Friday, February 28, 2020

2 Nights 4 Trios 1 Duo

Try to tip over a tricycle, a three-legged stool, or a tripod and you will connect to the sturdiness of the trio format, especially when it comes to the rock or jazz configuration of a rhythm section plus a lead instrument. Over two nights in the last week I had ample opportunity to experience the wonders of trios in very different settings. And then there was one wacky duo just to keep me on my toes. 

UV-TV at The Broadway (2/21/20)

UV-TV: Rose Vastola, Ryan Hopewell & Ian Bernacette

I was just saying I hoped to see UV-TV in concert soon, now that they’ve moved up here from Florida, when they popped on Bandsintown! And they were just as good as I expected, with Rose Vastola’s taut and tense bass lines holding together Ryan Hopewell’s poly-rhythmic drumming and the colorful sprays of sound from Ian Bernacette’s guitar. Vastola and Bernacette traded off vocals for extra variety and they played a new song that could be the one that puts them over. But get in on UV-TV now before you’re behind the curve. 

Swear Tapes
The Lifters
First up at The Broadway were Swear Tapes, the band led by Jim Barrett of Bass Drum of Death, and their jangly, slightly off-kilter indie rock was full of heart and slightly bruised, like a Paul Westerberg ballad. Check out their terrific new song, The Gall.

The middle child in the lineup, The Lifters, also had touches of The Replacements, along with Ramones and a strain of midwestern "rawk" that, along with the garbled stage announcements, added the levity implied by their name. But don’t think they weren’t utterly committed because they meant every word. If they come up with more stuff as good as Are You Ready For The Good Life they’ll make an even more lasting impression. 

Bearthoven at Le Poisson Rouge (2/27/20)
Karl Larson, Pat Swoboda & Matt Evans

Bearthoven's recording of Scott Wollschleger’s American Dream was one of the best albums of 2019 so I was ON IT when I heard they were playing two new pieces at LPR. First up was the world premiere of Uniforms by Shelley Washington, the composer, saxophonist and founder of Kinds of Kings. Aside from a recorded narration at the start, which seemed intrusive, Uniforms proved to be four movements of exquisite chamber music. During the sections that percussionist Matt Evans played vibes, there was a precision to the way his instrument matched Karl Larson's piano that, when combined with Pat Swoboda's active work on bass, hearkened back to both the Second Viennese School and Afro-Cuban jazz. The angular rhythms became even more pronounced when Evans switched back to drum set, almost placing us in a 1970's jazz loft yet never losing the European structure. While Washington is pulling from different traditions, Uniforms still felt like an assured statement of her own musical identity and I can't wait to hear it again. 

The second piece Bearthoven offered us was the NYC premiere of Michael Gordon's, Mixed Tulips - you gotta check out the teaser trailer - which they played on the road a few times before bringing it to LPR. This extraordinary piece is one of the best things I've heard from Gordon, a stunning deployment of the trio that had Swoboda on five-string electric bass and Evans on prepared percussion. With a good amount of the 25-minute piece in phrases built on 16th notes, the excitement never let up, and it was easy to see why Larson called it "ecstatic music." There was also a bit of King Crimson's menacing swing when Swoboda unleashed on bass, strumming it and really letting that extra low string growl. Special note must be made to Evans' work on the drums, which were covered with black cloth and prepared with small things that pinged and thwacked. To be honest, even though I was sitting within a yard or two of him, there were moments when I had no idea what he was doing to make the sounds I was hearing. The only reasonable conclusion I could draw is that he is one of the best drummers alive - and he would have to be to play with Larson and Swoboda. There is a quality the playing of all three members of Bearthoven that goes beyond virtuosity into pure expression. No wonder Gordon verily leapt onto the stage to join in the loud ovation for the performance. 

Larson told me after the show that they will definitely record Mixed Tulips but that they're still getting comfortable with the piece. Lord knows what it will sound like when that happens! In the meantime, keep an eye out for New Topographics, the debut solo album from Evans, which is coming in April.

Karl Larson

Pat Swoboda

Matt Evans
Kicking things off at LPR was Popebama, the wild and witty duo of saxophonist Erin Rogers and percussionist Dennis Sullivan. But unless you've seen Erin Rogers play and heard her absolute mastery of extended techniques, saying she plays saxophone is about as descriptive as saying Jimi Hendrix plays guitar. Sullivan was the perfect match for her, whether combatively triggering sounds for her to mimic or being her partner in crime as she pulled his violin bow across a cymbal or he slapped a bucket on the bell of her tenor. A clue to their methodical madness was in Sullivan's description of the how the text for the last piece came to be. Called Shedding Weight, it used YouTube's attempt at close-captioning Mark Applebaum's notorious Aphasia as a source of random language. While cerebral in conception, Shedding Weight is purely visceral in experience and, like everything Popebama does, both dazzling and hilarious. I'd catch them at your next opportunity, a sentiment that goes for all the ensembles described above.
Popebama: Dennis Sullivan & Erin Rogers
You may also enjoy: 
Shamans Of North Sixth 
Concert Review: Jack In The Crypt
Concert Review: A Braxton Spectacular at Miller
2019 First Quarter Report: The Concerts

Monday, February 17, 2020

Best Of 2019: Rock, Folk, Etc.

As the “rock is dead” or “whatever happened to rock & roll” discussion continues in seeming disregard for the actual health of the genre, it occurs to me that those making those statements and asking those questions might have a very limited definition of the music. That’s a nice way of saying that there are a lot of Kiss, Def Leppard, and Bon Jovi fans out there - and if they’re not finding what they need in new records, the fault may lie not in their rock stars but in themselves. I mean, I’m a Zeppelin fan, but I don’t need to listen to pale imitations like the regrettable Greta Van Fleet (remember them?) to get my fix. In any case, I found more than enough to get my pulse up, including albums that were in my Top 25 like Zam by Frankie & The Witch Finger (5/25), Devour You by Starcrawler (11/25), Satis Factory by Mattiel (13/25), Sombrou Duvida by Boogarins, or Commit Yourself Completely, the scorching live set from Car Seat Headrest. 

Then there were swaths of indie rock of a gentler nature throughout the Top 25, whether the world-beating songwriting of Ocean Music, Julia Jacklin, Tiny Ruins, and Hiss Golden Messenger, who held the first four spots, or Molly Sarlé, Angel Olsen, and Jane Church, who could be found further down. This year I even had a massive pop record from Billie Eilish, which had plenty of dark thoughts to fill the needs of goth-rockers looking for a spider bite. 

What you’ll find below is more of the same variety of flavors from these realms, all of it nearly as excellent as what I had on that main list. Believe me when I say that if this is your area of interest, your view of 2019 will not be complete without these records. 

As I did for my Classical list, albums I’ve already covered will be referenced with links to the original posts, while other albums and EP’s will be blurbed below. Press play here or below so you can listen while you read. 

