Weekend Music Roundup

The weekend is here, the last weekend before the holiday season begins in earnest. That also means the year is quickly coming to a close, so for this list, I decided to keep it limited to albums released in 2019, trying to expose some of the finds from another great year in music. There's a couple of artists who were new to me, and a few new releases from artists I've followed for some time. There's a nice range on here, and it also includes one of my favorite albums of the year. Enjoy.

Blood Warrior - Animal Hides: This is the third album from this project featuring Greg Jamie (of o'death). It's been five years since the last o'death album, but thankfully this project continues, as well as solo efforts, as we wait hopefully for a new album. Blood Warrior has always been on the softer side of o'death, lacking the more intense moments, but keeping the dark beauty of sad neo-folk. One of those perfect desolate albums from winter. Another masterpiece.

Ty Segall - First Taste: After releasing what felt like a million albums last year, this is the only solo album the San Fran lo-fi garage rocker has released this year. It's another beauty of a record. Quick and dirty, but possibly due to the pause, it feels a little more curated. "I Worship the Dog," "Lone Cowboys," "I Sing Them," and the title track are standouts. This is certainly one fans will want to add. 

Gliss - In Utopia: This is the sixth album from the L.A. band, currently in Denmark. I've followed this band since their fantastic 2006 debut and have enjoyed all the albums that came after. After four shoegaze / dream pop type albums, they've finally returned to their rock roots that were featured on their first record, easily making this my favorite album of theirs since then. "Into the Night," "Heaven's Gold," "Broke Me," "Jesus' Son," "Sister Moon," and the title track are personal favorites on this stellar album (available digitally from their Bandcamp site).

Giant Dwarf - Giant Dwarf: Released in the spring, this is the debut album from the Perth stoner rock band. While this album if firmly entrenched in the sound of the genre, they do a good job incorporating some psych elements that keep it from feeling too stale. This isn't anything groundbreaking, but is certainly worth a listen for fans of the genre, and definitely a band to keep an eye on. "Kepler," and "Golden Walrus" are standouts for me.  

Tyler, the Creator - Igor: The fifth solo album from L.A. hip-hop artist is my first introduction to his work, even though he has been quite influential over the past decade. Though this is certainly hip-hop, it's definitely a genre-bending album and it's great to hear a hip-hop artist expanding the genre. It's really not a surprise that it's currently the #1 rated album for the year on Rateyourmusic.com. That's because it's the kind of album that can appeal to fans of lots of different music.

Tom Keifer Band - Rise: This is the first album in 6 years from the former Cinderella frontman, following his solid 2013 debut solo album. This album sees him return more to his rock roots, whereas the debut held many americana influences. It's kind of a miracle that he's even producing albums after serious vocal troubles in the 90s and having to teach himself to sing again. He still sounds like himself, with that distinguished rock voice that has always been slightly underappreciated. I love the sleazy vibe that Cinderella did so well. "Touching the Divine," "The Death of Me," "Untitled," and "Life Was Here," are my favorites.

Lost in Space

Back in September, I discovered that Netflix had remade the classic Sci-Fi series "Lost in Space" and was very intrigued. Typically, I'm not a fan of remakes, but when the source material is pretty weak but had a strong premise, then it's prime material for this sort of thing. The original series was cheesy, but the idea of a family being lost in space is genius.

This series was rather impressive. Visually, it was stunning. The characters were strong. The over arching plot is exciting. And Parker Posey is mesmerizing. The one place it falters is the repetitive nature of each episode putting them in predicaments that need to be solved in one episode. The serial nature of it seems unnecessary in a streaming show and feels more befitting for Network television. However, it didn't stop me from pushing through. It's really the first few episodes that suffer from this, before the bigger plot is revealed. 

While the family dynamic is detailed, it's not formulaic, but somehow it works here. Perhaps it's because the actors are very good at staying in their characters and making somewhat formula characters still feel very real and still make you care for them. And by the end of the season, the show really found itself. The last four or five episodes were great and I'm really excited for Season 2 which is supposed to premiere next month.

Not Quite The End of the FxxxING World...

Last week, the second season of the British show, "The End of the Fxxxing World" started streaming on Netflix. With eight episodes averaging about 19 minutes each, this was easy to digest in two evenings. The ending of the first season made it surprising that a second season would be likely, but giving credit to the creators, they pulled it off brilliantly.

This season picks up some time after the first, and James and Alyssa estranged, but still very much haunted by each other. Their reunion is complicated by the fact that Alyssa is engaged...oh, and there is a new character, the emotionally unbalanced felon Bonnie, who is hell bent on killing both James and Alyssa to punish them for the murder they committed in the first season.

