@@@ Bill Callahan: YTILAER (Drag City, 2022) A coupla listens off this week’s Pitchfork’s 10 most reviewed albums of the week. The record opens with a track called First Bird and it’s very reminiscent of Leonard Cohen but with a little ambient garnish in the back of the mix. Then the whole band comes in and it’s plain but completely without pretension which is a plus for me. I like the bass player here, he/she/they catching my ear a whole bunch. Both of the songs I’ve listened to thus far have opened with extensive acoustic guitar stretches which makes the record a blend of singer/songwriter and band rock. The record is meticulously produced and I liked the first track the best, that’s where I’m at.
@@@ Billy Woods: Paraquat ( , 2022) Already having put out one of my favorite albums of the year what could I possibly expect from a second Billy Woods record in 2022? Who wants to be the nasty slut wanting too much? I was listening to the back end of this record last night while I rode the exercise bike and while I wasn’t particularly carried away by the rhyming I realized how much I love the murky and gooey sound of Mr. Woods’ records. The video clipped below is the opening track of the record and it has both grit and Halloween feels. There’s a backwards sample here and a female choir sample that work well together, back and forth like the bellows of an accordion. His music is sonically dense and I appreciate that and his rhyming is intense. I’m liking the front end of this record a whole bunch. It’s hard to tell if I like more than his record from earlier this year as it’s a hefty nugget with plenty going on. His music is most definitely hip hop and gritty but with so much more on top of that so it can be consumed in a buncha ways. Whoever does his sounds rocks it.