Michael Chapman - True North
Hand Habits - Placeholder
Cass McCombs - Tip Of The Sphere
Sunwatchers - Illegal Moves (they also put out a cracking live set)

Edwyn Collins - Badbea

Baroness - Gold & Gray
Crumb - Jinx

Jay Som - Anak Ko 
Tool - Fear Inoculum
Amyl & The Sniffers
Bon Iver - I,I
Ex Hex - It’s Real
Ocean Music - Fan Fiction For Planet Earth

Tyler Ramsey - For The Morning
Elana Low - Loam
Andy Jenkins - The Garden Opens
Charles Rumback & Ryley Walker - Little Common Twist
John Calvin Abney - Safe Passage 
Courtney Hartman - Ready Reckoner
Jonathan Wilson - ‘69 Corvette
Daughter Of Swords - Dawnbreaker
Tate McClane - Jackpine Savage
Rebecca Turner - The New Wrong Way
Wilco - Ode To Joy

League of Legends

Leonard Cohen - Thanks For The Dance While there is a little of the too-neat phrase-turning that dampened my enthusiasm for some of his late-career albums (Popular Problems, for one), there are also many devastating and surprising lines (“I had a pussy in the kitchen and a panther in the yard”) to make this intimate completion a fitting capstone to Cohen’s career. Son Adam Cohen’s settings for these recitations are appropriately reverent, finding hidden chords in his dad’s speech. Cohen fans should feel a debt of gratitude to him (and guests like Beck) for bringing this to fruition. 

Hunt Sales Memorial - Get Your Shit Together Everyone who has heard Lust For Life or actually listened to Tin Machine knows that Sales is one of the greatest drummers alive. In his amusingly-named solo project he puts his devastating swing beneath some brick-hard rock and then sings over it all in a gruff and strangled voice that is an encyclopedia of hard living. While it may occasionally occur to you to wonder if he should be singing at all, you'll probably be singing along - or laughing too hard to care. 

Patrick Watson - Wave Watson has been flying progressively under my radar since the heights of Wooden Arms (#2 of 10 in 2009) and Adventures In Your Own Backyard (#14 of 20 in 2012), but, then again, this is his first album in four years after the disappointing Love Songs For Robots. He is nearly in full contact with his muse on this gorgeous collection, however, and even throws in a few new tricks of an almost cinematic nature. This is songwriting of great depth, realized by production that combines organic and synthetic sounds to intoxicating effect. Welcome back.


Mega Bog - Dolphine Erin Birgy gives us more than enough sublime folk-rock (with touches of bossa nova and yé yé) to make it easy to overlook the random weird bits. Save the pieces, as TV Guide used to say - and they are marvelous pieces. 

Rachael Dadd - Flux Offers some of the same incantatory pleasures as This Is The Kit (their singer, Kate Stables, is a collaborator) though Dadd's take on Brit-folk is slightly more oblique. The arrangements, including horns, are often surprising but quickly make perfect sense. Listen and let the pieces come together in your head.

Nev Cottee - River's Edge His last album, Broken Flowers, was one of the delights of 2017, landing at #12 on my Top 25, so expectations were high for this one. While he uses many of the same elements - his gravelly voice, the enervated tempos, a quilt of starlit guitars - somehow the sum total just misses the heights of Broken Flowers. It could come down to the songs, which have less dynamic tension, making the album almost an ambient experience. But, still, Cottee is one of a kind and a presence I value greatly.


UV-TV - Happy Post-punk power pop worthy of both storied traditions and a mite bit more gloss compared to their 2017 debut has in no way dampened the energy of this trio. Now that they’ve relocated to Brooklyn, I’m looking forward to catching them in concert. 

Bodega - Shiny New Model While their wry critique of late capitalism is still in evidence, this EP adds some sugar to Bodega’s tart no wave blend. Plenty of fun and kind of thrilling when they flex their pop muscles. 

Dry Cleaning - Sweet Princess & Boundary Road Snacks and Drinks Florence Shaw's talk-singing (OK, it's more like talking) slots this UK group into an area alongside Young Marble Giants, The Raincoats, The Slits, and the like, which is one of my favorite areas. And that what she's talking about ("...a mixture of inner monologue, YouTube comments describing memories of songs, and phrases collected from adverts on TV," as Shaw put it in an interview) over the sturdy sturm-und-jangle of the band is so resolutely of this moment only makes these EP's more fun. Catch them at their first U.S. date at Saint Vitus on March 6th.

Stargazer Lilies - Occabot I encountered these masters of monolithic and hazy shoe-gaze opening for Cheatahs in Austin and I think my ears are still ringing. Working with Tobacco of Black Moth Super Rainbow has added melodic focus and further studio manipulation, making the musical visions of Kim Field and John Cep even more lethally compelling. This is their fourth album but feel free to start here if you're unfamiliar. And bring your earplugs to Saint Vitus on April 22 - or a venue near you.

Versing - 10000 This two-guitars-bass-and-drums band from Seattle has only improved since I saw them open for The Courtneys a couple of years ago. Tighter songwriting, more interest in the guitar interplay, and an uptick in the passion quotient means that maybe the next time I see them they'll be headlining and the crowd will leap to their feet like we did when Silver Velvet started up.

W.H. Lung - Incidental Music Opening their debut album with Simpatico People, a 10-minute journey of blissful motorik rhythms, pulsing synth, and guitar arpeggios is a bold statement of purpose for this trio from Manchester (of course they're from Manchester!). But that the rest of the album lives up to that overture makes me think there's a bright future ahead for them.

Historian - Hour Hand and Spiral Again Chris Karman put out two albums as Historian in 2019 and has already followed them up with Distractions, which came out in January. So dive in! There are many ruminative rewards to be found in his atmospheric chamber pop, which has only grown more assured since his first album, Shelf Life, from 2013. Spiral Again is a little stripped down for him (fewer strings), but he still manages to build up clouds of sound with what he has on hand, making either one of these a fine point of entry into his world.

L'Epee - Diabolique I was not aware that Emmanuelle Seigner - actress, wife of Roman Polanski - had a sideline in singing. And if you had told me so, I might have dismissed it out of hand. But this collaboration with Anton Newcombe (Brian Jonestown Massacre) and The Limiñanas is completely convincing. Seigner's dark-hued vocals combine perfectly with the driving, hypnotic rock cooked up by her bandmates and there's a bit of kicky sixties revivalism that never gets slavish. Could be a one-off, but either way it works!

Drone Shots

75 Dollar Bill - I Was Real Call me a curmudgeon, but this is the record I’ve been waiting for from these guys since first reading a description of them in an Other Music email. And you know that was a while ago, so I can be a very patient curmudgeon. By both expanding and deepening their drone jams, Rick Brown (percussion) and Che Chen (guitars) have made the Brooklyn via Sahara soundtrack for the next time I have to hike from Pioneer Works back to civilization - or mass transit, at least! Preferably that will happen after seeing them on stage. 

