Baby can you find my earplugs They keep the city sounds away I need to take a syrup shot, it's all I've got To finally find a quiet place
Go to sleep
Baby can you see the monsters Their chatter keeps me up all night This one lost a job and that one had a kid At least we're getting on all right
Go to sleep
Why can't I ever feel this good? What's it like to be understood? Who are we and where is peace? And how mortality? When do I go to sleep?
I don't know where I am Halfway between cold and home I need to take a syrup shot, it's all I've got To finally find a quiet place
Go to sleep
***
It was my honor to be the first guest on the brand new songwriting podcast, DUET OR DON'T. Tune in, and listen to Baby Molly and me write our way through this song.
Dad's Album of the Week is back. This is the series where I briefly review my late father's vinyl.
Jean-Luc Ponty -Open Mind
If I were to hear this without any context, I would say this is a product of the 80s. It sounds so very 80s. Heavy synth, computerized percussion... well, that's not too terribly different than modern pop and electronic music now, is it... heavy synth, computerized EVERYTHING these days... but this sounds like exactly when it came from... 1984.
Jean-Luc Ponty (who I had to Google) is a classically trained jazz violinist, and his discography is very very long. Open Mind shows up kind of in the middle of it. This isn't my genre of choice at all, so this album name is fitting, as it required that I have an open mind to get through all six tracks. (Can't really call them "songs", as there isn't any singing.) The instrument that takes most of the solos here is violin, but it doesn't often SOUND like a violin. This is probably because they are all electric instruments on this recording, and also because of Ponty's approach, filling the space in the compositions that trumpet, trombone, or saxophone would normally occupy. This is especially the case in "Modern Times Blues", where I would swear that there is a saxophone in there, but no, it's a zeta violin bringing saxophone tones.
"THIS ALBUM HAS BEEN MIXED ON A TWO TRACK DIGITAL MACHINE" is clearly stated in the liner notes. That seems like a lot of work.
I find myself wondering what these compositions would sound like with more traditional jazz accompaniment, but keeping the violin in place as the lead instrument. That's probably something I'd pay money to see. If you are into jazz or the sounds of 1980s synth, you'll probably dig this album.
Baby Molly comes to us from Toronto, in the province of Ontario, in the nation of Canada. I met him back in 2017 in Nashville at CD Baby's DIY Musician Conference, and we had interesting and useful conversations... and this happened again in Nashville in 2018... and again in Austin in 2019... and then the pandemic crushed conferences, music and otherwise.
Baby Molly plays guitar, among other musical talents... but you know what? Let's learn all of that in the interview after the picture... and let the record show that I left the Canadian spelling of some words as-is.
1. Let's hear the elevator pitch for your skill set and genre.
Baby Molly is just a typical millennial. Reminiscent of Beck, Say Anything, Front Bottoms or Green Day, I just make fun pop/rock music about the downfall of society and the paradox of being alive. We can't afford to live but we don't want to die either. With my tongue FIRMLY in cheek, it's just music to rock out to, make life a little more fun and a little less pointless.
I don't have an "elevator pitch" really so I hope that makes sense. "LISTEN TO MY MUSIC PLEASE SO I CAN EAT!!!! Or Don't I guess?" is what I wish it could be.
2. You've had an official change in artist name since Belladonna, your last album release. Does this change come with a new approach to making music? If so, can you talk about that in detail?
It does! Molitor is my middle name (Named after 1993 World Series MVP Paul Molitor, no joke) but I always found myself correcting pronunciation, explaining the name to confused faces, etc. So even though I no longer go by a REAL mononym, this music is 100% more me. I had been performing under the name Molitor since I was 17 years old when all the cares of the world, pressures of being cool/hip/stylish/attractive mattered so much. Even though I was being original and creative and enjoyed my music, it always felt like hard work. A stretch to fit into trends, remain cool. I wanted to be the hot, clever, sunglass & leather-jacket wearing frontman. The Julian Casablancas, Pete Doherty, etc. But that's not me! At least not anymore (I did kind of have that vibe when I was younger). So now I just write lyrics as honest as they come: literal journal/diary-style lyrics. Earlier in my life, I'd try to find clever ways to say things - I had cool lyrics like "Your effervescent efflorescence Belladonna brings me to tears". Now, I have a song where the title and chorus are just literally "I'm broke. I want to be happy but I need some damn money". I think it not only works out because I'm really excited, proud, happy with my new music for the first time in a while (I think 2014's #lonelypeople_Music EP by Molitor was the last time I felt this way) but it just flows out of me. I can grab a guitar and a song will come out that feels like Baby Molly. It doesn't need weeks of production, re-writing, editing, and borderline alcoholism to get it to be moody, cool and sad enough for a Molitor release. It's just me. I developed a little bit of a character around it so that it's still marketable in the 21st century, but you can't survive without doing that really. But the character is more me than my old character even, sarcastic, witty, sad but hopeful. My angst has dissipated and I wanted a clean slate to reflect that.
