because meaningful change hinges on truth, and her writing displays an honesty that’s both outwardly and inwardly directed. It’s why she was such a joy to interview, and it’s why her lyrics have so much substance. Would this country still be in the mess it’s in if people took a hard, unflinching look at their own motivations? Probably, but the mess might not be quite so bad.

In these last days of December, I find it impossible to imagine what this year would have been like — what my world would presently be like — without No Burden in it. For that reason, it’s #1 in my book.

Lucy Dacus — “Strange Torpedo” [Spotify/iTunes]

2. David Bowie — Blackstar

David Bowie

In a word, transcendent. Blackstar turned out to be RVA Magazine‘s #1 album, and I was given the opportunity to write about it. I tried to put in context why it loomed so large over 2016, and talking about it ended up being strangely therapeutic. Here’s the first bit:

2016 will be remembered as at least these three things: The Year We Hated and Wanted to End Early, The Year Donald Trump Was Elected and Brexit Happened, and The Year All the Famous People Died. David Bowie’s death in January, just days after he released his dark and jazzy masterpiece, Blackstar, cast a pall over months ahead in which we lost one towering cultural figure after another. Like Prince, Bowie dying felt especially cruel, because of the life-affirming, self-empowering spirit he brought to his art. Bowie was evidence that you can take control of your identity and invent yourself in the image of your choosing, and he carried that artistic approach with him from life into death. His last artistic act was nothing short of transcendent.

David Bowie — “Girl Loves Me” [Spotify/iTunes]

3. Frank Ocean — Blonde

frank-ocean

It was an honor to blurb this one as well for RVA Magazinetake a look here. I couldn’t help throwing a little shade at the start:

While plenty of artists in the realms of pop and R&B were out there cultivating a public persona drenched in faux sensitivity, Frank Ocean was quietly at work, making some of the most powerfully vulnerable music I can remember hearing.

Frank Ocean — “Self Control” [Spotify/iTunes]

4. Radiohead — A Moon Shaped Pool

radiohead

Another one I wrote about for RVA Magazine’s year-end bonanza. Such a beautiful album, such heavy subject matter. A Moon Shaped Pool acts as a reminder that lists and rankings pale in comparison to the lived experiences that make music and lyrics possible.

Radiohead — “Burn The Witch” [Spotify/iTunes]

5. Car Seat Headrest — Teens of Denial

car-seat-headrest

To say that Teens of Denial grew on me would be misleading — you usually hear people say that when they were unsure about an album initially but learned to love it. But Teens of Denial did grow in my estimation in the sense that, every time I listened, Will Toledo’s genius would seem more profound. I was one of the people for whom Car Seat Headrest’s newest album acted as an introduction, despite the fact that Toledo’s already released more albums than many artists release in a career and a half. That said, I recently snagged a used copy of 2015’s Teens of Style at Plan 9, and I hear that same undeniable (sorry) gift for fusing melody and energy. I may be late to the party, but it’s great to be here regardless.

Car Seat Headrest — “Drunk Drivers/Killer Whales” [Spotify/iTunes]

6. Hamilton Leithauser + Rostam — I Had a Dream You Were Mine

rostam

This one probably has the highest ratio of number of times I listened to it to number of words I wrote about it. I did write a quickie review of it for the Winter RVA Magazine, and here’s how I closed it:

Hamilton Leithauser’s smoky vocals ascend seemingly without limit; when paired with Rostam Batmanglij’s knack for producing in styles both old and new, that voice — “the same voice I’ve always had” — soars with an inspiring freedom.

Hamilton Leithauser + Rostam — “Sick As A Dog” [Spotify/iTunes]

7. Drive-By Truckers — American Band

drive-by-truckers

Patterson Hood and Mike Cooley are in a really interesting position right now. They have roots in a red state but personal politics that lean blue, and because they’ve been consistently making some of the best and sludgiest Southern rock around for decades, they have the ears of fans from all over the political spectrum. In my mind, that’s why this album was and is so important — it represents a bridge spanning the huge chasm that separates America’s populated coasts from its rural center. It’s honest, just as the band is honest at their shows about where they stand when it comes to social justice. (“Black Lives Matter” was prominently displayed in their stage setup when they came to The National in November.) At a time when social media algorithms are making it harder and harder to encounter opinions that conflict with your own, the Truckers make me hopeful. Fingers crossed people are actually listening.

Drive-By Truckers — “Surrender Under Protest” [Spotify/iTunes]

8. Bon Iver — 22, A Million

bon-iver

I thought Bon Iver’s self-titled album would be a tough act to follow — maybe impossible — given that it was the realization of such a big, colorful, well-rounded vision. But 22, A Million is proof that Justin Vernon’s vision is a renewable resource. An unexpected joy this album has brought is seeing who it resonates with — identifying other people who like their musical beauty laced with a healthy dose of obfuscation. It’s like we looked at a Rorschach and all came up with the same answer.

Bon Iver — “22 (OVER S∞∞N) [Bob Moose Extended Cab Version]” [Spotify/iTunes]

9. Paul Simon — Stranger to Stranger

paul-simon

In terms of style, Stranger to Stranger is cut from cloth similar to that of Graceland, Paul Simon’s 30-year-old masterpiece. That said, his new album doesn’t feel retrograde, in part because Simon’s witty, acerbic writing seems sharper than ever. (Who else could turn concert wristband drama into a genuinely enjoyable, insightful song?) A piece of advice: If you missed Simon on this year’s tour — I did :/ — check out his recent Austin City Limits performance. It’s excellent and has probably earned squatter’s rights on my DVR by now.