Earth - Full Upon Her Burning Lips Stripping down to drummer Adrienne Davies and guitarist Dylan Carlson has given Earth a way out of the cul de sac they found themselves in after their last album, which was heavy with guest vocalists. Carlson’s riffs are still monolithic but they’re also more organic, with a prairie wind blowing through the spaces between the notes. Davies has plenty of air and nuance in her drum patterns, too, while still remaining absolutely implacable. One of their best yet. 

Sunn O))) - Life Metal While I don’t think they’ll ever top Soused, their collaboration with the late, great Scott Walker, part of what impresses here is their exquisite control over tone and impact. It’s almost a dictionary of malevolent guitar noises, with a few added bonuses, like the vocals and cello of Oscar-winning Icelandic composer Hildur Guōnadódottir, and supported by bass, synth, and pipe organ.The only thing that would make it better (besides Scott Walker) is a searchable index so you could instantly find the snarl, feedback or power chord you need. 


Levitation Room - Headspace The difference in this aptly-named L.A. quintet's take on psychedelia lies in their light touch. There's plenty of guitar fireworks, but there's still a crisp elegance to everything they do. Pushing their sound and style into songwriting of a more striking originality is the turn of a key keeping them from greatness. The packaging from Greenway Records is exceptional, even by their usual standards - grab a die-cut copy while you still can!. 


Clairo - Immunity While not nearly as fascinating as Billie Eilish, neither did this bedroom pop singer go the full Jack Antonoff route like Lorde - and thank god! Her simplicity and faux-naive approach maintains most of the charm it had when she was just posting from her iPhone onto YouTube. Not every song is a killer, but enough are to make you think she can go further.

The Drums - Brutalism “I know some good luck/And a good fuck/A nice glass of wine/And some quality time/Is gonna make you mine/(But it's not what I'm trying to find)” - imagine those transparent lines sung in a sunny tenor to an indelible melody over bright electro-pop and you’ll get a good idea of what Jonny Pierce is up to here. The fact that he keeps it up song after song is something of a marvel.

Faye Webster - Atlanta Millionaires Club Ultra-modern countrypolitan stylings from a young woman who could be Natalie Prass's little sister. Then she veers into woozy R&B on Flowers, throwing in a guest verse from Father and reminding you that she really is from the dirty south, not just name-checking it in the album title. If her next album went even further in that direction, you would hear no complaints from me - although Prass might start looking over her shoulder.

100 Gecs - 1000 Gecs Cut up random notification sounds from your phone, loop them, sprinkle with some Raymond Scott fairy dust and beats from hip hop and digital hardcore, then .zip to them your friend. Have her auto-tune the heck out of her voice and sing and rap in ways that ride the line of catchy and annoying. Master for streaming services and ta da, you're Dylan Brady and Laura Les. This is pop, as XTC once declared, and so it is. It remains to be seen, however, if they can remain interesting longer than Sleigh Bells did.

Beck - Hyperspace As a venture into pop territory, this is often much more successful than Colors, his previous album. But it also barely recovers from the Beck-lite of Saw Lightning and the Mellencampian idiocy of Die Waiting. But keep listening, because the last track is one of the best things he's ever done. His vocal performance alone on Everlasting Nothing is astounding, but it's the lyrics that stick the knife in more than once. In honor of that achievement, I'll let him have the last word on 2019: "And I washed up on the shoreline/Everyone was waiting there for me/Like a standing ovation for the funeral of the sun/In the everlasting nothing."

P.S. There's more goodness from 2019 to be found here and to make sure you don't miss the gems of 2020, follow this playlist.

You may also enjoy:
Best Of 2018: Rock, Folk, Etc.
Best Of 2017: Rock, Folk, Etc.
Best Of 2016: Rock, Folk, Etc.
Best Of 15: Singles & EP's
Best Of The Rest Of 14: Old Favorites, New Sounds

Sunday, February 02, 2020

Best Of 2019: Hip Hop, RnB, and Reggae

For my listening, the year in hip hop was so dominated by Bandana by Freddie Gibbs and Madlib (#5 of The Top 25) and Jesus Is King by Kanye West (#24/25) that I was tempted to think it was a down year for the genre as far as quantity goes. But then I looked back and found a wealth of great records. Beyond Solange’s wonderful When I Get Home (#25/25), there were just a few RnB albums that reached for greatness. As for reggae, there was nothing that made it into the Top 25 but there were some great releases that should not be overlooked. Press play on this playlist or below and read on for all the scoop. 

Hip Hop

G&D - Black Love & War The “G” is Georgia Ann Muldrow and the “D” is Declaime, AKA her partner, Dudley Perkins. Their talents as producers and vocalists blend marvelously, with Muldrow either soulful or imperious (a touch of Grace Jones) and Declaime’s thick and gritty flow the perfect contrast. The production veers from earthy jazz to psychedelic soul, while still remaining thoroughly contemporary and 100 percent hip hop. A few lyrical infelicities and a couple of snoozy cuts kept this out of the Top 25 - but it was close. 

Tyler The Creator - Igor I’ve had a hands off approach to the Odd Future crew (except Frank Ocean) since inception, finding them - especially Tyler - unable to back up their bravado with anything I wanted to listen to more than once. But word that this album was different began creeping into my consciousness shortly after it came out and when my daughter insisted I listen I took a chance. And it’s fantastic - a self-produced and nearly seamless blend of singing, rapping, electronics, and emotional depth far beyond most hip hop. That latter point is based mostly on how the record makes me feel as opposed to an in-depth look at the lyrics. But love and loss are front and center, with some of the crestfallen bitterness explored by Andre 3000 on The Love Below. Also, as proven by his incendiary performance on the Grammys (all hail Charlie Wilson), Tyler has tapped into his creativity and talent in all dimensions. Further big things remain to come for this complex and nuanced artist. 

Danny Brown - Uknowhatimsayin While still not at the level of 2016’s pitch black Atrocity Exhibition, there’s still plenty of the outrageousness and wide-ranging musical exploration he’s led us to expect over the years. “Reliable” is not a word I would have expected to use for Danny Brown, but he’s become someone you can count on - maybe next time he’ll thrill us again, like Killer Mike does on his verse for 3 Tearz.  

Earl Sweatshirt - Feet Of Clay Rather than wondering when Sweatshirt is going to break out of what seems to be a numbed state of being, that seems to have become sort of the point. Along with smudged textures and foggy beats, whether self-produced, as most of this EP, or when Alchemist steps behind the boards for a track. If this is him coasting, still quite fascinating. 

Pusha T - Coming Home (feat. Lauryn Hill) With the world still reeling from Daytona (#3/25, 2018), perhaps it's wise that Pusha-T didn't put out an album in 2019. But he did put out two great singles and guest spots on a number of tracks. Inspired by an uplifting beat from Kanye West, et al, Coming Home is a bittersweet but still gritty track that rides the line of speaking some truth about mass incarceration while still offering hope to those affected by this national tragedy. Not coke rap! Lauryn Hill's turn is beautiful, too, much more than a mere hook. We also got Sociopath, with its great mid-song "charcuterie" skit, and a bit of catnip for Succession fans. Hear all of his work from last year in this handy playlist.