3. What was the first album you can remember buying with your own money?
The first one I vividly remember is A Lesson in Romantics by Mayday Parade. I bought it in a mall in New Brunswick, Canada when I was living with a family there on this, like, exchange program thing through the YMCA. I spent some time there and then their child spent some time with my family in Niagara Falls. I remember it so well, it was pre-Covid and record stores used to have headphones hanging up at the end of each aisle where you could listen to some CDs before you bought them. (Note from Mike: I miss this era of music store goodness.) I just picked this one because it had a cool cover and it really changed my life forever. I listened to 4 or 5 songs in the store because I didn't want to take the headphones off. Then, because I was on this exchange trip, my parents had given me a little spending money for food and emergencies but I ended up spending like 60% of it on this CD. It remains one of my favourite albums to this day and is probably the direct lineage to how I write songs. Super emo, but still fun and well-crafted, plus dual lead singers and overlapping vocals has been a mainstay in my songwriting; nobody did two lead singers as well as Mayday Parade on this album, to me.
4. Tell me about the last concert you saw.
Concert? One sec, let me search the dictionary for that term.... Oh, yes! I remember those. It was one of those things where multiple people were indoors and enjoying the music that they love together. According to my memory, the last one I saw was in November 2019 when I was living in LA. I got to see Max Bemis of my favourite band Say Anything perform a stripped down solo show with just an electric guitar. It was amazing. Everyone knew every word and it wasn't a full band show so it was more intimate than any other Say Anything show. It was great, the crowd was singing so loud that you could just barely hear Max over the crowd throughout. His wife and kids were there too and because it's such a small venue, when his wife Sherri was singing with him on stage, you could see their kids peeking out from the green room and waving at them. It was adorable. I miss concerts, but if it's the last one I ever see, that's one of the best I've been to.
5. What artists do you consider to be your biggest influences?
Max Bemis/Say Anything and Mayday Parade as mentioned above are huge. I take notes from so many artists that it's really hard to say. There's a fairly obscure band called The Veils that have a song called "Begin Again" - that is probably my favourite song of all time. The originality and boundaries pushed by Childish Gambino and all of his music are always a guiding light. The Killers, Kanye West, The National, Taylor Swift, The Front Bottoms. Green Day was my favourite band growing up and I knew every word to every one of their albums so undoubtedly people would probably find a bit of them in my songwriting.
6. I totally took this question from someone who interviewed me previously. You can't control the way other people hear your music, but if you could make someone aware of a specific thing that sets your songs apart, what would that be?
This. Is. A. Tough. Question. I don't want anyone to be aware of a specific thing but I think songs speak differently to people depending on their mood, personality, the weather, their surroundings, what they ate that day, etc. SO my only wish if I could ask one thing of each listener it would be to actually listen. There are a lot of very talented musicians and artists that make background music for studying, reading, elevators, etc. I am not one of those artists. I am arguably the LEAST subtle artist that has ever lived so if I could ask something of a listener it would be to actually listen. If you love it, that's amazing, if you hate it that's great too. I appreciate that you took 3 minutes of your life, time is the most valuable thing in the world and I am endlessly grateful that you gave me a shot with some of yours.
7. Your podcast DUET OR DON'T is about to be introduced to the world. What's the premise?
DUET OR DON'T! The game show/just for fun show where each week I have a brand new songwriter, artist or musician on and after having a very brief chat about our lives and how we're feeling, we write and record a brand new song, from scratch, live on the podcast for anyone to listen to. There is a time limit, of course, no one wants to listen to a 3-week long podcast. But the rule is that we need to come up with a brand new song and present it, warts and all, after the timer is up. Then, together we decide, is it good or bad? Do we love it or hate it? DUET or DON'T?
8. What's next for Baby Molly?
BABY MOLLY PRESENTS: I MISS MY FRIENDS - AN EP FOR THE AGES, OUT FEBRUARY 19, 2021.
