02.24.2018
Ought
Room Inside The World

Ought has never fully won me over on a single album. I'm fully in love with 3-4 of their songs, but a lot of their other ones are just a little too Wire/Fall/post-punky for my baby ears. But when they're on, they're on. Italicized. This new one, then, is a bit surprising; it doesn't have that 1 killer single, but at the same time, the whole record comes together better for me than their others. Mostly that's because they've clearly shifted their sound into a more "melodic" direction. Scare quotes mandatory, since their singer has a, um, unique (italicized) way of delivering words into a microphone. Speaking of unique vocalizing, do you like Future Islands?

02.24.2018
Andy Shauf
The Party

Here's one I seriously missed from 2016. In fact I think most people missed it. Most people except for Cornelius and Jeff Tweedy, both of which are on record in interviews mentioning Andy Shauf as one of their favorite new artists. And if Jeff Tweedy and Cornelius recommend somebody, I am absolutely on board, and it took me less than 30 seconds of listening to one track on this album to be totally sold. This is some Jim O'Rourke-level guitar pop arrangement, with melodies that are immediately impactful (and winding and dreamy and all those other good words), sung by a guy who almost sounds like the singer from Clinic. Just weird enough. And I guess this record is a concept album about a party. Anyway, had I known about this in 2016, it certainly would've made my Best Of The Year list. Maybe not #1, but damn high anyway.

02.24.2018
Rhye
Blood

I'm a little bummed that this new Rhye album isn't better than it is.

02.24.2018
Jeff Rosenstock
POST

This dude Jeff Rosenstock is a famous and respected figurehead of the 21st century punk-ska scene. I'll pause until you stop laughing. Anyway he's actually a legit good dude, and writes songs that far exceed what you'd expect from such a dude; his solo stuff, like this new POST record is really more power pop than pop punk. But it's a little of that, too. Anyway, POST is really frikkin good, and he yells "FUCK NO!" in one song and it gives me shivers, man.

Oh, and a couple songs sound like Aqueduct, which is weird.

01.16.2018
Steve's Favorite Music of 2017
A List

1. Girlpool - Powerplant
2. Cornelius - Mellow Waves
3. Chris Thile & Brad Mehldau - Chris Thile & Brad Mehldau
4. Ryan Adams - Prisoner
5. One And Future Band - Once and Future Band
6. Sampha - Process
7. Mastodon - Cold Dark Place EP
8. Kendrick Lamar - Damn
9. Mount Eerie - A Crow Looked At Me
10. Father John Misty - Pure Comedy

10.31.2017
Bell Witch
Mirror Reaper

Slow.

10.17.2017
St. Vincent
Masseduction

I had prepared myself to spew my righteous rockist anger at this, St. Vincent's ironic-but-not-ironic-but-maybe-ironic pop cash grab. Produced by that guy who produces everything. Beats by cool beatmakers. A self consciously sexy and colorful marketing push. Pre-release singles that were about Weezer-level dumb things like Los Angeles phonies and, like, pills. Holy shit was I going to tear this album a new one. Or maybe I'd say "Um actually it's a work of genius!". One of those two.

But really, all I have to say is that it's just good. That's it. It's really not much different stylistically than her last album and a half. The pop thing isn't really a thing, and there's just as much guitar wizardry as I'd hope. But still, "Pills"? Really?

10.17.2017
Courtney Barnett & Kurt Vile
Lotta Sea Lice

I'm really, really hoping to be wrong about this, and I very well might be, but I think this Courtney Barnett and Kurt Vile duet album is a bummer. Why is it a bummer? I don't know. I like both of them (although I like Courtney a whole lot more), and I generally like the idea of what they're doing. But it just doesn't work. Their voices don't sound good together, their songwriting styles don't mesh, it just feels wrong. But I dunno. Hopefully I can delete this post a month from now and write about how much of a dummy I was for writing those last 6 sentences.

10.17.2017
Robert Plant
Carry Fire

I know better than to underestimate any Robert Plant solo album, even now in 2017. Somehow he's retained a Dylan-like baseline of "at least listenable" for everything he records, even now into his 70s, and his record with Alison Krauss earlier in the decade is somehow a transcendent modern classic, despite its kinda-dull-NPRness. So yeah, I'm not surprised that Carry Fire is good. But I am startled by how good it is.

10.17.2017
Kamasi Washington
Harmony Of Difference

"Truth" might be the most beautiful thing Kamasi Washington has recorded. Which is a very high bar.

09.28.2017
Godspeed You! Black Emperor
Luciferian Towers

The first two tracks here are a little bit boring, but the last two really scratch that Godspeed itch.

09.28.2017
Ted Leo
The Hanged Man

So here's this new Ted Leo album, which is pretty exciting, since he's Ted Leo. And even more exciting than usual, because of his recent forays into a gentler, more melodic side of his music with Aimee Mann. Word also got around that he recorded it all himself, in his new home studio, and it was shaping up to be a sort of personal symphony-to-god type record; keyboards and horn sections and choirs and the whole bit. Sounds great. Except for that it doesn't sound great. In the literal auditory sense. It's cool that he put together a home studio and recorded this thing, but just sounds rough. Like a demo for a much better later recording. The drums are dull and soft, the bass is fat and flat, the guitar is okay, but doesn't have nearly the razor edge that his old recordings often had. It's a bummer, because some of the songs are pretty good, but they just fall flat. It's not even a 'recorded so poorly that it becomes even better' lo-fi kind of situation. Real weird album. I'll keep listening to it though. It feels like a grower.

