Protesting Janelle Monae’s Dirty Computer on year end lists!

I’m all for folks showing who they are in their music and I’m all for equal rights, racial equality, economic equality, etc, but at the end of the day I want banging music that I return to.  I don’t find that in Dirty Computer.

This track below (by Janelle Monae) meets all the requirements and the fact that this track was somewhat suffocated (read about it here) and Dirty Computer is on the year end lists as the best of this year says everything that’s wrong with the music business and the music PR, and music journalism.  Too much about the personal lives and identities of the performers and not enough on the music.

I would rather listen to 1999 and to this tune as a combination of music and politics than the restrained and detached music on Dirty Computer.

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Best of 2018

**** not arranged by preference ****

1. Courtney John: Ecosystem (Soul Fire, 2017)

A perfectly crafted combination of old school roots reggae flavors with a great band and a singer I like a whole bunch. The band is tight and relaxed simultaneously with space for organ solos, guitar business, etc.

2. Guy One: #1 Best (Philophon, 2018)

A unique large ensemble African record from Ghana that sports elements of Afrobeat this record smokes from beginning to end. Great playing, great singing and high energy. This is about as good as music gets. I have spun the fuck out of this record all year.

3. Melissa Laveaux: Radyo Swivel EP (No Format, 2018)

It must suck to be a Williamsburg indie hipster and see how a Haitian Canadian woman who lives in Paris does your hipster indie songwriter thing better than you could dream of.

4. Magrudergrind: II (Relapse, 2016)

All the players in the band are above average and they are tighter than a welldigger’s ass in the middle of the winter but it’s the drummer who takes the gold star. He thrashes, he sprays, he grooves, he drives the bus.

5. Irreversible Entanglements: Irreversible Entanglements (International Anthem, 2017)

This free jazz trio plays really well but the woman on the microphone doing the spoken word part is the star here and they burn all the way through. She coughs up more than a few cutting lines, especially in the first piece. Check it out.

6. Los Texmaniacs: Cruzando Borders (Smithsonian Folkways, 2018)

This is a beautiful and super musical mariachi record regardless of the politics involved here. Needless to say Trump is a fucking asshole and I’m a fan of Mexican culture. I’m particularly impressed with the accordion player but I’m super into accordion. Everybody in this band plays and sings at a super high level.

7. The Ballantynes: Liquor Store Gun Store Pawn Shop Church (La Ti Da, 2013)

If you took the Blues Brothers and put ’em in flannel shirts and gave them a lot of any old school white trash beer and removed the horn section and the frat boy bullshit you would have something very close to this record. It’s a guitar driven soul/rock record with a lot of guitars, a male and a female singer that both do good work with a slap-tastic ramped up band.

8. American Lips: Kiss the Void (Ancient Fashion, 2017)

It’s not easy to make a mainstream hooky rock record and have it sound fresh. These guys do a good job of recreating an early ’80s half punk/No Wave kind of thing but with a pop sensibility and plenty of hooks.

9. 700 Bliss: Spa 700 (Don Giovanni, 2018)

Organic electronic production and a pleasantly confrontational African American female MC/singer/spoken word artist headline this EP. A friend of mine says this has a retro electro feel but I’m not schooled enough in old school electro to know.

10. Tim Hecker: Konoyo (Kranky, 2018)

Tim Hecker’s new record, Konoyo, is dark. And it’s also unsettling. It’s also extremely well put together and beautiful. It is an ambient music record without drums or over rhythms with an emphasis on metallic sounds and bell like sounds

11. Shad: A Short Story About War (Secret City, 2018)

The lyrics on this record outperform — smart, conceptual, well thought out. It’s called a concept record but I think that’s bogus. Just because an MC is intelligent enough to connect warmongering with capitalism does not a concept album make. It’s called thinking motherfuckers.

The arrangements here are really good with no particular bent except maybe a retro thread — there are some jazzy sounds and mellow ones and there are more driving and urgent arrangements (for example the tune clipped below).

12. Vaudou Game: Otodi (Hot Casa, 2018) A tour de force of all funk genres with an absolutely ripping drummer and fantastic band energy. It’s hard to believe humans can be this funky.

13. Open Mike Eagle: Brick Body Kids Still Daydream (Mello Music, 2017)

I got to this hip hop record at the very beginning of this year but have struggled as to whether to put it on the ’17 or ’18 list so I’m going to put it on both as it’s that good. Incredibly well done lyrics and ear catching (but not poppy per se) arrangements take listeners to a whole ‘nother place. I can’t begin to praise the way this record is put together and executed, it’s hip hop and beyond hip hop at the same time.