*********
Right up there at the top of the post, I link to the Baby Molly web presence, but here's that link again. The new podcast will launch shortly, and the first guest songwriter might be someone you know. (They call that "a tease" in the radio industry, kids.) Here's the Baby Molly YouTube Channel. You can also shake a rattle with Baby Molly on social media via Instagram, Twitter, or Facebook.
Dad's Album of the Week is back. This is the series where I briefly review my late father's vinyl.
The Brecker Brothers Band - Back to Back
You're not supposed to judge an album by the cover or inside artwork... but I totally did that here. Ok, so there is the cover above, and here is a picture of the inside of the jacket once you fold it open. (The below picture looks much better because I took it with my phone instead of finding an image on the Internet.)
Look at those guys. They look like an out-of-uniform college marching band. I see a trumpet and saxophone, and from reading the liner notes, I see they are heavy on the woodwinds. Ok, this is going to sound like that easy listening smooth jazz stuff that I can't stomach.
Well, no, all of this album doesn't sound like that. The first two songs are a lot funkier than you would expect from such un-melanated musicians. More careful reading of the liner notes is required, and look here, Luther Vandross arranged the background vocals for this album and also sang on it. (Is that him on the front cover drinking a beer/soda?) The third song is exactly the kind of content I was dreading... and then it moved on to pretty straight-forward jazz, very heavy on the saxophone solos and jamming that isn't going anywhere. I am intrigued by the synth sounds I hear on this, as I'm curious what kind of gear they were using. Full disclosure, I am not generally into this genre unless I am seeing it live.
It turns out that the songs on this album that I actually like were NOT written by the Breckers. No, the ones I like were written or co-written by the other folks in the band. My favorite member of this band I just discovered -which should not come as a surprise to anyone who knows me - is bassist and lead singer Will Lee (the FAQ on his site is great). Check out his work on the song "I Love Wastin' Time With You".
My summary: The songs aren't great - especially the slow ones - but this genre is apparently not about songcraft. The musical performances are fine, and if you're into jazz or saxophone solos, you'll probably dig this.
Let's start by making sure we all pronounce Jenee's name correctly... it rhymes with the French name Renée. Ok, there you go. Jenee Halstead is a songwriter that comes to us from Massachusetts, and her new album Disposable Love will be released THIS WEEK, on Friday the 22nd. I very much dig it, and I think you will, too... when you listen to these songs, you can tell that she feels every word she sings. After the photo, an interview with Jenee Halstead.
1. Let's hear the elevator pitch for your skill set and genre.
Skill set - I have no way or reason to give a skill set. Not sure how to even answer this question. I guess I would call myself an artist. Not considering a skill or ability. I play guitar, I sing my own songs, I seem to get better with each album. It's all about expression. I try to be pure in my expression. Not sure how that relates to my abilities. That is for others to judge I guess.
As far a genre goes I guess I am just a singer-songwriter. I am not glossy enough to be pop, not americana. You could call it indie pop or indie soul. The album is really all over the map. So I think singer-songwriter is the best answer.
2. You've travelled with a choir that performed Gregorian chant music. (I know this because I read your bio.) Are there parts of that experience that filter into your songwriting and performing today? How so?
I guess the Gregorian choir just seeps in as far as purity and sacredness of music. I always want to hear a purity of intention and intentionality if you will in all music. It doesn't matter the genre. If it feels like it is sacred to the person: expressed, meaningful, passionate. Then for me that counts as pure intention. I think there is just a level of sacredness and appreciation in music that I like to hear and experience and witness from whomever I am listening to. If that is not there, it will in no way interest me.
3. What was the first album you can remember buying with your own money?
Maybe Eazy E. I think it was the Eazy E cassette Eazy-Duz-It.. I was a huge hip hop, rap and R&B fan and still am. Oh boy I knew every word to that cassette. Can you imagine a skinny, awkward 12 year old girl from Spokane spitting Easy E on the way to junior high school? Yep. I loved it.
4. Tell me about the last concert you saw.
The last concert I saw: live or online?
I can't even remember. Maybe Lucinda Williams at The Paradise in Boston for the 20th Anniversary of Car Wheels on a Gravel Road. It was great. She was funny. Telling stories of what inspired the songs in between playing. Her stories were mostly about a failed love affair during tour and living on the road. So good. I had accidentally seen her twice that year within a three month span. I think friends offered a ticket each time. So good. She is just amazing when she is sober. I think she has been sober for a while. Three months prior I saw her outdoors at the Blue Pavilion (I think that is the name) in Boston and a fricken fireworks show went off over the water during one of her songs. Amazing.
