You might remember that I have a song about a particularly unpleasant experience with the police, and that TINO had the kindness to feature on it. The story behind writing "Anecdote" is right over here, on a previous blog entry.
This is one of my five singles that have been removed from the world's most popular streaming services. It makes its triumphant return tomorrow, February 22nd. Would you be so kind as to give it a listen tomorrow wherever you stream music?
I found this to be an interesting year for music. A few artists I listened to in my youth back in the 1990s put out new music this year. This includes Candlebox, Matthew Sweet, Teenage Fanclub, Garbage, Sleater-Kinney, Liz Phair, Toad The Wet Sprocket, and Quicksand. None of these made my top ten for the year. Another band from back then from Canada called Big Wreck put out an EP this year, and I really like it... their singer Ian Thornley is about the closest voice I have ever heard to Chris Cornell (my favorite singer), and the songs on it are good. It looks like this:
A few artists from my music community here in Dayton also put out new music... Looking at YOU: Age Nowhere, Paige Beller, Sadbox, The New Old Fashioned, and TINO. (I encourage you to click on those links in the last sentence and check out some good stuff from Dayton, Ohio.) Guided By Voices also put out two albums in 2021, because of course they did.
Another Ohio band who I have expressed my appreciation for in the past, Snarls, also has a new release this year. They went to Seattle to record the EP What About Flowers? with Chris Walla (who you might know from Death Cab For Cutie), which is a pretty cool thing for a Columbus band to do.
Elbow is one of my favorite artists, and they put out an album this year. It's not among my favorites in their catalog, but maybe it'll surge after a few more listens. My favorite song on it is "What am I Without You". If you often read about music, you'll surely see the latest Japanese Breakfast album turn up on a few best-of-the-year lists. I really dug the song "Posing For Cars" from that one. Some other folks I know also put out fine work this year... Chelsey Coy's project Single Girl, Married Girl , Lauren Light, Baby Molly, and Greg Owens & the Whiskey Weather have new albums that deserve your attention.
Here's a blurb that I wrote for an album that I liked, but as it turns out, it's not in my top ten, and goes into the "honorable mention" category. The cover art is awesome. Consider this a bonus blurb:
BEAMS - Ego Death
I had never heard of this band until I started putting together my favorite albums of the year. I checked in with Juliet Fromholt, music director over at WYSO, to see what she was considering for her end-of-the-year list, knowing that there were certainly things that I had missed. Juliet sent me all kinds of stuff that she enjoyed, and while I certainly should have heard things from all of these artists on her shows, I don't get the chance to listen to ALL of the shows each week. Beams was on Juliet's list. I do my due diligence, working through the artists, and when I got to Ego Death... well, it stopped me in my tracks. Give me all of that distorted guitar and songcraft and vocal harmonies please, thank you.
A little Internet research tells me that this band is from Toronto, and that Ego Death is their third full-length album. Apparently they were leaning in a more folk-sounding direction before, which is fine, but that's not what I hear on this album. Whatever prompted their evolution into bigger sounds, well, I'm cool with it. I might get around to heading back into their catalog to listen to their past work, but for now, I'm going to listen to this one a few dozen more times. I dig it.
All of the above said, here is my top ten, which, other than the first one, are in no particular order:
FAILURE - Wild Type Droid
I'm sure glad Failure are back, and they keep making excellent music. This one is a little different than their last few efforts. Think back to Fantastic Planet and The Heart Is A Monster... those are both long albums that sort of meander through a story, complete with instrumental segues to tie pieces together. Next, they put out In The Future You Body Will Be the Furthest Thing From Your Mind, which was the result of collating four EPs into one album. All of those are excellent work, by the way, and Fantastic Planet is especially a masterpiece. Failure has noticed that fewer and fewer people care enough about music to listen to an album all the way through, so they've adjusted their art to match.
This new one is only 10 songs. It's still atmospheric and spacy. The songs that are supposed to sound big still sound big. The songs that are supposed to be stripped down and more delicate are still stripped down and delicate. Unlike their previous work, however, you probably don't lose anything from the listening experience if you listen to this one out of order, or put a song on a playlist. You aren't losing any of the flow or context by doing that this time around. Failure is still making music that sounds like Failure, but they seem to be tossing an olive branch to modern listening habits.
This is my favorite album of 2021.