Paul Simon — “Wristband” [Spotify/iTunes]

10. Angel Olsen — MY WOMAN

angel-olsen

I thought about splitting this year’s lists into weirder categories like “Albums I Was Going To Like No Matter What” (Hiss Golden Messenger, Sturgill Simpson) and “Albums I Know I’m Going to Like Later But Haven’t Spent Enough Time With” (Beyoncé, Solange). MY WOMAN made me want to create a category called “Albums By Artists Who Had A Whole Other Gear We Didn’t Know About.” I thought Angel Olsen had truly found her form with her last album, Burn Your Fire for No Witness, but Olsen’s direct, intense writing is just as effective in a setting that calls to mind early rock and roll. This may be my dad’s Memphis roots talking, but I hear a ton of Roy Orbison in MY WOMAN, and “Shut Up Kiss Me” is quite simply one of the strongest songs of the year.

Angel Olsen — “Shut Up Kiss Me” [Spotify/iTunes]

Here’s the rest of the Top 25 I submitted for RVA Magazine

11. Hiss Golden Messenger — Heart Like a Levee
12. Wilco — Schmilco
13. Lambchop — FLOTUS
14. Clair Morgan — New Lions & the Not-Good Night
15. Sturgill Simpson — A Sailor’s Guide to Earth
16. Steve Gunn — Eyes on the Lines
17. Allen Toussaint — American Tunes
18. Dori Freeman — Dori Freeman
19. A Tribe Called Quest — We Got It from Here… Thank You 4 Your Service
20. The Lumineers — Cleopatra
21. Julian Lage — ARCLIGHT
22. Solange — A Seat at the Table
23. Avers — Omega/Whatever
24. Durand Jones & the Indications — Durand Jones & the Indications
25. The Head and the Heart — Signs of Light

…and here are 15 more albums I loved dearly but am too tired to rank…

Thao & the Get Down Stay Down — A Man Alive
Chance the Rapper — Coloring Book
Cian Nugent — Night Fiction
Daniel Bachman — Daniel Bachman
Kyle Craft — Dolls of Highland
Nels Cline — Lovers
The Avalanches — Wildflowers
Colin Stetson — SORROW
Anna Meredith — Varmints
Carl Broemel — 4th of July
Blood Orange — Freetown Sound
Animal Collective — Painting With
Negative Gemini — Body Work
James Supercave — Better Strange
Andy Shauf — The Party

OK, I swear I’m stopping now. If you’re still reading, you’re a peach. See you in 2017.

Leave a comment

Filed under #features

2016 in Review: Stuff I Wrote

river-city-magazine

So I’m going to attempt to end this jerk of a year with five wrap-up posts in five days. Fingers crossed this works. I tend to overwrite these things until they become albatross-y, so I’ll try to keep things snappy, starting with a quick list of links to music writing I did in 2016. Add in weekly contributions to the Off Your Radar newsletter and an August appearance on Sound Gaze and I can definitively say that this is the most blabbing about music I’ve done in a year.

Many thanks — seriously, too many to mention here — to the people I interviewed and the people who made what I wrote sound better and look prettier. Y’all know who you are, and I hope you also know how awesome and appreciated you are. Lots of fun stuff in the works for 2017. Until then…

Featured Off Your Radar weeks:

For Boomer Magazine:

For Richmond Navigator online

For River City Magazine

For RVA Magazine

For West End’s Best

 

Leave a comment

Filed under #features, #interviews

Friday News and Notes

nels-cline

  • First, a quick follow-up to yesterday’s American Tunes post — if you have any songs you’d recommend for the series, please let me know. Would love to get more people involved.
  • I’ve been on a serious Steve Gunn binge. After getting the split Record Store Day 12-inch he released with Angel Olsen, I’ve snagged used copies of two of his older albums, Time Off and Way Out Weather. Deep Groove had both, and after chatting with Chris at the counter about Steve Gunn for a bit (he said this era of Gunn’s career was when his John Fahey and Jimmy Page influences intersected), I decided to keep the pair together.
  • I’m very much digging the new Ryan Adams tune, and I got way too many chuckles out of the “interview” he did with Lil’ Bub. “Do You Still Love Me” has signifiers that date its influences pretty clearly (it’s hard to hear that first big hit without thinking of Survivor), but his use of space on the song is really interesting. It sounds so empty, and given the emotional place he was writing from, there’s a solid form-theme relationship happening there. Really neat, I think.
  • Noam Pikelny — the banjo player from Punch Brothers — has a new album coming out soon, and he’s shared a track called “Waveland” that’s simply amazing. If this is any indication, Universal Favorite could pick up on some of Punch Brothers’ more classical tendencies, which would be very exciting.
  • I was so excited to see Lucy Dacus on Bob Boilen’s top 10 list. She’ll certainly be on mine.
  • Heading to Gallery5 tonight for Nels Cline’s sold out show. Very psyched. I haven’t heard much of his non-Wilco work, and I haven’t done much research on the other two members of this trio, but all that was intentional. I know his jazzier stuff can get way out there, and I’m walking into Gallery5 tonight with no expectations. Blank slate. Let’s get weird. If you’re not headed there, I suggest Strange Matter, where Futurebirds, The Trillions, and Camp Howard will be playing. Great night for music.

Leave a comment

Filed under #features