5. What artists do you consider to be your biggest influences?
My biggest influences? I am going to say Kate Bush. Although my music sounds nothing like hers. It's just her. She is a Master of the highest degree. A sorceress. Her music, expression, songwriting, vocal range, vocal color, vocal ability, all of it is just crazy. I think what I love the most about her is she is working with the elements and mastering the sonic space and alchemizing the planet with her voice, with her lyrics. I can't explain it. Just listen to "Love and Anger" off The Sensual World. I guess she just inspires me in her purity, her intentionality and her ability to heal the world with her music, with the mastery in which she turns a phrase with her voice.
Watch the video here:
Second would be Joni Mitchell. For all the same reasons. The ability to speak and sing of her emotions in a way this is still unrivaled. Her poetry, her insane and gorgeous musical compositions.
Third would be Nick Cave. He is like my soul. He sings and expresses my soul in masculine form.
6. How has the ongoing pandemic affected your music career?
The ongoing pandemic has changed things a lot. It pushed the album release back 8 months. I hadn't really booked a lot of live shows for the release, so that wasn't an issue. I guess for me it was just hard to make the transition online. I didn't want to play online at first. I was focusing on getting singles out from the album, so I didn't have to worry too much about being in the studio or anything. I am finally getting around to playing online and doing a Variety Show through Stream Yard. I just love the live show with people in the room. I work with the energy in the room from people. It felt so strange at first when I was trying to play online in early March. You don't get that energetic interaction. I guess I should have viewed it early on more like a service. Service to others. That may have helped me get over the fear of online playing. I guess it's also devastating seeing some of my favorite stages shutting down. I don't know what to think about a lot of it right now. There is just now way to know how things will be when all of this is said and done.
7. You sound just a little bit different on each release, and it's interesting to me to notice an artist's progress like that. On Disposable Love you seem to have embraced some surprising changes of feel and instrumentation within the same song ("I'll Be Your Man"), showing off influences from blues and gospel at times ("In the Seams"), and even a song that feels like it's a country song except for the really interesting bass line ("Solitary People"). When you started putting this album together, did you plan to cover that much different musical ground, or did it just kind of happen?
When we started this album I don't think we planned on covering this much ground. I have always dappled in several "genres" as a writer. In previous albums I have married folk with Americana, a little bit of Country or Alt-Country, electronic beats and having the album musicians run roots instrumentation through pedals and amps. This was my work with producer Evan Brubaker on my first two full length albums. I knew on this album I wanted to cover more soul and pop sounds. I was clear on that. I was writing songs that sounded more pop influenced and my co-writes with Berklee Songwriting professor Susan Cattaneo (who is a good friend) were each much more soul and pop driven. We co-wrote "In the Seams," "Mother" and "Disposable Love." She also co-wrote the lyrics on "Skin," which to me is truly pop all the way. I think Dave Brophy, my producer, is comfortable bridging all these worlds and in such a unique and masterful way. That was why I was excited to work with him. On any given day he will be working on a Jewish Klezmer album, a soul album, a straight up country Americana album and a high level jazz album. He is a jack of all trades, multi-instrumentalist and he is comfortable swimming in many ponds. We both love Spaghetti Western and noir sounding music and I think that informed and was a thread through a lot of the music...but it also has a fresher pop approach to it.
8. The COVID-19 vaccine is slowly trickling out, which means that maybe - just maybe - touring could be back this year. If we get live shows back, do you plan to go on the road with the album? If we don't get live shows back, what are your next steps?
I honestly am not sure and haven't given this much thought yet. The continual on and off lock downs and insecurity around this whole thing has me table everything for now. If venues start to open in the next six months I may decide to book some shows. I am hoping to at least do one big celebratory show in Boston sometime in the next year (fingers crossed). I just don't think we are going to know for a while how all of this will ramp down (unfortunately) and it's better for my mental health to look at the long game and not get my hopes up too high.
***
Trust me on this, you want to listen to Jenee's new album, Disposable Love, and I'd like to remind you that you can do so this Friday. I linked her official website above, but just in case you missed it, click here to visit Jenee Halstead on the Internet. You can also find Jenee on Facebook, Instagram, and Twitter.
Dad's Album of the Week is back. This is the series where I briefly review my late father's vinyl.
Mandrill - Mandrill Is
If this were released today, we'd call it fusion. I don't think that term was used for music back in 1972, which is when Mandrill Is was released.
