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Ends in Two: Favorite songs and albums of 2022 (Part III)

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Now that I’ve gotten my head around the many albums that came out this year (and, I admit, having forgotten that some of these dropped as I’d been too distracted by adjusting to the New Day Job and other things), I can confirm that yes, there are indeed quite a few great records that I’m glad I got to check out!

Here’s a sample of some of March’s great releases!

Letting Up Despite Great Faults, IV, released 4 March. This band explores the lighter side of dreampop with what feels like a nod to The Church with its chiming guitars and reverb-drenched melodies. Their first album in quite some time has been a welcome return.

Steve Kilbey, Of Skins and Heart (The Acoustic Sessions Vol 1), released 4 March. Speaking of the Church, its front man dropped an acoustic reworking of the band’s debut album from 1981, proving these songs have definitely lasted the test of time.

Stereophonics, Oochya! released 4 March. Originally planned as a compilation of hits and rarities, singer Kelly Jones found himself inspired by some of those unreleased songs, retooled them and wrote new tracks to fill out the rest of the album instead. A band that never quite gets its due here in the States but continues to impress.

Nilüfer Yanya, Painless, released 4 March. Yanya’s second album is a study of less-is-more, with several of its songs so sparse they’re almost delicate, yet never losing any of their power. “Stabilise” is definitely on my top ten favorite songs of the year. Highly recommended.

Bob Moses, The Silence in Between, released 4 March. Yet another band on my ‘I will download anything from them’ list, their latest comes on darker and harder than previous releases yet never obscures the lighter touch of their melodies.

(G)I-DLE, I NEVER DIE, released 14 March. This K-Pop band gets punkier and poppier with this release, going full-on P!nk with lyrics and moves that are sassy, brassy and fun.

Stabbing Westward, Chasing Ghosts, released 18 March. A welcome full-album return to this band, coming back hard with their classic wall of sound style.

PLOSIVS, PLOSIVS, released 18 March. Quite possibly my favorite band name of the year — it perfectly fits their fast, gut-punching post-punk sound. “Broken Eyes” got the same reaction out of me that Interpol’s “PDA” did back in the day (…what the hell is this, and were can I find it??) and it’s high up there on my favorite albums of the year list.

Bauhaus, “Drink the New Wine” single, released 23 March. Just when you thought this band was going to implode once more, the four guys revisited the exquisite corpse style of writing (last heard with the “1-2-3-4” b-side) during the Covid lockdown by recording their own segment separately over a slow beat. It’s a weird yet surprisingly cohesive experiment.

Placebo, Never Let Me Go, released 25 March. This band has definitely mellowed with age, but that’s not necessarily a bad thing, considering Brian Molko writes such great songs that are both quirky and extremely heartfelt.

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Stay tuned tomorrow for April tunage!

Ends in Two: Favorite songs and albums of 2022 (Part II)

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Given that we’re already in the last month of the year with only so many days left to blog about the year’s tunage, I will be doing my best to post here three times a week to ensure I hit all twelve months! I haven’t posted that much in ages, so hopefully I won’t be pushing it too hard!

And now for an extended look at February’s great releases…

cruush, “bckwards 36” single, released 2 February. This is a KEXP find, the kind that’s perfectly in my wheelhouse: muddy, dreamlike shoegaze with lovely wandering melodies and vocals (from Manchester at that). They kind of remind me a lot of the Boston band Mistle Thrush, who had a very similar sound. I don’t know much about them other than that they have a handful of singles on Bandcamp that I really need to get!

Love, Burns, It Should Have Been Tomorrow, released 4 February. This band really does sound like early Lloyd Cole & the Commotions if they’d chosen to go the psych rock route. It’s a fascinating listen.

Korn, Requiem, released 4 February. I’d mentioned on a friend’s Discord recently that I was surprised by how melodic this album is, and that it’s really good because of that. Sure, the drop-tuning and the vocal growling is still there as well as the doom-laden lyrics, but with age they’ve become a stronger and more cohesive band.

The Reds, Pinks & Purples, Summer at Land’s End, released 4 February. One of my favorite super-local bands — Land’s End is a cliffside hiking area of Lincoln Park that overlooks the Pacific Ocean and Golden Gate Bridge, just west of my apartment — released yet another banger of an album that I keep coming back to. He sounds even more like Felt here, not quite lo-fi but certainly sticking deep in that lane and I love it.