H.E.R. - I Used To Know Her Now that Gabriella Wilson is a certified Grammy fixture, inspiring awe with both her melodic inventiveness and ripping guitar solos, hopefully people are finding their way to this album, which displays more versatility than you might expect from those televised extravaganzas. And if the record could have used a little judicious pruning, consider the fact that Wilson is only 22 - she has plenty of time to figure out when less can equal more.

Burna Boy - African Giant Maybe I was supposed to put this on the Best Of 2019: Jazz, Latin, and Global, but I willed it into this category because I wish more contemporary R&B was this suave, smooth, and funky. His Nigerian roots would show through in any genre, however, and it's wonderful to see him break through outside his native land after nearly a decade of recording. 

SiR - Chasing Summer This is the longest and most clearly defined release from Top Dawg Entertainment's resident crooner. Even with starry guests like Kendrick Lamar, it's an intimate and spare affair, fully modern but with enough touches of classic soul to ground it firmly in tradition.

Anderson .Paak - Ventura It seems almost cruel to expect more from someone so talented, who consistently makes albums that go down so easily it would be easy to downplay the art and craft that go into them. But I can't help thinking that .Paak has been grooving on past glories with each album since the mind-blowing Malibu (#19/20 in 2016). Still, there is much pleasure to be had on Ventura - ignore it at your peril.

Lizzo - Cuz I Love You (Deluxe) While she's not as good a rapper as she seems to think she is (maybe leave that to Missy Elliott, who guests on Tempo), and she might sing bigger than she has to, her larger than life exuberance is impossible to deny. Even with a few dud tracks, enough of that personality comes through to make this a defining album of 2019. She's on a fulcrum point, however - any more concessions to commercialism and she will become bound to her moment rather than owning it.

FKA Twigs - Holy Terrain (feat. Future) While I didn't find Magdalene as static as LP1, the creeping Kate Bush-influenced obscurantism was a turn-off, except for this terrific single, also the best thing Future has done in a while. I know I'm swimming against the tide here, as Magdalene nearly broke the internet when it came out, but I can only like what I like. And I like this song A LOT.

Frank Ocean - In My Room Two singles, this one and DHL, are all we got from Ocean in 2019, with Blonde - one of the best albums of the century, never mind the decade - now three years in the rear view. Beautiful stuff in any case, especially the minimalist bedsit romance of In My Room. I would hesitate to make any predictions about what his next album will sound like based on these as I have a feeling it will be more full of sonic surprise than either of them.

Charlotte Dos Santos - Harvest Time I still find Dos Santos's 2017 album, Cleo, sigh-inducing, so I hope this wonderful filament of a song signals more from her in 2020. 


Lee "Scratch" Perry - Heavy Rain This album was the best of the three the 83-year-old Perry put out in 2019. Mostly made up of dubs from Rainford, which came out earlier in the year, it improves on that album either by adding the trombone wizardry of the great Vin Gordon or the studio magic of the legendary Brian Eno, or simply by swathing some of Perry's less-than-scintillating vocal moments in washes of echo and effects. Great to have Perry collaborating with Adrian Sherwood again, who steered him into waters more creative than Spacewave, who produced the mostly tedious Rootz Reggae Dub

Prince Fatty - In The Viper's Shadow In which the Brit master of roots and dub assembles a murderer's row of vocalists, from Big Youth to Cornell Campbell (who I also wrote about here), to sing or toast over his killer tracks. The biggest surprise might be the soaring vocals of Shniece McMenamin, who holds her own in this august company. More from her, with Fatty producing, would be the exact opposite of a bad thing. 

Koffee - Rapture After taking note of her excellent single Throne in January, it took Koffee winning a Grammy for Best Reggae Album - the first woman to do so - for me to even realize she had an album out. But she also kind of doesn't, as Rapture is a mere 15 minutes long. Either way, the 19-year-old shows great promise on this short showcase, whether spitting auto-tuned fire over dancehall beats or singing soulfully over rootsier tracks. Looking forward to a true long-player - soon, please.

Hollie Cook - Dance In The Sunshine Maybe now that Koffee has broken the gender barrier at the Grammys, Cook will get the recognition she deserves. Until then, we will just bask in the warmth of her presence whenever she chooses to release sweet songs like this single. If you're still unfamiliar with this wonderful singer and songwriter, start with her self-titled debut, which was my #3 album of 2011. Or you could check out Twice, which landed at #5 in 2014. Then there's Vessel Of Love, my #7 album of 2018. She's just great!

What turned your head in these genres in 2019? Let me know! There’s also more in this archived playlist - and follow this one so you know how 2020 fares.

You may also enjoy:
Best Of 2018: Hip Hop, RnB and Reggae
Best Of 2017: Hip Hop, RnB and Reggae
Best Of 2016: Hip Hop and RnB

Saturday, January 25, 2020

Best Of 2019: Out Of The Past

The flood of music from “out of the past,” representing both reissues and never-released music, is dominated by super-deluxe boxes with lavish packaging and extensive documentation. Some of those are represented below but conspicuous by their absence are certain high-profile fetish objects, such as the Abbey Road 50th anniversary doorstop and various Bowie boxes. In the case of the latter, these are certainly attractive, real shelf candy, but the lo-fi demos will likely only fascinate for one or two listens. As for the Abbey Road set, while there are some nice fly-on-the-wall moments from the outtakes, none of it captivates as much as the similar material on the White Album box. When it comes to Giles Martin’s remix of the album, I compared it to the 2009 CD and my vinyl copy - an original 1969 pressing - I found it added little. The CD still sounds, well, FAB, and even through the crackle, my $1 record sounds warmer and more cohesive - and isn't that what we want from The Beatles?

Press play on this playlist or below to listen along to selections from most of these albums while you read.

Reissue Of The Year

Peter Laughner For decades, he has just been a name to me, credited with writing Life Stinks on Pere Ubu’s debut album, The Modern Dance. I was dimly aware of his important role on the family tree of Cleveland proto-punk and art rock as a founding member of not only Pere Ubu but also Rocket From The Tombs, from which the Dead Boys spawned. Yet this labor-of-love box set reveals the man in full, or as full as possible for someone who died at 24 and never officially released any of his own music. Perhaps most surprising is the discovery that Laughner (pronounced “LOCK-ner, btw) was one of the greatest interpreters of poetic singer-songwriters that ever lived, turning in deep, passionate covers of songs by Lou Reed, Bob Dylan, Tom Verlaine, and Van Morrison. He somehow enters the core of the songs, illuminating them from within even though the recordings are rough. He even digs into Robert Johnson with stunning effectiveness, further proof that he was an old soul. Laughner, a true believer in rock & roll as a musical and spiritual pursuit, also wrote some nifty originals and in Cinderella Backstreet came up with one of the best band names of all time. Unfortunately, his immersion in music was only exceeded by his immersion in hard living, leading to the pancreatitis that killed him. The music in this set, crackling with life, along with the lavish hardcover book, which includes his perspicacious music journalism, puts Laughner in my living room in an almost physical way. Invite him in. Note: this set is not on Spotify but you can hear samples here

Runners Up

Gene Clark - No Other Deluxe Box Set While it looks like 4AD outdid themselves with the packaging here, it sold out so fast I’ve never seen it in the wild. Demand was high as this is one of the great lost albums of the 70’s, buried by David Geffen after Clark and collaborator Thomas Jefferson Kaye burned through $100K with only eight songs to show for it. While the album as released is a beautiful piece of Americana, with songs, like Silver Raven, that seem to come from the earth itself, we now know where the money went. Clark and Kaye took their sweet time exploring a wide variety of approaches to the songs, probably racking up big studio bills in the process. We also now know that the takes they chose to assemble the final version were not necessarily the best ones, but simply the most accessible ones. Other versions explore a funky and soulful sound that is startlingly contemporary. Check out my playlist, The Other No Other, to hear what could have been. 