Mandrill was founded by Panamanians who grew up in Brooklyn. That explains the Latin influences heard on this album, as well as the prevalence of the horns. (The founding brothers play trombone, saxophone, and trumpet.) There is also funk and soul here, as well as a track or two that sound like they have been lifted right out of a blaxploitation film... the album is certainly a product of the time, and of the experiences of the musicians.
I think I might adopt the song "I Refuse To Smile" as a personal credo, but my favorite song on this album is "Here Today Gone Tomorrow", which just plain rocks. Go listen to that one.
Welcome to the first installment of a new series over here on my blog. It's called Dad's Album of the Week, to be commonly abbreviated as DAOTW. My dad died a couple of years ago, and I am now in possession of a bunch of his vinyl. I haven't listened to most of it. Telling myself to write about the music will be an incentive to listen to all of it. (Well, I won't listen to any of the Chicago albums. See, that was his favorite band, and I heard them all way too many times growing up.) This series will run on Thursdays, and will generally be brief.
Parliament - Mothership Connection
Even those who have never heard this album have absolutely heard this album, if they have listened to rap or hip hop over the last 30 years. The music here is often sampled, and the vocabulary here is often imitated. (Might "gangster lean" and "the bomb" have originated from this album?)
What we have here is legendary music from a legendary crew (including fellow Ohioan Bootsy Collins), and music that will make you move, all the way from 1975.
Sing it with me now: we need the funk, we gotta have that funk
You might remember that Burst, the debut album from Columbus, Ohio's Snarls, was one of my favorite albums of 2020. Let me give you just a little background on how I discovered this band.
Snarls opened for Sleater-Kinney in fall 2019 at Newport Music Hall on High Street. Since the Southgate House down in Kentucky is no more, the Newport is my favorite concert venue. It's exactly the kind of place that I would love to play, and I've seen plenty of outstanding shows there. Sadly, there are plenty of people that don't pay attention to the opening act at rock shows, or don't even bother to arrive early enough to see them. That's not me, I'll gladly take all of the rock you'll give me at a concert, thank you very much. Snarls did not disappoint. They did seem a little nervous, but I think playing a legendary venue in one's hometown for the first time is a reasonable thing to get nervous about. The songs were good, the performance was good, and everyone in the band looked like they were enjoying themselves.
After the show, Misty and I headed to talk to the band and buy an album, but they didn't have one out yet. We got to meet three of the four band members. (We met everyone but Max, and I'd like to assure everyone that we are not biased against drummers.) So, I've been going to shows at this venue since before some of these kids were born. Misty and I are totally old enough to be their parents. Suffice it to say that we are neither cool nor interesting, so Chlo & Mick & Riley (alphabetically) didn't have any reason to be nice to us, but they were. Yeah, I'm not cool, but I am a musician, and they put up with me asking a couple of nerdy musician-type questions. They're lovely individuals... so consider it a bonus that they also made a solid record.
Usually, when bands do press, the lead singer and/or lead guitarist end up doing most of the interviews. For Snarls, that's Chlo and Mick. They are the most visible part of the band, while the rhythm section labors in relative obscurity to drive the bus. I mean no slight to the guitar players in this band (Mick actually did the artwork for my singles "Anecdote" and "Promise"), but I like to show special love to bass players.
After the picture, I amplify the voice of Riley Hall, who plays bass and sings in Snarls.
1. Let's hear the elevator pitch for your skill set and genre.
I don’t know if I have any technical musical skills but I guess my skills include creating music that is true to my heart. That happens to be alternative emo rock.
2. When did you start playing music? Why did you decide to play bass? Do you play any other instruments?
So the first time I picked up an acoustic guitar was when I was 10 years old and taught myself through grade school more as a hobby. I learned through YouTube tutorials of Taylor Swift songs (haha a simpler time). I picked up bass for a class in high school called band lab. The students formed bands and wrote songs the whole year. The band I was in was actually with Chlo and a different classmate from then named Austin. That was me and Chlo’s first live band experience and it was kind of spur of the moment that I decided to play bass. It’s funny actually I had never even touched a bass before but it came quite naturally since I had played guitar for about 6 years already. There was a time where I took piano lessons but that was only for about a year when I was 16 and I haven't practiced since.
3. What was the first album you can remember buying with your own money?
I’m not sure if this is considered my own money, but I did buy Taylor Swift’s album Fearless on iTunes with a Christmas gift card when I was like 11.