ERIC BIBB - Dear America
People who know me are going to be surprised to see a blues album on this list. There is more here than just twelve bar I-IV-V progressions and various solos. There is plenty of folk and americana sounds here as well. What stands out to me the most here though, is that Eric Bibb clearly has something he still needs to say. The Internet tells me that this is his 23rd studio solo album, so maybe it's a little amazing that he is still moved enough to keep making art.
Listen to his lyrics. Eric doesn't live in the United States anymore, but he used to... and of course, we all live in the same world, and see the same appalling things. Those of us who write songs use the craft to work our way through the feelings that life thrusts upon us, and that is what it seems Eric is doing on this album. The album title and picture on the cover suggest that this collection of songs is intended as a letter to the United States... a letter complete with solos... a letter with frank declarations like: "what a way for a boy like me to have to die", in a song about Emmett Till.
ADIA VICTORIA - A Southern Gothic
The "South" is not my home. I don't feel safe there. I really don't even like visiting. It is Adia Victoria's home, since she is from South Carolina. You can hear the love for her home in these songs. The love is there despite the region's traditional lack of inclusion of voices like hers. She says this in Rolling Stone: "I wanted to include myself in the history of the South. I wanted to make this young Black girl's narrative just as emblematic of a Southern experience as Faulkner could write."
Despite the love that Adia clearly shows here, there is also plenty of anger to go around, and the angry parts of the album are the ones that I think I relate to the best. My favorite example of that here is on "Deep Water Blues".
Sounds of blues, gospel, and country all collide on this album. If you happen to enjoy listening to any of these genres, well, this album is definitely for you.
THE MARS VOLTA - Landscape Tantrums (Unfinished Original Recordings of De-Loused in the Comatorium)
Ok, The Mars Volta released De-Loused in the Comatorium in 2003, and I happen to love that album. These gentlemen from El Paso reached into the past, grabbed the early progress on those songs, and released them this year. This album is probably more enjoyable if you are already familiar with the songs in their finished form... however, I think that even if I didn't know what these songs would eventually end up becoming, I would still be blown away. Sometimes the sounds are frantic, sometimes delicate, there is plenty of playing around with rhythmic elements that aren't necessarily typical in rock music, and the mix is very different than what we got in 2003, so the songs all kind of shine in different ways.
In addition to these mixes being simpler and minimally produced for them (if you can believe it), the track order is different here, and the songs "Tira Me A Las Arañas" and "Cicatriz ESP" are missing. That's ok, there is enough here to ponder. Especially if you enjoy this band's work, listen on headphones, close your eyes, and dig in.
JACKIE VENSON - Love Transcends
Jackie is an incendiary guitarist from Austin, Texas. Her music usually blends a few different styles, but with Love Transcends, she heads in a more traditional blues direction. For her, this is keeping it simple. She says this about the album on her Bandcamp page: "Written across a decade, recorded in a pandemic, played in a style a century old."
In addition to her own songs, there's a mash-up of a Sister Rosetta Tharpe song and an old Negro spiritual. She plays her heart out when she is performing live, and you get some of that live feeling on this album. Her rhythm section is outstanding, and the little keyboard licks here and there add nice flavor and texture. You'll want to turn this one up.
RHIANNON GIDDENS WITH FRANCESCO TURRISI - They're Calling Me Home
It's folk music gone international. An American and an Italian living in the United Kingdom, and the music they make on this album shows influences from all three of those places. Strings are here, plucked and strummed and bowed, and they are the backdrop to strong vocals and beautiful harmonies. I don't think I've ever heard anything quite like this, even on the old traditional songs they cover here, and that's probably why it holds my attention.
VALERIE JUNE - The Moon And Stars: Prescriptions For Dreamers
Many thanks to Greg Owens for telling me to go listen to this album. I love it. It's soulful, subtly groovy, elegant, relaxing, moving, and beautiful. I kind of feel bad for not having a few more paragraphs of things to say about it. Go listen. Really.
YOLA - Stand For Myself
Yola is scheduled to stop by Cincinnati on her 2022 tour, and I currently have tickets. I very much hope this show still happens. Yola is English, but when she sings, she doesn't SOUND English. No, you're getting a very soulful sound out of Yola, and one could conceivably put her music in to the "americana" genre, which is curious, because you know, she is English.
The songs sound classic, as if they could have been released in the sixties or seventies, as if they could have been recorded in Memphis or Detroit. Apart from the music, the subject matter of some of the songs also sounds like it could have been written in the sixties or seventies, which speaks to how little things have changed for Black folks in the grand scheme of things.