Bob Dylan - The Rolling Thunder Revue: The 1975 Live Recordings Though not an official entry into the Bootleg Series, this was the only archival release I wanted from the man in 2019. I’ve been fascinated by the RTR ever since I stole my sister’s copy of Hard Rain and took Sam Shepard’s Rolling Thunder Logbook out of the library, devouring them both and willing myself into those legendary shows. And this is the motherlode, five complete concerts, fascinating rehearsals, and a disc of tantalizing odds and ends. If you already know every note of Bootleg Series Vol. 5: Live 1975 - or were mesmerized by the footage in the Scorcese “documentary” - you must acquire this handsome package. 

Classic Rock Lives - LIVE

Creedence Clearwater Revival - Live At Woodstock It was early in this century before I even knew CCR performed at Woodstock. Then I got a bootleg and was even more confused as they steamrolled through a set that left the crowd screaming for more. Chalk it up to John Fogerty’s legendary perfectionism - I’m glad he finally relented and allowed this storming set to be released. 

Allman Brothers Band - Live At Fillmore West ‘71 A few months before their iconic recordings at the east coast Fillmore, the ABB put on some smoking hot shows in San Francisco. They developed further by the time they got to NYC, but any chance to hear Duane'n'Dickey at their peak (not to mention Gregg) is one I’m going to embrace. 

The Yardbirds - Live and Rare I felt a little burned when all these tracks showed up on Spotify after I bought this set, but then I watched the DVD was glad I had laid down the cash. The footage is crystal clear, formatted for contemporary TVs with no loss of important information, putting Jimmy Page and his mirrored Telecaster right in your face. It’s a jaw-dropping feast for fans of the band. The discs are well-organized and packaged, too, a further bonus for getting the physical version. Also, while most of this is live material, the remastered mono of Happenings Ten Years Time Ago finally reveals the layers in this remarkable song. It’s like hearing it for the first time - and I’ve had an original copy of the 45 for nearly 40 years. 

Jimi Hendrix - Songs For Groovy Children Awesome to finally have all these sets in one place - the four versions of Machine Gun constitute one of the great American symphonies - even if a little Buddy Miles goes a long way.

Tin Machine - Live at La Cigale Paris, 25 June 1989 I’ve had a bootleg of this blistering show for years - now everyone can revel in Bowie’s art-punk freakout band at their best. It's a sharp cut above the Oy Vey Baby album, which was from a later tour and finds them indulging some regrettable instincts. For more Tin Machine fun, read my thoughts on the 30th anniversary of the debut album in Rock & Roll Globe.

Visionary Vocalists

Tim Buckley - Live at The Electric Theater Co, Chicago 1968 Not since Dream Letter: Live In London came out 30 years ago has there been as revelatory a live release from Buckley - and this one is even better. He is in rare incantatory form here, barely pausing for breath between songs, several of which feel like improvisations in the moment. His voice is at its most stunningly elastic, whether in the falsetto of Hi-Lili Hi Lo or the long notes of Wayfaring Stranger. The recording is quite good, mainly foregrounding Buckley and his 12-string guitar but the throb of the unknown bass player and Carter C.C. Collins's congas is an essential element. The road to Happy Sad definitely leads through this incredible performance. What other treasures remain in the archives?

Scott Walker - Live On Air 1968-1969 These TV recordings have been released before but it's great to see them back in print. Even with the slightly harsh sound, the sense of what it would be like to be in the presence of Walker unleashing that divine baritone on stage is impossible to ignore. With so few live performances over the years, this is something to savor over time, especially his own songs, which are the best here next to those by his beloved Jacques Brel.

Brazilian Gems

Ana Mazzotti - Ninguem Vai Me Segurar God bless Far Out Recordings for the unending flow of sparkling Brazilian music! This 1974 album deserves to be in the front ranks of any collection from that time and place. Mazzotti's languid and lovely voice is brilliantly supported here by most of Azymuth plus her husband, Romilo Santos, on drums and the results are just sublime. Also reissued is her second, and last, album. Her short, rich career deserves wide recognition.

Azymuth - Demos (1973-1975) Vols. 1&2 Speaking of Azymuth, they are in staggering form on these home recordings, all made before their first official album. I actually prefer these to some of their later recordings, which tended towards overproduction. Far Out to the rescue again!

Reggae Rarities

Brown Sugar - I'm In Love With A Dreadlocks: Brown Sugar And The Birth of Lover's Rock, 1977-1980 If that title doesn't already tell you what you need to know, how about the first complete collection of the sweet and sassy British vocal trio that included Caron Wheeler, later of Soul II Soul? How about 13 songs with Dennis Bovell at his best behind the boards, lacing each solidly rhythmic song with glistening guitar hooks and burbling keyboards? YOU will be in love with Brown Sugar.

Cornell Campbell - King Of Collie and I Man A The Stal-A-Watt A few years ago, I scooped up the out-of print-collection, Natty Dread, which featured recordings by Campbell from 1975-83 and introduced me to one of the sweetest, most versatile of all Jamaican singers. These recordings come from 1970-75 and are even more consistently great. The production, mostly by Bunny "Striker" Lee is also top notch - essential roots!

Various Artists - Do The Moonwalk In honor of the 50th anniversary of the moon landing comes this 20-track collection of pure lunacy - some of the most fun ska and rocksteady you can imagine and a party platter that is out of this world.

Spiritual Soul Explosion

Various Artists - World Spirituality Classics Vol. 2: The Time For Peace Is Now: Gospel Music About Us With the first entry in this series from Luaka Bop focusing on the Ashram-based recordings of Alice Coltrane Turiyasangitananda, it was hard to know what they would do for a follow-up. Well, on this spectacular collection, they’re giving us the funkiest, most soulful gospel that you didn’t know you needed by artists you’ve never heard of, a flood of emotionally rich, spiritually nourishing tracks that expand on the message and music of The Staple Singers, Andrea Crouch, and others. As an act of scholarship infused with love, this set will likely never be bettered. 