4. Tell me about the last concert you saw.
I went and saw CAAMP with my mom at legend valley back in October. It was a drive in concert so it was nice to have the luxury of live music while also being COVID conscious. A little breath of fresh air in this day and age.
5. What artists do you consider to be your biggest influences? A brief follow-up, making this a 2 for 1: Which bass players do you consider to be influences?
I love this question. There’s so many artists that I have admired over the years but there is a handful that stick out. John Mayer for one. I was 14 when I started diving into his music and really becoming inspired by him to expand my guitar skills. This is when I started learning his cool plucking and strumming technique like in “Stop This Train” and his cover of Tom Petty’s “Free Falling”. I definitely immersed myself in my acoustic guitar and as I learned more I started to recognize and acknowledge my growth as a musician for the first time. It really started to click in my head that maybe I should be chasing my dreams, or rather that they weren't just “dreams”. I can’t say that I have ever payed attention to bass players specifically since I didn’t start playing until I was 16. Even still I have never viewed music like that. Looking for the best guitarist, drummer, bassist etc. I look for music that makes me feel. Music that reminds me that other people feel too.
6. The pandemic did not treat you all kindly. You had a tour cancelled right out from under you, and while I know you would have loved to go on the road because you love to play, it's also work, so that cost you financially as well. How are you personally dealing with this lengthy disruption?
Obviously it was very upsetting to first hear that all of our tours were cancelled but I never took it very personally just because I realized that it was all out of our control. I will say that I personally am very blessed, especially during lockdown, because I don’t pay rent (thanks mom!) and have very little monthly expenses. Given that, it has been really easy for me to just take everything day by day. There hasn't been any doubt thanks to all of our sweet fans that have been showing us so much love and support from the start of this whole mess. Also the Spotify recap thing was really comforting to see for Snarls and a really great reminder that we still have listeners from all around the world that are dying to see us play.
7. My favorite song on your band's album is "Burst", because, well, I'm also a bass player, and that should be obvious. A sneaky second is "Concrete", I enjoy your work in that one. What's your favorite song to play live and why?
Thank you! “Concrete” was one of the first more intricate bass lines that I wrote so I appreciate that coming from a fellow player! I think my favorite song to play live is “Walk in the Woods” just because of how energetic we can get with it. My favorite thing about playing live shows is seeing everyone dance and let loose while they listen to us and that's very easy to do with that song.
8. How do you intend to keep growing as a musician and writer?
I guess I just want to make sure that I continue to be as genuine to my emotions as possible. My biggest fear as a writer is making something just to stay relevant or to make money so pushing myself to make my music mean something in turn inspires me to discover everything that I possibly can about my own experience and emotions. I want to make sure what I express is real and not fabricated solely for the pleasure of others.
***
I strongly recommend the Snarls performance in Chicago at Audiotree. This is it:
You can find Snarls all over the Internet, and listen to their debut album over on their Bandcamp page. (Bandcamp Friday will resume in February, so if you are thinking of buying some Snarls merch, that would be a wonderful day to do so.)
I released an album in 2020, and of course, have listened to it way more than anyone else has. That's kind of how it works for songwriters, you spend so much time listening and critiquing your own art. I feel obligated to mention that release, because I'd really like you to listen to it if you haven't done so yet.
Curious about some of the other things I listened to in 2020? Be assured, I spent time with music that wasn't actually my own music, and there was certainly no shortage of albums released. Did you know that Pearl Jam put out an album this year? It's true. Guided By Voices put out three albums this year, because of course they did. Some artists who released albums I enjoyed this year are Lesley Barth (Big Time Baby), Lydia Loveless (Daughter), Nick Kizirnis (The Distance), and Local H (Lifers). However, here are my favorites, in no particular order, except for perhaps this first one:
HUM - Inlet
HUM dropped this on the world as a complete surprise. In unison, music blogs everywhere reviewed Inlet with collective awe and near-universal approval. If you’re a music fan who reads about music, and younger than my generation, I’m sure you didn’t understand it. "Why are there suddenly all of these articles about a band I’ve never heard of"? That’s what you surely asked yourself.
HUM hail from Champaign, Illinois, and had a moderate hit song on their third album in the 90s. From the first time I heard that song, I knew this was exactly the kind of band I would love to play in and the kind of band I would love to see. Riff-tastic. Layered. Like shoegaze, but with more driving drums, very subtle harmonies, and some separation in the guitars. A little bit like metal, but not quite as angry or as fast. (Let's take a moment to appreciate some things about that excellent song I linked to that would be generally be castigated today by people in the music business.... introduction of 33 seconds, complete sonic deviation from introduction to the body of the song, all of the instruments are real, the vocals are not pitch corrected, vocals not sitting right on top of the mix, almost two minutes go by before the chorus shows up, total run time is five minutes.)