LUNG - Come Clean Right Now
Chances are good that you haven't seen anything like Cincinnati's Lung. Live, it's Kate on cello and Daisy on drums. That description doesn't do the live sound justice, as the cello is played through an array of pedals and effects, and it's delightfully noisy in addition to being musical. Their shows are loud and punky and energetic and passionate and basically rock.
This here is their latest full-length. Come Clean Right Now was released in August. It rocks. Taking this great music to the studio allows Lung to layer the cello and the vocals, giving the listener a lush experience together with the nodding along.
JERRY CANTRELL - Brighten
You might recognize Jerry Cantrell from such rock bands as Alice In Chains. He's been at the music thing for a very long time, and in addition to being the main songwriter for Alice In Chains, he's got a few solo albums out as well. If you are familiar with his sound, well, you'll probably think Brighten sounds familiar, as it sounds very much like a Jerry Cantrell album.
That said, I like this one better than his other solo work. Maybe I should go re-listen to the rest of his catalogue to see if I've missed some details, but the songs here just seem especially well-crafted and nuanced... even when they are simple.
You know I love music. For some reason that I fail to understand, there exists a subset of artistic people - whether musical or otherwise - that have some kind of strange aversion to sport in general, and really love to make their disdain known. Fear not, I'm not one of those people whose interests are so limited. I enjoy all sorts of different stuff, and some of that stuff, well, that includes many forms of sport. I happen to especially love baseball. I've written here about baseball before. No, really, I have. Last year, I ranked my favorite ballparks. (Click here to read.) I love going to games. I love watching games on television. I love reading about baseball. I love playing fantasy baseball. It's fair to say that I have a deeper emotional connection to baseball than any other sport. Why is that?
Part of that surely goes back to childhood. I remember swinging plastic bats at plastic balls thrown by my grandfather and my father. Playing catch with one's father is somewhat of a male American cliché, but it's cliché because it's true... I played catch with my dad for countless hours over many years. Baseball is a place where being left-handed is an advantage.
Consider this quote from the well-known 1989 motion picture Field of Dreams, said by a character played by James Earl Jones:
The one constant through all the years, Ray, has been baseball.
America has rolled by like an army of steamrollers. It's been erased like a blackboard, rebuilt, and erased again. But baseball has marked the time.
Now, I am completely uninterested in nostalgia as a tool of patriotism, and there is no part of me that yearns for past times when people who looked like me were publicly executed with impunity. Wait, that still happens, let me rephrase... there is no part of me that yeans for a past when the greatest baseball player of all time was not allowed to play in Major League Baseball. That said, despite how much the game has changed, the basic tenets remain. To quote another baseball film, "It's a simple game... You throw the ball, catch the ball, hit the ball. Sometimes you win, sometimes you lose, sometimes it rains." I find that simplicity to be beautiful.
Despite the big picture simplicity, if you look closely, baseball has a certain level of complexity and is filled with infinite possibilities. For example, there are nine (9!) ways that a batter can safely reach base. Not all of them involve actually hitting the ball. There are deep cat/mouse games between batters and pitchers. There are well-coordinated movements by the defenders for who backs up which base (I love watching catchers running down to back up first in their gear), for who the cut off man will be on a given play, whether a throw should even be cut in the first place, who covers second on a steal attempt, and the intricate dance of a run down play.
I don't quite remember what year it was when my parents decided to get cable, but I absolutely remember that TBS was one of the channels that we had. The gentleman who owned that television channel also owned a baseball team, and did plenty of cross promotion with these holdings. This meant that just about every evening, there was a baseball game on TV, and it was always the same team. I watched a lot of games. I became a supporter of this team. The broadcasters who I listened to night after night - Skip Caray, Ernie Johnson, Pete Van Wieren, Don Sutton - they became my friends. My favorite players were Murphy and Horner, Rafael Ramirez and Oberkfell and Hubbard... then Blauser and Andrés Thomas and Zane Smith... then Smoltz and Glavine and Avery and Gant and Justice and Pendleton. (As someone once said, at the end of the day, we support laundry.) I watched so many games, that as an elementary school kid, I memorized the disclaimer that would be read on the air each game. These days, I don't quite remember whether they would read it in the 3rd inning or the 4th inning, but I still remember every single word.
This telecast is authorized under broadcasting rights granted by the Atlanta National League Baseball Club and is intended solely for the entertainment of our audience. Any rebroadcast, retransmission, or other use of the pictures, descriptions, or accounts of this game without the express written consent of the Atlanta National League Baseball Club is prohibited.