Stax “Soul Explosion” Series As detailed here, the 50th anniversary of the Stax "Soul Explosion" has led to a tsunami of long lost records from the label’s storied history - get to know them from my playlist and then find your own favorites. 

James Brown - Live At Home With His Bad Self Finally! This is the full concert that the Sex Machine album was based on, free of overdubs and studio tracks. Brown was too angry at his JB’s - who quit over low pay and poor working conditions immediately after the show - to release it at the time. Fifty years later, it sounds as good as you would imagine, with seven performances seeing the light of day for the first time. 

Beverly Glenn-Copland - Primal Prayer Existing at some under-explored intersection of jazz, new age, funk, soul, and art song, Glenn-Copland might get his own Luaka Bop compilation someday. Until then, he’s doing a fine job of reintroducing his albums into the marketplace, including this gorgeous and expansive set from 2004, originally released under the name Phynix. Layers of keyboards are matched by Glenn-Copland’s vocal range, given full flight in inventive counterpoint through double and triple tracking. A trans man who made his first album in 1970, Glenn-Copland has been in the background offering succor to those in the know for decades. Let that exclusive coterie now include you. 

Post-Punk Glories
The Cigarettes - You Were So Young It seems like about every 10 years, some reissue label says, Hey, remember The Cigarettes? In the future they will turn to this collection, every song released by the razor-sharp British quartet from 1978 to their demise in 1981, plus some live sessions for John Peel. When you need some more of that Buzzcocks or Stiff Little Fingers vibe, it’s right here waiting for you. 

Ut - Conviction Angular, dissonant guitars, polyrhythmic drumming, tortured, slightly off-key vocals - it could only be No Wave, the downtown NYC movement birthed partially in reaction the creeping slickness of new wave and synth-pop. And Ut, the trio of Nina Canal, Jacqui Ham, and Sally Young, were one of the best of the lot. Stick a cassette of their debut album in your Walkman and get on line for the Mudd Club. 

Eclectic Ambiance

Ernest Hood - Neighborhoods By the time Hood assembled this one-off album in 1975, he had been incorporating field recordings into performances as a member of Portland, OR’s jazz scene for decades. Blending hyperlocal sounds (kids playing kick-the-can, people watching fireworks) with charming and bittersweet synth melodies puts his neighborhood somewhere between Brian Eno’s and Mr. Rogers’s. It’s a place you’ll want to visit often. 

Laurie Spiegel - Unseen Worlds The decade-plus gap between this and her classic debut, The Expanding Universe,is more of a reflection of the challenges she faced as a pioneer of electronic music - and a woman - than any lack of ideas. But there was no sense of struggle in the final product when it arrived in 1991, just the gleaming darkness of these beautifully polished soundscapes. Yet another reason to celebrate this extraordinary talent. 


Radiohead - Minidiscs [Hacked] I don’t know if I totally believe the back story about how these discs came to light, but I was more than happy to drop $18 (which went to Extinction Rebellion, anyway) for 16 hours of OK Computer demos and live recordings. While there are some incredible concert excerpts here, my favorite stuff is raw, intimate, fly-on-the-wall studio and home demos. Revealed is a group of sonic and emotional seekers of everything music has to offer - and they keep finding it, over and over again. 

Prodigy & Mobb Deep - Shot Down After Albert “Prodigy” Johnson died in 2017, I assembled a 25-song Spotify playlist to go along with an article I wrote for Mass Appeal about his legacy. As of today, there are only 14 songs left, a sign of the disarray his discography is in right now. That’s probably why this mixtape, assembled by DJ Whoo Kid in 2006, sounds so good. This was the controversial Blood Money era, when Mobb Deep signed with 50 Cent’s G-Unit, but the beats are mostly tight and Prodigy and others (even Fitty!) display a relaxed mastery in their flow. Maybe a time will come when Prodigy’s estate clears up any issues and we get the career overview this NYC legend deserves. 

Various Artists - Once Upon A Time In Hollywood Quentin Tarantino’s extremely entertaining exercise in manic revisionist nostalgia exists outside the cinema almost as successfully as it does within, as proved by this brilliantly sequenced collection. Putting the radio announcers and ads in there was a stroke of genius, lending an authenticity to a landscape of pop and rock just that much different than what you might associate with 1969. Kudos to Tarantino’s longtime music supervisor, Mary Ramos, who deserves no small part of the credit. Learn more about their process in this compelling podcast from the BBC. 

What old sounds were making your year? There’s a good deal more in this archived playlist - and make sure to follow this one so you know what 2020 brings us from out of the past. 

Saturday, January 11, 2020

Best Of 2019: Classical

As far as music that I covered throughout 2019, this is the second largest category. At the top you will find links to previous posts to remind you of the best in composed music about which I’ve already written. Following that are a number of special items that I either missed along the way or that came out late in the year. Press play on the playlist so you can hear what I’m talking about!

First Quarter Report: The Albums
Melia Watras - Schumann Resonances
Sæunn Thorsteindottir - Vernacular
Unheard-Of Ensemble - Dialogues
Nicholas Phillips - Shift
Louis Karchin - Dark Mountains/Distant Lights
Greg Chudzik - Solo Works, Vol. 2

Record Review: Beauty... And Darkness
Žibuoklė Martinaitytė - In Search Of Lost Beauty...

Record Roundup: Electro-Humanism
Rand Steiger/International Contemporary Ensemble - Coalescence Cycle Volume 1: Music for Soloists and Electronics

Record Roundup: Contemporary Classical In Brief
Seattle Symphony Orchestra - John Luther Adams: Become Desert
Caleb Burhans - Past Lives
Alex Weiser - And All The Days Were Purple
Matt Frey - One-Eleven Heavy
Caroline Shaw - Orange
Siggi String Quartet - South Of The Circle
Duo Zuber - Blackbird Redux
Rupert Boyd - The Guitar
New Thread Quartet - Plastic Facts
Splinter Reeds - Hypothetical Islands

Record Roundup: Past Is Present
JACK Quartet - Filigree: The Music of Hannah Lash
Wild Up - Christopher Cerrone: The Pieces That Fall to Earth
Anne Leilehua Lanzilotti - in manus tuas

Record Roundup: String Theories
Ben Melsky/Ensemble Dal Niente
Ashley Bathgate - Sleeping Giant: Ash
andPlay - playlist
David Bowlin - Bird as Prophet
Kronos Quartet - Terry Riley: Sun Rings

Record Roundup: Contemporary Kaleidoscope 
Tak Ensemble - Oor
Jessica Meyer - Ring Out
Ted Hearne - Hazy Heart Pump
Daniel Lippel - Mirrored Spaces
Dither - Potential Differences