HUM disappear for 22 years, then drop an album out of nowhere that sounds like they had never left. It is glorious, and is my favorite album of the year. The guitar tones and feel of the songs remind me of my youth, but the vocals are on occasion just a touch more prominent in the mix now than they were a couple of decades ago. There are still lyrics about space and relationships, and there is still all sorts of rock being brought to the table.
Favorite songs: “Waves”, “Step Into You”, “Cloud City”
Punch The Sun -Brevity
If you read my blog, you might remember that I’ve mentioned this album before, when I posted an interview with Shannon Söderlund. Well, here we are near the end of the year, and Brevity remains one of my favorite albums, and I have listened to it over and over and over again. That sweet 90s rock sound will probably always be a soft spot for me, and this album has plenty of it, but also plenty of vocal harmonies and clever lyrics. Go listen to it immediately, leave your ammunition in the junk drawer, and don’t be like Steve.
Favorite songs: “Ammunition", Hey Steve”, “11 Until 2”
Snarls -Burst
I am pretty sure that everyone in Snarls is too young to remember anything about the 90s, but here again, the rock sound from that time period shows up on a 2020 album. These folks are fellow Ohioans, hailing from Columbus. They've had a good year... they've gotten plenty of press from the prestigious and coveted media outlets who we all wish were listening to our music, they signed to a record label, and they released Burst, their debut. Sure, the pandemic nixed their touring plans, and I'm sure that caused them to lose their collective marbles, but as soon as its possible, I think they'll head out on the road in search of world domination. I'd really love to put together a show and play with them in Dayton, but that is probably not enough profile for them.
The songs here are good. A lyric on the album that really resonates with me goes "twenty seems further than it ought to be", which I find to be amusing because there is no way this was written from my point of view. You'll be learning more about a specific member of this band later. (That is what they call "a tease".) For now, let's say that this is another album that lands squarely on some of my favorite sounds... two guitar attack, vocal harmonies, hooks aplenty.
Favorite songs: "Hair", "Concrete", "Burst"
Radkey -Green Room
I discovered this band early in 2020, via their 2019 album No Strange Cats. That’s an outstanding, punchy, punk-influenced bundle of rock. I remember checking the touring schedule to see if Radkey were going to make it to Ohio, and then… well, we all know what happened in the spring, and what that did to touring bands.
Radkey clearly got to work during the months of isolation, and dropped a new album this year. It picked up right where their previous one left off… I mean, check out this video for the lead single:
You’ll be nodding along to everything on this album, and the interpretation of a Bill Withers classic at the end is a nice cherry on top of a tasty rock and roll sundae.
Favorite Songs: “Two-Face”, “Judy”, “Stains”
TINO -Past Due
You know, in my youth, I listened to a lot more hip hop and rap than I do now. Don’t get me wrong, I still very much respect the art form, but as I get older, I find that this genre has stopped resonating with me. Well, TINO is here to bring it all back.
He grew up in Cleveland, but he calls Dayton home these days, and music in the Gem City is better off for it. You can learn more about him in an interview he did earlier on my blog. With TINO, you shall find high energy delivery, intelligent lyrics, and rhymes that you probably didn’t expect. There is plenty of truth spoken on this album, about the 1995 Cleveland Baseball Club (whatever happened to them at the end of the season?), and about the government.
This gentleman takes his art seriously, and he’s got more on the way. If you know of more hip hop like this, point me in that direction.
Favorite Songs: “95 Tribe”, “Gov’t”
The Lees of Memory -Moon Shot
John Davis does it again. You might remember him from previous bands, such as Superdrag, and previous blog entries, such as this one right here. Davis grabbed Brandon Fisher and Nick Slack, and dropped this album in July.
A funk song isn’t the sort of thing you would ever expect here, but you get one on the last song of the album. Other than that, this sounds like a natural continuation of the sounds we have gotten on this band’s first three albums.
If you don’t listen to the lyrics, you might think this is a happy album. It’s not, and really, given what most of us have collectively experienced this year, that’s not a surprise. The lyrics on the album express plenty of problems, but they also comment on something that many of us do to deal with it all. My favorite lyric on the record is from “Crocodile Tears”, and it goes: the radio might help when you feel blue / that’s what rock and roll’s supposed to do / records lift me up when I can’t move / that’s what rock and roll’s supposed to prove.
