Honorable Mention 2017 Pick 7

Kelly Moran: Bloodroot (Wommusic, 2017)

31 minutes of solo prepared classical piano.  Where I just recommended a bouncy house free jazz piano ensemble recording this is more on the ethereal and pretty tip while retaining nutritious value.  There’s a lot of indie music that strives to be pretty and ethereal but it’s manipulative and mostly empty minded.

The main alteration from a straight solo classical piano is her dampening and sticking things under some strings and how that changes the sound of her playing.  More on the buzzy/plinky and less on the resonant piano side of things.  But she doesn’t stick shit in all the strings so it’s a combination of ringing out and retarded harpsichord type sounds. It sounds like she might be doing other things to the piano but I can’t grok it out.

She plays well across the record but I thought the title track was the best tune.

Check her out!

Advertisements

Best of 2017 Pick 9!!!

Chris McGregor: Up to Earth (Wing and a Prayer, 2008)

Not so long ago recorded music wasn’t so manicured and staid.  Chris McGregor was a Scottish pianist who grew up on African music and this record is a raucous/joyful jazz record in the tradition of Thelonious Monk.  Multiple horns swinging, a great rhythm section and McGregor’s angular and energetic playing combine to take you back to a time  where wildness was welcome.

This is not the most recommended McGregor record on All Music but I really like the energy of this.  One of the many problems with getting people to getting people involved with jazz is that the artists make records in different styles with different musicians and it becomes a pissing match regarding which record is the best.  Whereas indie bands often end up feeding their fans slightly altered versions of their last record because it’s adult baby food by non-artists.

Check this video out below and if you can’t get with it you’re pretty fucking square assed.

Best of 2017 Pick 8

Prepared: Trust Me (BART Records, 2017)

22 minutes of heartfelt, emo punk with great energy.  The guitar player is surprisingly engaging as you don’t usually get super interesting guitar playing on straight punk records.

The strength of this record lies in its ability to express/release a lot of negative emotions (frustration, desperation, sadness, anger, etc) with somewhat simple musical elements and allow listeners to have a similar release.  And it accomplishes this with a nakedness and/or lack of pretension — it just goes right to it and lets it out.  This to me is the essence of great punk rock.

2017 Honorable Mention Pick 7

Dead Ranch: Brumation (No List Records, 2017)

Regular readers know of my inner toil regarding heavy metal singers.  I don’t like the cavemen, nor do I like the epic and operatic high range classic metal singers.  I like this singer a bunch, he works for me.  He’s a little punk, a little post-rock, and a little metal in places.  There are places where he has a little Kurt Cobain working.

The guitar player is similar in his styles — he’s got some punk, some post-rock, some classic hard rock, and some metal in his playing.

That’s the formula, blending these various sub genres but at the end of the day are tunes good and is the music fresh?  Yes is my answer.  While I often bemoan shiny music custom aimed at the heart of alienated suburban youth, this is high quality shit for the fringey upset folks in Westchester county, Chicago suburbs etc.

Nice sounds and tones, really energetic playing and a really good singer.

Best of 2017 Pick 7

Power Trip: Nightmare Logic (Southern Lord, 2017)

This is not a concept record — well, it is a concept record but it’s a rather simple concept.  32 minutes of smacking the listener around.  Certainly not the most melted or manic metal out there, this is a no nonsense shot to the dome.

I would say the guitar sound and the playing slightly star here, but the band locks together and stomps your brains in.  The drummer engages in some undercover swinging, just a wee bit and hiw work subtly changes the vibe of the record.  Some hardcore, some classic metal, it’s a piquant blend of Metallica and Motorhead but without the redneck nonsense of Metallica and Lemmy’s, well I’m not really sure what Lemmy was about.  Talk about a concept, fucking Lemmy.

In this fantastic Trump era (which I have really been enjoying), I spin the tune Executioner’s Axe daily to get the hate levels up.

2017 Honorable Mention Pick 5

Reverend Peyton: Front Porch Sessions (Family Owned Records, 2017)

I really loved Reverend Peyton’s last record, the rocking So Delicious but this almost solo record is growing on me.

I spend a lot of time saying this singer is not working for me, I don’t like their vibe, the delivery, etc but Reverend Peyton has a strange, somewhat nerdy voice but I dig it.  I can see how it might annoy others but I dig its uniqueness, it’s not rational.

It’s just Peyton and his guitar on this set.  He has multitracked the guitars so it’s not one guitar accompanying his voice.  His guitar playing is not super flashy but he’s got skills — he can outduel Taylor Swift on the guitar.

If you dig the blues and you dig his voice then I’ve hooked you up, but if you don’t feel his tone and delivery well…this might not be for you.

 

2017 Honorable Mention Pick 2

Fofoulah: Bene Bon EP (Loop Records, 2013)

This 29 minute 6 song EP by a band out of London combines hand drumming with elements of Afrobeat and Senegalese singing.  The drumming is really great, the guitar player sounds like he’s listened to a lot of the Edge from U2, but Edge’s long lost black brother from Africa.  The singer is very good but doesn’t stand out as much as the drumming.  The spirit of the music is neither Afrobeat or Afropop.

The second song (the title track) is my favorite, my least favorite is the fourth song but these guys definitely bring a different recipe to their African music.