It’s almost embarrassing how much more familiar I am with Hennies’s Twitter presence than her music, but she is truly a virtuoso on the platform. That doesn’t explain why I wasn’t even aware of this album until December, when it showed up on someone else’s “Best of” list. But I’m glad I caught up with it as it a striking work, nearly an hour long, scored for percussion trio and piano. The piano, played by Phillip Bush, cycles through a meditative series of suspended chords that anchor the piece and provide equilibrium amongst the chatter, clatter, and general disruption of the percussion. Perhaps due to the inclusion of improvisation, which is a feature often included in performances by Meridian (Hennies, Tim Feeney, and Greg Stuart), there’s a sense of never stepping in the same river twice when listening to Preservation. Or that could simply be the interaction of my emotional state with the music, and the fact that sometimes time pressure dictates I start where I last left off and return to the beginning. This is one of those recordings that becomes a companion, defining a personal era, and I plan to keep it close. I’m also glad that I learned about Black Truffle, which released it, as they are definitely on the right track, including the packaging, which features an excellent photo by Abby Grace Drake, another artist whose work I plan to investigate further. P.S. This album is not on Spotify, but you can listen easily on Bandcamp. I have also included an excellent piece by Hennies from a compilation called Infinite Futures and highly recommend you clear 30 minutes of time to watch her performance of Falsetto, three years in the making. 

Hildur Guõnadóttir - Joker (Original Motion Picture Soundtrack) The Golden Globes already got hip to this Icelandic cellist and composer’s achievement. But I didn’t need an awards show to be certain that her piercing, claustrophobic, and doom-laden sounds are at least as responsible for the film’s success as Joaquin Phoenix’s blistering performance in the title role. Also true is that if you just want some pitch-black modern music for cello, orchestra, and electronics, look no further whether or not you’ve seen the movie. 

Iceland Symphony Orchestra - Concurrence Of course, if we’re talking Icelandic music, the name Anna Thorvaldsdottir should not be far from your mind. Happily enough, this immaculately performed collection has a commanding new piece from her, Metacosmos, which has a cinematic sweep of its own. Also included is Haukur Tómasson’s Piano Concerto No. 2, alternately busy and pensive, with some of Shostakovich’s bite, María Huld Markan Sigfúsdóttir‘s Oceans, a glistening tone poem with surpassing mystery, and the same recording of Páll Ragnar Pálsson's Quake that appears on Sæunn Thorsteindottir’s wonderful Vernacular. Altogether, a wonderful follow up to Recurrence, the first entry in the ISO’s series under conductor Daniel Bjarnason. Volume 3 coming in 2021? I’ll be there!

Echo Collective - Jóhann Jóhansson: 12 Conversations with Thilo Heinzmann Released on what should have been Jóhannsson’s 50th birthday, you might think this 40-minute, 12-movement string quartet is appropriately elegiac for a final posthumous release. But elegy was basically Jóhannson’s metier - and who knows what else is in the vault? But whether or not you know who Heinzmann is (I didn’t), this an immersive and involving work, with a welcome austerity in place of the sentimentality Jóhannsson could sometimes fall into outside of his film scores. The recording is beautiful and the playing by Echo Collective essentially perfect. If this is indeed the final recording of Jóhannsson’s music, it is a more than fitting capstone to a remarkable career which ended far too soon. 

Kaija Saariaho - True Fire, Etc. and Circle Map, Etc. Moving on to Finland, here are two spine-tingling albums from a composer who manages to carry a through-line straight from Sibelius, Shostakovich, and Britten, while still remaining thoroughly herself and contemporary. Perhaps it’s her seeming belief in the ritual power of orchestral music and its ability to create a whole world where seconds before stood only silence. The performances, by the Finnish Radio Symphony Orchestra and the Oslo Philharmonic, are crisp and committed, with special note given to baritone Gerald Finley’s commanding take on True Fire. Saariaho’s operas usually get the most attention, often via complaints that they aren’t often performed here. Between these two albums we have a half-dozen excellent opportunities to get her music in American concert halls - who will pick up the slack?

Meara O’Reilly - Hockets For Two Voices Like the mighty aglet, which ensures laces pass smoothly through the holes in your sneakers, hocketing, which is a technique of alternating notes, pitches, or chords between two instruments, is so familiar that you might not even know it has a special name. You’ll recognize its centuries-old provenance in O’Reilly’s work, which occasionally sounds Baroque or even Medieval. But neither Monteverdi or Bach was ever this drily witty - and it’s hard to imagine anyone in their day executing something with the perfection O’Reilly demonstrates here, singing both parts of her own piece. Can’t wait to see what she comes up with next! 

Wendy Richman - Vox/Viola While I have heard string players vocalize along with their instruments, Richman’s debut solo album is the most sustained investigation of the practice I can recall. Richman, the founding violist for the International Contemporary Ensemble, commissioned all nine pieces, demonstrating not only superb taste in composers but an adventurous spirit that has her going all-in on whatever they dish out. It’s no surprise that her viola technique is beyond a compare, but her voice is equally controlled and flexible, whether as a honeyed mezzo on the British Isles folk of Christian Carey’s He Wishes For The Cloths Of Heaven (based on lines from Yeats), or gasping and ululating on demanding pieces by Lou Bunk and Everette Minchew. At some of the darker moments, the late work of Nico may come to mind, or even Diamanda Galas. The sequencing of the album is quite brilliant, too, giving you the feeling of being led through an experience, rather than being manhandled by the stylistic twists and turns. This is true right to the end, as the last track is Ken Ueno’s stately Song For Sendai, almost coming full circle to the mood of the Carey piece. On the whole, a triumph. Listen and hear a genre being born.

Polish National Radio Orchestra with Beth Gibbons - Henryk Gorecki: Symphony No. 3 I’m going to be honest here. I am a huge Dawn Upshaw fan but I sold my copy of her recording of this piece - and I had gotten the disc for free! But the idea of Gibbons pushing herself into this territory was too compelling to ignore. Mostly known as the vocalist for Portishead (although her album with Rustin Man is a lost classic), Gibbons is known for a wracked vulnerability married to an intonation and relation to pitch that is completely wonderful in that context - but how would her voice fare here? The good news starts before she enters, with Krystof Penderecki (himself!) conducting with a drier approach than David Zinman took in that earlier recording, which veered towards bathos. Gibbons follows Penderecki’s lead for her brief statement in the first movement, letting the music carry the emotion. She has more to do in the second movement and you start to feel her lose herself in the music, drawing the listener deeper in as well. No vibrato, either, which makes a huge difference. While I still have my quibbles with Górecki’s simplistic architecture, this version gives me new respect for his achievement and is the one I will return to when in need of “sorrowful songs.” Gibbons can write her own ticket now and I can’t wait to see where it takes her. 

Lise Davidsen - Strauss: Four Last Songs/Richard Wagner: Arias from Tannhaüser, etc. I have brilliant recordings of most of these pieces on my shelf (Gundula Janowitz, for one), not to mention what Spotify holds, I listened to this in spite of myself. I’m glad I did, however, as Davidsen is the real deal, a soprano who seems to immerse herself in the emotions and narratives of the songs and arias. The support from the Philharmonia Orchestra led by Esa-Pekka Salonen is sensitive fully engaged. It’s mind-blowing when you consider she heard her first full opera a mere five years ago. She was born to sing this music and apparently she can act, too. A friend’s father her saw her at the Met in The Queen Of Spades had this one-line review, “They should keep her.” I hope they do, and if we can hear her in some contemporary music that would be a nice bonus!