14. Paul de Jong: You Fucken Sucker (Temporary Residence, 2018) In an era of shiny, happy people taking our civilization right over the cliff de Jong mixes the personal and implies the political with a tune like You Fucken Sucker. In addition to that nugget of true indie misery the ambient pieces towards the back of the record could be portraits of the opioid mind or the economically downtrodden or the millions of disconnected folks out there. Life is messy as fuck but rarely does that mess make it onto wax and the interwebz. DISCLAIMER: I worked on this record and I work with this musician.

15. Hernan Sama & Marcelo von Schultz: Sonidos desde el camp para los animales y la vida salvaje (Self-released, 2018)

What makes a great free jazz hit? It’s a slippery question. This self-released sax/drums set ticks all the boxes for me. A little Ayler, a little Mu Sessions and just a freshness to the playing or a desire to play what other people might expect.

16. Tal National: Tantabara (Tal National/Fat Cat, 2018) I don’t usually go for the super stuffed songs but the melodic complexity of the guitarists combined with the drummer and the active singers makes for a glorious hot African mess. When they lean into the central grooves of the tunes it is ecstatic in nature.

17. Gouge Away: Burnt Sugar (Deathwish Inc, 2018) I have a soft spot for the angry female punk singers. Though these guys get into more than straight ahead power chord punk bashing they sport a classic up in your grille attitude. I don’t idolize the gent but it has that ragged Nirvana Bleach era energy and the drummer here kills it. They all kill it.

18. Babylon Trio: Habibi (Rebel Up, 2018)

Iraqi refugee musicians tear it up with Arabic street music flavored with euro club flourishes and some of the cheesiest and partyistic synth patches in years. The energy and the messiness of it is so refreshing. It’s ‘I don’t give a fuck’ messiness and not ‘I can’t play straight’ messiness.

Best of 2018 Pick 11

Shad: A Short Story About War (Secret City, 2018)

This hip hop record is most certainly the first record I’ve loved that has been traced back to NPR.  I can’t stomach the music picks of the New York Times or NPR but this record is great.  A hat tip to my friend Daniel for hipping me to this record.

The lyrics on this record shine — smart, conceptual, well thought out.  It’s called some sort of concept record but I think that’s bogus.  Just because an MC is intelligent enough to connect warmongering with capitalism does not a concept album make.  It’s called thinking mothefuckers.

The arrangements here are really good with no particular bent — there are some jazzy sounds and mellow ones and there are more driving and urgent arrangements (for example the tune clipped below).

Shad is a great MC with a friendly voice.  The tunes bounce back and forth between more militant and darker tunes about war (such as the third tuneStone Throwers (Gone In a Blink)) and more partyistic celebrations of blackness that will not be played at Trump Nazi rallies.

Regardless of Shad’s voice or the arrangments the draw here remains the lyrics.  Nobody in any genre of music is talking about war and capitalism and race and the environment in this manner.  All in a soulful and non-pretentious style.  When he busts out the line ‘they see people run, so they run, they see people die so they die’ — you can’t fuck with that.

Check it out.

 

Best of 2018 Pick 10

Tim Hecker: Konoyo (Kranky, 2018)

I’ve learned over and over again that most music listeners consider themselves sophisticated but yet they are prejudiced against dark and unsettling music.  Folks will watch anything — violence, sinister shit, horror movies, etc but at the end of the day their preference is for shiny, happy music.  And I could give a flying fuck for that preference and continue to recommend records of extremely high quality without regard for vibe.

Tim Hecker’s new record, Konoyo, is dark.  And it’s also unsettling.  It’s also extremely well put together and beautiful.  It is an ambient music record without drums or over rhythms with an emphasis on metallic sounds and bell like sounds.  There are other sounds but these sounds are core to the record.  The pace is slow without being glacial.

Writing about ambient music is similar to writing about jazz — it’s very difficult to do without sounding like a pretentious dickhole.

This is a great record for the moment we are living in and folks should check it out.  I listen to hundreds of records each year and this record is one of the best I’ve heard this year.

2018 Honorable Mention Pick 7

serpentwithfeet: soil (Secretly Canadian, 2018)

I will not bore regular readers with my grievances against the aesthetic (and racial) assumptions of indie rock, but suffice it to say this alt r&b indie record works for me because it does not succumb to those standard assumptions.

If you don’t like the singer here you’re not going to enjoy this record.  At all.  He’s very dramatical with confessional and hyper emotional lyrics and I’m not usually up for that but the way he works his songs feels genuine to me.   I can’t find a pose here and that’s great.

It also helps that the arrangements for these tunes are more supportive of the vocalist than attempting to overtake him.  Sonically the tunes are not super crowded and overwhelming.  The sounds on the record are pretty stripped down with synths and drum machines — no crazy shredding guitar solos, giant horn sections.  To me this lends a welcome focus to the record and prevents it from sprawling all over the place with over the top arrangements and an over the top singer.

Check it out!