Delvon Lamarr Organ Trio, Cold As Weiss, released 11 February. Groovy and infectious bluesy jazz that’s a super fun listen any day. These guys played on the front porch of KEXP’s morning DJ John Richards around the time this came out and it was a brilliant set.

Eddie Vedder, Earthling, released 11 February. Vedder’s newest solo record is a counterpoint to Pearl Jam’s last record Gigaton from last year, its music more contemplative and restive than his band’s sound. His powerful voice still soars just like always, creating a lovely and uplifting album in the process.

Andy Bell, Flicker, released 11 February. The Ride vocalist and lead guitarist (and former Oasis member as well) came out with a sprawling yet wonderful eighteen-track album full of his trademark brand of shoegaze — melodies that always seem to be on their way somewhere yet never quite arriving, giving the sense of weightless movement — and it’s an excellent listen from start to finish.

Spoon, Lucifer On the Sofa, released 11 February. Spoon albums are always a trip as you’re never quite sure where they’re going to lead you, with Britt Daniels’ off-kilter and twitchy songwriting style. Yet “The Hardest Cut” is one of those tracks that you just want to crank up because it’s just so great!

Urge Overkill, Oui, released 11 February. This was a year of unexpected returns of long-missed bands who’d been mostly doing live shows instead of recording, and UO’s last album had been released eleven years earlier. It’s a welcome return for a loved band from the late 80s-early 90s!

Alt-J, The Dream, released 11 February 2022. An album written and recorded during the height of Covid, it’s the band’s lightest yet most lonesome record yet. Tender in places and pained in others, it’s a tough listen but it’s beautifully crafted.

White Lies, As I Try Not to Fall Apart, released 18 February. I’ve always liked this band’s brand of not-quite-goth, not-quite-synthpop blend of melodies that are equally danceable and contemplative. This is a gem of a record and I really should be listening to it a lot more!

Beach House, Once Twice Melody, released 18 February. Originally released as four EPs over the course of late 2021 into early 2022, this band once again nails it with their own brand of dreampop that’s not just evocative of Cocteau Twins and classic 4AD but transcends that style and makes it their own. Dreamlike and sprawling, it’s a lovely listen from start to finish. One of my top ten albums of the year.

Gang of Youths, angel in realtime., released 25 February. This London-by-way-of-Sydney band has a sort of Springsteen-meets-Future-Islands high energy about it that makes their music powerful without being overly intense. It’s a great album worth checking out.

Deserta, Every Moment, Everything You Need, released 25 February. Their follow-up to Black Aura My Sun (one of my favorites from 2020) is just as dense and sprawling in its echoey and aching dreampop, and well worth the wait. “Lost in the Weight” is an absolutely lovely track.

Johnny Marr, Fever Dreams Pts 1-4, released 25 February. One of many musicians that released an album in bitesize EP parts before gathering them together, Marr continues to write excellent alternative pop that’s equally enjoyable and adventurous.

Tears for Fears, The Tipping Point, released 25 February. The duo’s first album together since 2004, it feels like time has caught up with Smith and Orzabal, but that’s not necessarily a bad thing, considering their music has always been about being caught up in situations.

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Stay tuned tomorrow and Thursday for more 2022 music!

Ends in Two: Favorite songs and albums of 2022 (Part I)

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As promised, I’m about to go through my music library to check out what came out this past year and shake the dustbunnies out of my brain to remind myself how many great songs and albums came out in 2022. Like the last couple of pandemic years, the music scene has kind of been all over the place — not necessarily in a bad way, but it’s definitely shaken things up to the point where the unexpected is the norm. Let’s take a listen…

The Smile, “You Will Never Work in Television Again” single, released 5 January. Radiohead members Thom Yorke and Jonny Greenwood joined up with their drummer friend Tom Skinner from Sons of Kemet as a creative outlet during the pandemic and surprised everyone with a decidedly punkish sound that might be Radiohead at its most frantic. They’d eventually release a full album later in the year.