09.19.2017
Kendrick Lamar
Damn

I was wrong about Damn. I heard the singles and wrote it off. "It sounds like he's given up and reaching for radio hits," I grumbled. "It doesn't hold a candle to has last two unimpeachable classics" I groused. "It's everything wrong with the current state of popular music," I whinged. Oh but then I listened to the damn thing. I already said I was wrong, what more do you want from me?


(1)
09.19.2017
Milo
Who Told You To Think??!!?!?!?!

I miss early millennium indie rap. I didn't even like most of it at the time. But compared to the autotuned trap garbage getting thrown around all day every day in 2017, hearing a guy from Maine rap about poetry over electric pianos and jazz samples and breakbeats goes down real smooth. Don't know if I'll ever listen to this album in 2018, but I like having it around for now.

09.11.2017
Iron and Wine
Beast Epic

It seems most of the world has moved on from Iron and Wine after his last couple jazz-inflected Astral Weeks-lite experiments, which I actually liked, but I get it. Everybody is wearing black silk onesies and playing MIDI keyboards and appearing on Beyonce albums now. It makes sense that nobody has much room in their hearts for the beardy sad guy with a guitar. But Sam Beam doesn't care. He's not trying his hand at synthpop or Mumford arena folk. Hell no. In fact he's gone back to his original band and studio and recorded an OG-AF Iron and Wine album. And it's so nice.

09.11.2017
The Cure
Disintegration

I've long held a controversial opinion that Wild Mood Swings is the best Cure album. Look. It's not a hill I'm willing to die on. But I will say that "Plainsong" is untouchable.

08.08.2017
Mary Halvorson Octet
Away With You

I'd heard of Mary Halvorson before in recent years, but I mostly randomly happened upon this new Away With You album. It's a fascinating listen. Halvorson is a jazz/improvisational guitarist, and the octet is made up mostly of what you'd imagine a traditional jazz octet to contain. But the music feels like something truly its own. It's jazz in that it contains improvisation, is mostly instrumental, and moves itself along themes and modal movements, but save for its occasional forays into noisey free-jazz nonsense, the goup plays more like an experimental post-rock band attempting to translate marches and waltzes through the freewheeling horns of a New Orleans parade band. Except I just read that sentence and it's not like that at all. I don't even know. The high points on here are near miraculous; everything comes together behind some beautiful descending chord progression and weirdo guitar melody, and it feels completely fresh and new. And fun! But then all too often, the tracks fall apart into noodly free-jazz bullshit and aimless drum solos. It's not going to find a place in my life the way that more melodically-composed recent albums by Mammal Hands or Courageous Endeavors, but still, this is something worth hearing, refreshingly outside any sort of modern jazz orthodoxy.

- by Steve
Pardon My FrenchBloomington
French onion soup, french chicken sandwich

There's this video going around the internet this week, of a high school girls track meet. In the video, one of the runners, physically unable to finish the race due to injury/exhaustion/something, is helped across the finish line by a fellow runner, who forfeited her own place in the race in order to help her fallen competitor. Inspiring, heartbreaking, supposedly. Yet I feel like there's something wrong about the whole thing. ("Of course you do, Steve.") First, it feels like a purposeful imitation of that similarly inspiring/heartbreaking video from a few years ago, where the softball player hits a game winning home run, injures herself rounding the bases, and is helped to home plate by the opposing infielders. As if the runner saw the other runner go down and said, "Oh, I should help her like those softball players did. That's a thing I'm supposed to do." But in the case of the softball game, something was at stake. The injured girl had to touch home plate to win the game, and the team that lost because of it helped her do it. Sportsmanship. In this race, the injured girl was already in last place. By a lot. The girl that helped was in second to last. Nothing was lost or gained here. It wasn't a once in a lifetime achievement that had to be fulfilled. It wasn't going to decide who did or didn't win the state title. It was just to finish a single race. Which leads me to think that, if I was the runner that collapsed, would I want another runner to help me across? There's something oddly shameful about the situation. Like, "I understand and appreciate your support, but please just keep running, I'll be fine, I'm in last place anyway, don't make a big deal out of this." Finally, the injured girl, upon crossing the finish line, looked seriously ailing. It almost looks like all the heartfelt struggle of getting her across the finish line made things worse. Maybe she should've just had a doctor attend to her on the track when she first had problems. Maybe getting some tearjerking footage for everyone's Facebook page wasn't worth the possibility that this girl may have had a goddamn heart attack.

And that's what I think about Pardon My French.

- by Steve
Pardon My FrenchBloomington
Almond cookie

There's this new place in the Mall of America, in the corner by Nordstrom's where that Wolfgang Puck pizza place used to be, called Pardon My French. Now before you go jumping off a bridge at the very thought of it, let me say, it might be good! I haven't eaten any real food there yet, which seems to be mostly light sandwiches and a couple burgers and some 'flambe' flatbread type things, but I did have an almond and chocolate ganache cookie from their bakery. And it was tasty! And all the other sandwiches in the case looked to be quality. So who knows! I guess his isn't so much a 'review' as it is a heads up: Pardon My French might actually be worth trying out. And now that Bagu is opening an MOA location, things could start to get interesting. The Mall might not be a food black hole after all!