The Atlanta National League Baseball Club won the World Series this week, on Tuesday 2nd November. They are champions. CHAMPIONS. The last time this happened was my senior year of high school. This made me happy, albeit briefly. I don't really do happy... but I freely admit that I am deeply emotionally connected to the Atlanta National League Baseball Club. When I was young, they were horrid. They lost 106 games in 1988. They very nearly lost 100 games again in 1989. I watched the games anyway. They unexpectedly won the pennant in 1991, going from last place to first place in a year, and lost a very exciting World Series in 7 Games to the Twins. (I still haven't forgiven Hrbek.) They were pretty good throughout all of the 90s, but only managed to win that one championship. That is a championship I will never forget, in part because their opposition was a team from Ohio, but I think I'll remember this one for longer.
Of course, part of that is recency bias. Part of it is how this team managed to win. Their best player blew out his knee halfway through the season. One of their other major contributors turned out to be a terrible human being and domestic abuser, and was away from the team for that reason. There were several other injuries. Of all the teams that made the playoffs in baseball this year, Atlanta was near-unanimously declared to be the worst of them. Strange things can happen in small sample sizes, however, and baseball is decidedly odd that way. Of course, you can never really know how all of these professionals are as people, but this group of players comes across as eminently likeable, and they never quit. I kind of like how the article I link to in the previous paragraph puts it:
Atlanta completed a mathematically improbable journey to Tuesday’s champagne bath. The NL East champs didn’t have a winning record until Aug. 6, and they had the lowest win total of any team to reach MLB’s postseason this year, including the Wild Card clubs. The Braves are just the eighth sub-90-win team to win a World Series in a non-shortened season.
Improbable. But the improbable happens fairly often in baseball, in ever-changing ways. That's probably another reason I love baseball so much.
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.
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.
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.
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.
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.
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.
Yep, that’s about right.
Lianne La Havas - Lianne La Havas
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 - Things I Never Said
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.
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.
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
Sarah Rudy - guitarist, songwriter
Dirty Doc - guitarist, songwriter
Shannon Söderlund - bassist, guitarist, songwriter
TINO - rapper, songwriter, performer
Greg Owens - guitarist, singer/songwriter
Treneti - vocalist, bassist, songwriter, producer
Megan Fiely - abstract artist, recovering musician
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.
An interview with a musician in back-to-back weeks! What's with this craziness? Glad you asked. The song that TINO and I collaborated on is available tomorrow, Tuesday 14th July, on all streaming services. I figured this would be a good time for all of us to get to know him better. First, and you might have already guessed this, but "TINO" is a nickname and stage name. His "government name" is Valentino Halton. (I need to remind myself of this, as I misprinted his last name as "Hamilton" in the liner notes for the compact disc version of Anxious Inventions & Fictions. He's chill though, so he has forgiven me.)
TINO recently released an EP called Past Due. It's solid, you should definitely check it out. You'll probably enjoy the groove on the track "95 Tribe", which is about the baseball club in TINO's hometown of Cleveland. (He's a Dayton fella now, but is originally from Cleveland.) I happen to personally enjoy this track very much, partially because of the excellent groove and lyrics, but also because I remember the World Series that year quite fondly, it being my senior year in high school, and my favorite team being involved. My favorite team is the National League club, by the way. Just to remind everyone, the World Series lasted six games that year. In Game Six, there was only one run scored. This was it. Do you remember how that game ended? I do, but let's refresh everyone's memory. This is the last out. TINO managed not to mention Carlos Baerga in "95 Tribe", but it's ok. My personal favorite from the EP is "Gov't", which also has a fantastic groove.
Strangely enough, all of the previous interview subjects in this series are women, so I'm breaking new ground with this one. Interview with this gifted gentleman after the photo.
1. Let's hear the elevator pitch for your skill set and genre.
I’m a high energy performer who is at home over uptempo production. My music ranges from deeply personal to ubiquitous in theme. There’s something for everyone, but not in a generic and vague way.
2. I remember meeting you because first, I saw you perform with Sidekick Complex, and second, I would see you at the indie rock shows, and that's my genre. Then I checked out a couple of your solo sets. At some point if/when we can all go to shows again, I imagine there are folks who go to the rock shows who also enjoy hip hop, but don't know much about that music community in our town. Maybe it works the other way as well. How do you think we can cross-promote so the music community has fewer silos?