The Weeknd, Dawn FM, released 7 January. His latest is kind of…weird? Yet really fun and funky? And features in-between smooth-jazz-DJ voice-overs by…Jim Carrey? I’m still not entirely sure what he was trying to say with this record, but it’s a great listen nonetheless. “Sacrifice” in particular is my favorite off the album.

Cat Power, Covers, released 14 January. Chan Marshall has been known to record unique and fascinating covers of other people’s music, and this latest batch is full of gems. Her take on Frank Ocean’s “Bad Religion” got quite a bit of airplay on KEXP at the beginning of the year and it’s a wonderful take on an already quirky track.

Miles Kane, Change the Show, released 21 January. Kane, also known as part of the supergroup The Last Shadow Puppets, takes the classic British soul swing sound and tweaks it with humor and maybe a bit of strangeness and the result is earwormy fun.

Kids On a Crime Spree, Fall in Love Not in Line, released 21 January. I’ve been intrigued by Slumberland Records these days for several reasons: much of their roster is super-local (one or two coming from my own neighborhood!), and much of that same roster often records in a semi lo-fi way, providing a very loose ‘bedroom recording’ feel that reminds me of…well, my own band The Flying Bohemians, actually! Extra props for this particular Oakland band for naming themselves after a newspaper story headline about problem youths in Foster City on the peninsula…which became the inspiration for the movie Over the Edge.

Yard Act, The Overload, released 21 January. This goofy punk band from Leeds provided probably my first favorite track of the year with the title song from their debut album. I kind of see them as what The Fall would sound like if they played twice as fast and Mark E Smith hadn’t been so damn grumpy all the time, but they have a really fun and hilarious charm all their own. The whole album’s well worth checking out.

The Smile, “The Smoke” single, released 27 January. The band followed up with another new single leaning ever so slightly more towards Radiohead but remaining unique to their own style. This one definitely showcases Greenwood’s penchant for increasingly complex riffs and musical phrases and Yorke’s unnatural ability to easily shoehorn vocals within them.

Paul Draper, Cult Leader Tactics, released 28 January. The second solo album from the ex-lead singer of Mansun continues his foray into tension-filled alternative rock, this time featuring friend and Porcupine Tree singer Steven Wilson on the lead single “Omega Man”. Props to Draper for filming this video in the exclusion zone in Chernobyl to really drive the theme of isolation home.

The Beatles, Get Back: The Rooftop Performance, released 28 January. Tying in with the utterly amazing Peter Jackson miniseries, this release finally provides fans with the full rooftop show that ended up being the band’s final live show (of sorts). We got to see it on the (very!) big screen on IMAX and it was so much fun!

Our Lady Peace, Spiritual Machines II, released 28 January. A sequel to an underrated and fascinating record about Ray Kurzweil’s book about artificial intelligence, The Age of Spiritual Machines, this one revisits the predictions he’d made in the book to see what has come to pass and what has not.

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Next Up: February tunage!

Ending in Two

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Yeah, I know…I’ve gone on record multiple times that years ending in two are awesome years in music. And 2022 saw a lot of great releases! But I think it’s me this time out that didn’t do my due diligence and connect as deeply with it all as I should have. It’s not that it didn’t interest me, as a lot of it did. It’s that I didn’t allow myself to resonate with it.

I’ve been using variations of the word ‘resonance’ a lot lately, in two different ways. Musically, it means “the quality in a sound of being deep, full, and reverberating.” Emotionally, it means “the ability to evoke or suggest images, memories, and emotions.” Both are important to me: things that hit me in the heart not just emotionally but creatively.

And I haven’t been letting myself do either of them over the past couple of years. Maybe it’s partly the pandemic’s fault for holding back or blocking so many musicians out there. Maybe it’s partly my own fault for not making a strong enough attempt to make that connection in the first place. Maybe it’s also partly my own fault for focusing on the acquiring (yay for being a discography completist!) and less on the music itself. Maybe it’s that I listen to KEXP so frequently that I don’t give myself enough time to relisten to what I already have in my collection. Maybe it’s that my Day Job doesn’t allow me the ability to listen to my collection while working. Maybe it’s just too many real world distractions. It could be a lot of things.