Michael Hersch - Carrion-Miles To Purgatory On this collection of three duos, Hersch is as unafraid as ever to look in the face of darkness. The first piece, ...das Rückgrat berstend, has violinist Patricia Kopatchinskaja and cellist Jay Campbell emerge from silence, intertwined like a vine on a leafless branch. Then Kopatchinskaja intones a text by Christopher Middleton, translated into German, and a sense of ceremony takes over. The blandly titled Music for Violin and Piano is an excerpt from an evening length medley of earlier works played at National Sawdust by violinist Miranda Cuckson with Hersch himself on piano. The section we get here is a highly dynamic, seamless piece that works entirely well on its own. Cuckson and Campbell join forces for the title work, an alternately anguished and solemn 13 movements based on poems from Robert Lowell's Lord Weary's Castle. It's not until the last, and longest, movement, that we feel some compassion start to creep in. Hersch is not an easy listen, but I am always fulfilled - and even cleansed - by time spent in his sound-world.

New York Philharmonic with The Crossing and the Young People's Chorus of New York City - Julia Wolfe: Fire In My Mouth A sense of righteous if controlled fury fuels this epic oratorio for chorus and orchestra based on the Triangle Shirtwaist Fire. This piece of history is ever-enraging, and even more unfortunately, ever-relevant. I can only imagine the impact of seeing this in the concert hall, with the huge forces amassed and the chorus snipping garment shears in the the second movement's coup de theatre. But the superbly recorded album will pin you back in your seat well enough! Kudos to Jaap Van Zweeden for conducting and the NY Phil for commissioning, and Donald Nally's leadership of The Crossing is as crisp and nuanced as we have come to expect from their long discography. This album bodes well for the Van Zweeden era, especially among us who were concerned about his commitment to the music of living composers. 

William Brittelle - Spiritual America I can't quite put my finger on my initial discomfort with this album. Was it the ultra-slick prog-rock guitar that laces through the massive composition? Was it the involvement of Wye Oak, a band I have always consigned to the ranks of the NPR-beloved and overrated? Or was it simply the discomfort Brittelle himself was struggling to interrogate as an "agnostic Buddhist" still living with the aftermath of a conservative Christian upbringing? Further listening has allowed me to sit within all the  varieties of discomfort engendered by the piece - and notice the influence of the similarly ambitious Scott Johnson (including his processed guitar tone) - and come to the perhaps inevitable conclusion: Spiritual America is a knockout. This is the kind of big, bold, sometimes even crazy symphonic work of which we could use a lot more, with orchestral brass and strings competing with fat synthesizers, rock drums, choral singing, and more. Even Wye Oak impress, with Jenn Wasner's gorgeous vocals soaring throughout. Ryan Streber, an engineer par excellence, deserves a pat on the back, a hug even, for blending all these disparate sounds in a way that sounds richly integrated and massively powerful. While a division in Brittelle's mind was the impetus for Spiritual America, this is the kind of music that could bring together people of many musical stripes, perhaps within sight of some amber waves of grain. Massive respect to all involved, not least to the leadership of both Nonesuch and New Amsterdam, who joined forces to bring this behemoth to life.

Riot Ensemble - Speak, Be Silent On their third album, this London-based new music group comes into sharp focus with four world premiere recordings, including the title track, which they also commissioned. Kicking off with Chaya Czernowin’s Ayre throws down the gauntlet and puts their virtues on display with a fearless performance of a work that traverses from barbed wire knottiness to glassy sighs and moans. Baby Magnify/Lilith’s New Toy, by Mirela Ivičevič, is even more colorful, a crisp synthesis of percussion, piano, winds, and strings that keeps you alert and on the edge of your seat even through repeated plays. Liza Lim’s Speak, Be Silent is three movements of an almost theatrical bent, including a dialog for a muted trumpet and an anguished violin, with the bold and colorful suspense of a Lalo Schifrin score. The album ends with the tense quiescence of Rebecca Saunders’s Stirrings Still II, which has the effect of centering the listener after all that came before. Also included is Thorvaldsdottir’s Ró, first recorded by the Capital Ensemble on Aerial in 2014. The Riot’s version is a bit slower, making for an even more hypnotic experience. It’s always good to see new works get further established in the repertoire with additional recordings, but the full strength of this album is in the premieres, and they are very strong indeed, and meticulously performed. 

Piccola Accademia Degli Specchi - William Susman: Collision Point While the name of the title piece may imply drama or even violence, this album is instead an inviting collection that finds a middle-ground between the pure charm of those mid-70’s Claude Bolling albums and Reichian repetition. The culmination of a 10-year collaboration with “the little academy of mirrors,” the pieces reflect Susman’s deep engagement with their unusual instrumentation of flute, saxophone, violin, cello, and piano four-hands, and the players fulfill their briefs with an appropriately light touch. 

Colin Hinton - Simulacra The line between composed and improvised music blurs most wondrously on percussionist Hinton's latest dense slab of jazz-like chamber music. The players, all of whom are longtime collaborators, distinguish themselves by dispatching whatever Hinton tosses their way, with special note paid to Edward Gavitt's exquisite work on both electric and acoustic guitar. My beloved Jimmy Giuffre and Kenyon Hopkins records now have a new friend. 

Cassie Wieland/Erich Barganier - in a (once-) blossomed place This split EP is an exciting snapshot of two composers who may just be moving too fast to make an album right now. Each demonstrates loads of sonic personality in their two tracks, from the organic feel of Wieland's Weeds, performed by line upon line percussion ensemble, to the strangled stridulations of Barganier's The Veneer Melts for two violins and electronics.  Grab on now - next time you look they will be somewhere else. Plus, for ten bucks you can get a tote bag and the digital album!

yMusic - Marcos Balter: We Carry Our Homes Within Us, Which Enables Us To Fly Composed for a Bill T. Jones dance piece, Balter's 20-minute work is full of melody, rhythm, and life. You can watch a terrific documentary on the their process of working together here - or you can just listen and explore your own language of movement to these lively and lovely sounds.

Clarice Jensen - Drone Studies This two-track single doubles down on the mesmerism Jensen, a cellist, composer, and co-founder of ACME, put forth on her awesome solo debut in 2018. Which means you will be deeply fascinated and experience some sublime psycho-acoustical effects while listening. My sense is that calling these finely crafted soundscapes "studies" is doing them a disservice as they feel entirely complete within themselves. More please.

Believe it or not, this is not everything that caught my attention in the classical sphere in 2019. Dive in to this playlist to find additional listening.

You may also enjoy:
Best Of 2018: Classical
Best Of 2017: Classical
Best Of 2016: Classical
Best Of 2015: Classical & Composed