I thank NPR and their Tiny Desk series for introducing me to Lianne La Havas a few years ago. If you have a few minutes, I cannot strongly enough recommend her enthralling performance from 2015. Here it is:
Two of those songs are from her second album Blood, and the other one is from her debut Is Your Love Big Enough?... but that’s a good sample to show you what she is about as an artist. Lianne writes beautiful songs, and has a strong, otherworldly beautiful voice.
I find the song “Green Papaya” particularly interesting. There isn’t any percussion, so the guitar gives you the rhythm. If you’re thinking that’s the bass player’s job, well, the bass here is sparse, and serves as more of an accent that occasionally moves the feeling along, it’s not actually doing rhythm work. (I happen to very much LOVE what the bass is bringing here.) There is a time signature change at the chorus, but without a steady percussion instrument, I keep having a hard time finding the downbeat, and that really holds my interest.
Lianne has been covering “Weird Fishes” live with her band for years now, so it’s pretty cool to see it show up on this album, and a very interesting choice to cover. Here’s their official video of it, and something that keeps bringing me back to this is seeing the drummer start with the exact beat from the original song, and then change it. Lianne makes this song her own. Also, the a capella bit gives me chills.
Oceanator is the project name for one Elise Okusami… a band and a person from New York City. This is the Oceanator debut album, full of fuzzy guitars for body and catchy lead licks that you might end up humming. Right around the time of release, this album got all kinds of press from just about every corner of the world of online indie rock commentary. (Well, at least I noticed this in the corners of that world that I happen to visit.) I don’t think I can say anything that hasn’t been said already by a ton of writers who are more professional than me. If you want more details, definitely go check out some reviews.
I’ll sum up this way: I dig this album.
Favorite songs: "Hide Away", "Walk With You", "The Sky Is Falling"
Sault -UNTITLED (Rise)
Sault released two albums this year. Many of their song lyrics directly reflect very relatable thoughts and feelings, and are expressed as direct observations or true-to-life quotes. For an example, they have a lyric that goes like this: don’t shoot, guns down racist policeman, don’t shoot, I’m innocent
That particular lyric isn’t on this album, it’s on the other one they released this year. Both of them are certainly worthy of your attention, but this is the one that makes my list of favorites from the year. The percussion sometimes sounds like it comes from some genre of EDM, whereas other times I get a very Afro-Caribbean feel from it. The music over the percussion is a mash-up of r & B, funk, soul, and gospel. I don’t even know what to call it… Up tempo soul? Disco revival? Maybe we should eschew categorization here and just say that many of the tracks here will make you want to move.
The bass groove on “I Just Want to Dance” is great, and I think I’ll spend some time learning that one for the fun of it. The bass on “The Beginning & the End” is also awesome, and I might mess around with that as well.
Favorite songs: “Free”, “You Know It Ain’t”, “Uncomfortable”
Phoebe Bridgers -Punisher
I didn't want to like this album. It has been written about everywhere, and Bridgers has been making so many appearances that I don't know if we can refer to her as "indie" anymore. Being ubiquitous makes you mainstream, doesn't it? She even got nominated for a Grammy this year. (An aside, her nomination is in the Best New Artist category, but she's not exactly a new artist. The lesson here, as always, is that the Grammys are clueless.) So yeah, I didn't want to like this album, and I didn't want to write about it, as I am not generally in the habit of listening to or writing about pop stars.
Here's the thing though... Punisher is every bit as good as people say it is. The pop sheen on the production is a bit much for me, but the songs are strong. Phoebe Bridgers is brilliant, and listening to her songs makes me want to work on my craft.
Way back in April 2020, I began an interview series here on the blog. I call it "Amplified" because my intent is to make the voices of artists louder. We musician types desperately wish to be heard, and although I don't exactly have a mammoth readership, I figured I'd try to get some additional ears to the work of folks I respect. After all, I'd love for someone to do that for me, and am grateful for every single listener. Here's a brief summary of a very diverse group of people who agreed to participate this year:
Lauren Light - pop/soul singer/songwriter, podcaster, owner of a licensing company
Nina Pelligra - a capella looper artist, songwriter, engineer
OriSoaring - multi-instrumentalist classically trained on saxophone, songwriter
If you missed any of these, I encourage you to revisit the interviews at the links. Listen to the music, look at the artwork, connect with the artists on social media.