I think what I’ll be doing in the next couple of weeks is do a monthly overview of 2022 to reconnect myself with this year’s releases and posting them here. There were a lot of great songs and albums out there that I loved but for some reason never completely connected to. And I’d like to see what I might have forgotten. Maybe I’ll reconnect with them this time around.

Let’s start with what has resonated with me: “Golden Air” by Sun’s Signature — the first new music from Elizabeth Fraser in many years. I absolutely adore the EP it’s from and I think that’s a good place to start!

Stay tuned for more!

Couldn’t Miss This One This Year

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The downside to working in retail once more is that I’m no longer able to listen to what I like listening to. I can only listen to KEXP on days off or before/after work. Which means that I’ve been listening to a lot of slightly tinny harmless current pop and retro tunes from the 80s and 90s. Some of it’s good, some not so much, but thankfully the level of oh god not this song AGAIN is at a bare minimum.

I am curious, however, as to whether or not the work tunage will be holiday-themed come this Friday. [Which, by the way, I don’t think I’ll be suffering another Black Friday as we’re not that kind of store. We’re more of a “you mean you forgot cranberries too?” shop.] I’m not complaining mind you, because I actually enjoy holiday music at work. It’s just the right amount of Christmas cheer that isn’t intrusive or distracting. And it’s a theme that crosses all sorts of genres and bends the playlist rules on radio stations and workplace music loops.

Either way, it’s going to be a pretty good year’s end here and I’m not going to complain.

Mixtape: Untitled I

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What to name a mixtape you truly enjoy, but can’t come up with a decent one? By this time I had Walk in Silence, Listen in Silence, The Last Home Year, Cimmerian Candlelight, and so on…names for themed series. But what about a chaotic mix that was essentially my favorite indie tunes at that point in time?

And so the Untitled series was born. Cheeky, but it worked.

This is a mix of songs I’d heard on Amherst College’s WAMH, WMDK out of Peterborough, recent 120 Minutes episodes, with a sprinkle of deep cuts, records borrowed from Chris, and to top it off, promo singles he and I had “borrowed” from the local radio station that they were obviously never going to play. The original mix features versions taped from the radio or off the TV speaker as well as actual source material.

Like Listen in Silence II, it was a mix primarily made as a catch-all for songs I liked but didn’t necessarily have in my collection. This would explain the strong beginning and the somewhat meandering end…but yet it works and still stands up so many years later. Also like LiS II, it was a mix to be listened to while mowing the cemeteries for my summer DPW job. Since my favorite college radio station was off the air for the season, this was my mix to fill that gap.

[Missing from the Spotify mix due to unavailability: The Feelies’ “Away” (after “Makes No Sense at All”) and Robyn Hitchcock & the Egyptians’ “Swirling” (after “Charlotte Anne”).]

Coming Soon: A Listen to the Beatles’ Revolver: Super Deluxe Edition

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When I have the time (and when Jules isn’t darting hither and yon and causing all kinds of chaos), I’ll finally have a sit-down-and-listen to the new Revolver box set! This album has long been my number one favorite Beatles record (with The Beatles coming an extremely close second) ever since I bought it sometime in the early 80s so yes, I am extremely familiar with it, inside and out. I’ve listened to it in headphones to recognize the quirks, semi-hidden sounds and edits. I play it every spring when I sit down to do my taxes. I’m slowly learning more of the songs on guitar.

So yeah…hearing this album with a completely new stereo mix is going to be interesting.

A bit on the new Cure songs

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So The Cure, one of my favorite bands from the 80s and a huge influence not just my songwriting but my fiction writing as well, have finally slipped out a few new tracks! Well, sort of, at any rate. They’re in the midst of a tour and they’ve been playing what seem to be new songs, quite possibly from an upcoming album called Songs of a Lost World (at least that’s the current rumor).

This isn’t the first time they’d test out new songs live before recording them. A lot of bands do that, actually. Let’s give them a listen, yes?

I joked with my friend Chris, who shares my longtime love for the band, that these two new songs passed right by me because I swear they had a song called “Endsong” already. [Well, “End” is on Wish and “Plainsong” is on Disintegration, so my brain probably smooshed the two together.] Still…I like what I hear so far. It’s similar to their track “Homesick” in that it has the slow and extended opening before arriving at the main lyrics, which don’t seem to have a chorus. Very much a Disintegration/Wish vibe going here.