While the first season dealt primarily with the existential angst that teenagers can succumb to, this season is about the healing process and explores whether or not it is even possible to heal. The dialog is spot-on and despite the darkness of the plot, this show always manages to leave me laughing. 

I've read some reviews that lament the fact that Alyssa and James are not the rebellious teens they were in the first season, but I actually like the growing they've done. I don't relive the first season, I'd rather explore where they've gone since then. Excellent stuff.

Weekend Music Roundup

The weekend is here! As I mentioned last week, I have a ton of albums that I need to talk about before the end of the year, but I never like to make a list of only new releases. The reason for that is simply that there is a century of great music out there and I like to discover both from the past and the present. In an effort to get sort of caught up though, the majority of this week's albums are from this year, with a few '70s gems thrown into the mix. Enjoy.

Belle and Sebastian - Days of the Bagnold Summer: The first album in four years from the Glasgow indie pop legends, though they did release a three-part EP about a year and half ago. This album (a soundtrack) fits right in with their extensive catalog. They have changed very little since their debut in the mid-90s. Perhaps their are a little less torn by the dreams of youth and more rooted in the realities that set in, but their music is still hopefully sad. "I Know Where the Summer Goes," "Did the Day Go Just Like You Wanted?," and "The Letter" are my personal favorites on this solid album that feels very Nick Drake inspired.

Billie Eilish - When We All Fall Asleep, Where Do We Go?: The debut full length album from the 17 year old Cali native is not only a hit record, it's a great record. Billie has been on my radar for quite some time, but it was only recently that I got clued in for real. "Bad Guy" was a song that got stuck in my head, and I was blown away with the varying elements and genres contained in that tune. The entire album is like that, mixing trip-hop, electro pop, dance rock, chamber pop and even R&B into an album that feels fresh and intelligent. It feels to me like Lana del Rey meets Tricky, and that's a good place to be. 

Mountain - Avalanche: The fifth album from the heavy psych NYC band that played at the original Woodstock is the last from the first phase o their career, going on a ten year hiatus afterwards which saw Leslie West release a solo record. Released in '74, there was a three year pause between this and the previous record, a pause that may have contributed to the band never reaching the same stratosphere as Led Zeppelin, the band whose sound is closest in my opinion. In many ways, this is a bit of swan song, and as such, it's pretty damned respectable and show the band's growth. "Sister Justice," "Swamp Boy," "I Love to See You Fly," and an intense cover of "Satisfaction" are standouts on this record which I needed to complete my early Mountain catalog. 

Ride - This Is Not a Safe Place: Released at the end of summer, this is the UK band's sixth album, and their second since reforming a few years back. A legendary shoegaze and Britpop band of the '90s, then Alex Bell joined Oasis and Beady Eye before jump starting this project again, Ride has always been a band that I've enjoyed thoroughly. More upbeat than "Weather Diaries", this owes more to their jangly Britpop sound than their shoegaze sound. "Future Love," "Fifteen Minutes," "Dial Up," and "Shadows Behind the Sun" are standouts on a decent effort. 

Slade - Slade in Flame: Released in '74, and the height of the band's popularity, this album is a soundtrack to the movie Flame starring the band as a fictitious rock band. As with their other early '70s albums, this is a hard rocking glam record with lots of killer tracks. "Far, Far Away," "This Girl," and "Lay It Down" are the first three tracks on the second side and they are three of the best. This is a band's whose influence is now heard more often than the their inspiring music. Great stuff, this. 

P-Lo - Shine: This is the third album from the Cali rapper. Having released three albums in three years, this doesn't really show signs of fatigue. This is actually a tighter album than it felt at first listen. There are a ton of hip hop albums coming out these days with really low production value, being treated as completely disposable. There is clearly some talented people behind this one, making it flow professionally. P-Lo isn't the most dynamic rapper out there, but he has a good flow and when he actually decides to sing a little, he actually can. A really good Cali kind of album, bumping it in the car or in the yard.

The Shape of Things Past

When you have a baby to care for, a full time job, and are going to Grad School, you miss a few things. That was my situation two years ago when Guillermo Del Toro's Best Picture masterpiece was released. Despite being a huge fan of his work, I just wasn't ever able to catch this one when it came out. I corrected that oversight last night.

This is one of those rare movies where everything comes together. The story, the acting, the score, and the way it looked were all incredible. Set in the early '60s, but re-imagined through a fairy tale lens, this is the story of a Top Secret cold war asset that turns out to be a remarkable specimen of other worldly characteristics and the mute woman who falls in love with him.

Weekend Music Roundup

So the weekend is here, and I know the weekend has come and gone the past two weeks as well without a Roundup. I apologize for that, for anyone who actually noticed. I had a lot going on and somehow just never got around to putting everything together. That doesn't mean I haven't been listening to music over the past few weeks. In fact, I now have a large stockpile of reviews to last me through the year, while I still try desperately to get through the remaining 2019 albums. There will be lots more to come, but for now, enjoy this mix of new and old. Enjoy.