I think it’s as easy as “Hey, I like your music. Want to play this show with me?” That’s how I got my first shows and I construct a lot of bills I put together in a similar fashion. I try to attract fans that enjoy a wide spectrum of music and not just one genre so variety is welcome.
3. What was the first album you can remember buying with your own money?
Mobb Deep, Infamy. I bought it to score a movie I made in high school
4. What is your creative process like?
For me it always starts with a beat. I hear something, fall in love, and I start writing. It could be production someone sends me, a song I heard on the radio, or even a moment during another artists live performance. I don’t use everything I write. 50% of what I do will never see the light of day or I’m not good enough yet to flush the idea out.
5. What artists do you consider to be your biggest influences?
Michael Jackson for his showmanship, Prince for his musicianship, Lauryn Hill for her spirit, Amy Winehouse for her ability to channel her pain, Kanye/OutKast for re-popularizing music that wasn’t gangster rap, and Drake for his ability to sum up a lot of these qualities in one hip hop artist.
6. If you could change anything about the music industry, what would it be?
I would hope a focus would be placed back on full bodies of work instead of collections of singles. I miss the cohesive journey music used to be about.
7, How do you intend to keep growing as an artist?
As long as I’m willing to admit there is still room for improvement in my art and I don’t get content with where I’m at I don’t believe I can stop growing as an artist.
8, I know you've done a ton of studio work over the last couple of years. If you don't want to give too much away here, that's fine, but what can we expect from TINO in the near future?
The pandemic has afforded me the opportunity to tweak and refine my next work as well as slate some releases before it. I will say my next full length will be the best version of my work to date.
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Personally, I strongly believe in the album as an art form, and am disappointed at the general listening habits of folks today. I agree with TINO on this 100%. Having TINO in the studio for "Anecdote" was a very educational experience for me, as he has a skill set that I do not have, and I was able to learn from his preparation and his approach. The man is serious about his craft, and it shows in his results. I linked to his website above, but you can also find TINO on Facebook, Instagram, and Twitter. Please check out "Anecdote" tomorrow on Spotify, YouTube, iTunes, Deezer, or wherever you stream music, and also please check out TINO's work on these platforms.
This is what Merriam-Webster says about the word anecdote: "a usually short narrative of an interesting, amusing, or biographical incident"
Let me tell you a short narrative of a biographical incident that is not amusing in any way.
A few years ago my wife and I were coming home from a brief trip to New York. We ended up flying into Detroit, then renting a car to drive home. As we were headed South on I-75, we were stopped by the Michigan State Police. I was not in violation of any traffic laws. You should know where this is going. This armed person yelled and screamed at us, succeeded in intimidating my wife by saying we would be charged with "a felony" (which was complete nonsense), and was generally abusive. I ended up handcuffed, illegally searched, and screamed at even when I complied with instructions. After sitting for awhile in his vehicle, and upon him discovering that I am not, in fact, a criminal, he tried to get me to say that I understood why he had to stop me and cuff me and search me. I didn't want any such discussion on his recording, so I remained silent. Once he ran out of reasons to detain us any longer, he let us go. No apology. I asked Misty to get the entire interaction on video from the moment the lights and sirens went on, but she didn't do so. I thought that armed person was going to shoot me and then excuse it with lies... I was armed, I was on drugs, I tried to take his taser, he feared for his life, I threatened him... as they do, they kill and lie about why they kill. I tried to explain to Misty afterward that if he shoots me, it's her word against his, and nobody will believe her, so she needs to have these interactions on video to have a basis for a lawsuit. At any rate, I am convinced that if she wasn't also in the car, I wouldn't be here today.
The above interaction completely ruined my day. It made me angry, but of course, when you're dealing with an armed racist, you can't afford to be angry. All of the adrenaline pours into your blood because you are in a true "fight or flight" situation, but either one of those options results in your execution. Later, you get the shakes. I'm a songwriter, and that's how I process emotions and such, so the skeleton of what would eventually become "Anecdote" started that very day, still on I-75, still driving toward home. It took awhile for me to edit and distill all of the above paragraph into a package that would fit neatly into a song, but it didn't feel complete.
Then I heard an interview that TINO did with Gem City Podcast. I think it was this episode. He told one of his personal experiences with "driving while black", and I thought to myself that his story and his skill set would be the perfect addition to this song. I reached out. He agreed to come rap on my song.
What we have now is a cross-genre collaboration called "Anecdote". We both tell short narratives of a specific biographical incident.
You'll be able to hear this song soon.