“It Can Never Be the Same”, on the other hand, reminds me a lot of 00s-era Cure, a mix between The Cure and 4:13 Dream. It’s got the patented dark dreaminess but with a tighter and more orchestral sheen. But it also hints at the construction of repetition that made Disintegration so mesmerizing.

What to make of these two tracks that may or may not be a part of a VERY long time in coming future album? It certainly shows that Robert Smith hasn’t rested on his laurels since 2008. Between the numerous tours and guest spots on albums and soundtracks, he’s kept busy. And that classic Cure sound hasn’t gone away, either…their best songs have either been the irresistible pop of songs like “Friday I’m in Love” or “Close to Me” at one end of the spectrum and the epic gloom of “Homesick” and “All Cats Are Grey” at the other. I’m glad to see they’ve still got it.

A few thoughts about music as safety

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I just recently finished reading Brandi Carlile’s memoir Broken Horses and this particular song popped up, one I hadn’t heard for quite a while and forgotten I’d liked. It’s an “it gets better” song. It was partially inspired by a friend’s son that was getting bullied in school for not fitting in.

It got me thinking about my own teen years, in which I immersed myself in music as a form of safety. I wasn’t always bullied, at least not to any major or physical degree, but I definitely received my share of being called a f*g, thought of as a weirdo and excluded from most social circles, and being pigeonholed into a circle of outcasts and townies where I may have been accepted but it was definitely not a match I wanted or needed at the time.

And sure, I’ve already told you about the main reason I got into college radio and what became alternative rock: the whole fuck all of this conformity bullshit, go be true to yourself and you’ll be so fucking happier message it gave me. Not all of those songs had the “it gets better” theme, of course: some reveled in the darkness of life’s unfairness, and some reveled in destroying the status quo. It all spoke to me on a level few other things (and people) did. It said: the only real barriers you’re fighting are your own.

That, in a way, was the hardest lesson to learn of all, and it took me a LONG fucking time to really understand it.

Hearing this song again after so long and I think, yeah…same bullshit, different generation. We still have shitty people tearing others down who don’t conform to their way of living, praying, thinking, whatever. It’s why I’ve managed to stomach the shittiness of American Conservatives: they’re the same goddamn asshole jocks all grown up, still calling us f*gs and bullying us because we’re not like them. And that’s why I’ve managed not to fall prey to their violence: fuck all of this conformity bullshit, go be true to yourself and you’ll be so fucking happier. They still piss me off, but I refuse to let them ruin my life.

I still have my own barriers I’m fighting to tear down. There are far fewer than in the past, thankfully. Maybe a small handful instead of a teetering avalanche. One or two that are just about gone now.

And yet I still return to music for safety. It remains my emotional anchor to this day.

Listening from a different angle

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You know you’re old when you remember this being played on TV.

Funny how turning ever so slightly makes all the difference.

For years I’ve had my PC monitor at the far left corner of my desk mainly because I had to share the space with my work PC and other things during my Work from Home years. It’s still there, but now there’s a second monitor that I’ve chosen to have as the primary. It’s slightly smaller, but it fits perfectly at rear center, flanked by my speakers.

And that’s where I’m suddenly realizing just how different things sound when you’re facing those speakers head-on rather than at a slight angle. I mean, I’d had the correct set-up for years elsewhere, including Arkham West, the Belfry, and most of my apartments in Boston, so it’s not as if I’ve been unaware of the proper placement of speakers for peak aural enjoyment…but sometimes peak wasn’t the easiest to achieve. Sometimes you make do with whatever setup you can get away with.

The wild thing, though, is just how different it sounds to me. I might have filtering issues when it comes to crowded white noise, but I’m also blessed with really good directional hearing. So now that I’m listening to my music correctly once more, I can really hear the mix, and it sounds heavenly. The music has depth and width now that I didn’t realize I’d missed all these years.

It’s almost as if this was the disconnect I’d been trying to figure out all this time…? Could it be that a simple error in placement kept me from truly connecting like I had in the past? Perhaps so.

Either way, this makes me want to explore more. Take more deep dives. Search for that connection with music I love so much.