I Am Oak - Osmosis: This is the sixth album from the Dutch indie folk band. I enjoyed their first two albums, released last decade, but have missed the three between them and this...I think I might need to back track, because somewhere along the way they went from solid to excellent. This album feels a lot like Iron and Wine and shows more depth than their earlier records. One of the best indie folk albums I've heard this year.

Wilco - Ode to Joy: The 11th proper album from the legendary Chicago indie band is their most introspective and impactful album in some time. Not that they have ever released a bad album, but this is top tier for them, feeling a bit like a book-end to their classic '02 album Yankee Hotel Foxtrot. Over the past three decades, Jeff Tweedy has established himself as one of the most important songwriters of his generation, and his talent shines on this record. "One and A Half Stars," "Bright Leaves," "Quiet Amplifier," "Everyone Hides," and "Hold Me Anyway" are personal favorites. 

The Flock - The Flock: The 1969 debut from the short-lived Chicago psychedelic prog band. Incorporating lots jazz instruments in their sound, from violin and sax, there is a feel of jazz fusion on here, but it comes off more like funk infused psych rock. This album quickly finds its groove and falls deep into it and stays there. Very nice lost album with two epic tracks making up the second side, "Store Bought - Store Thought," and "Truth."

Korn - The Nothing: It's almost hard to believe the nu-metal pioneers have been around for 25 years, but here we are. The newest album is their first in three years, their 13th studio album. I've always been partial to this band when they've made music that is slightly more mainstream, which is kind of opposite of their original fans. This album follows that path, as have many of their more recent albums, and it's basically just straight up rock metal. The thing about Korn is that they never pretend to be anything they aren't, and for that reason, I can totally respect them. Not my favorite of theirs, but this is certainly a good one of theirs.

Hanoi Rocks - Self Destruction Blues: The third album from the Finnish glam rock band was released in 1982. By this time, they were on top of their game and poised to be the face of the emerging new glam scene that was just about to take off, before tragedy struck during their first US tour in '84 (a famous rock story). I recently picked up a copy of the 1987 reissue on blue vinyl on GnR's Uzi Suicide label at Geffen. This album showcases the band at their best, in a compilation of early singles and B-Sides. "Kill City Kills," "Nothing New," "Beer and Cigarette," "Taxi Driver," "Desperadoes," and the wonderful Stones-y title track are standouts. 

Lenny White - The Adventures of Astral Pirates: In the 70's, Lenny White was involved in many jazz-fusion, jazz-funk projects, including Return to Forever. He was pioneer drummer, infusing jazz into other styles. In addtion to having one of the best album covers, this album is super groovy, and though certainly club friendly, it's anti-disco in its complexity. "Universal Love" is a song that Jamiroquai wishes he'd written in the 90's, and was obviously inspired by.  The range on this record keeps it interesting throughout, there's definite rock tracks on here, like "Assault". Truly a musicians album, and great for getting you moving.  

Fiction Friday (93)

So, I've finished my YA blitz, something I should try to do at least once a year. I had my conference last week where I discussed the last six books that I've reviewed here. I don't often have the opportunity to talk with others about books that I've read in real time, so it was very refreshing to do so. (Guess I should join a book club). Anyway, it was good to talk about these books and get the perspective of others. It was interesting that my favorite of the six book I read seemed to be everybody else's least favorite, but that's kind of the story of my life, which is just fine with me.

Code Name Verity by Elizabeth Wein
(Hyperion, 2012)

Caught in Nazi occupied France without your documentation is less than idea if you're a spy for the Allies. The book opens with Julie (code name: verity), a prisoner of the Gestapo. Rather than face endless torture and certain death, she chooses to write a narrative of everything she knows. 

In her narrative, written on any scrap of paper they can find to give her, she tells the story of her friendship with Maddie, the pilot who flew her to France in the cover of night and reveals secrets of the Allie operations. Other prisoners consider her a traitor, but is she? What is the truth behind what she reveals to the Nazis? 

In the second part of the book, we get Maddie's version of events and through it, discover Julie's incredible courage. 

The most fascinating part of this book is the way truth is examined, and how the reader is always gullible to the perspective of the narrator. This is a concept I've played with before in companion books and it was done very well here. The one thing that truly bothered me was Julie's voice and the premise that the Gestapo would tolerate her ramblings for as long as they did. I also had no idea how old the characters were supposed to be. As a YA novel, you'd expect them to be teenagers, but that was simply not possible. So that confused me a little bit and for a long time prevented me from engaging with the text. But all of that was more a mater of taste than a criticism of the book. Though not my favorite, I can see why people really enjoy it.