2013 albums part two

Here's part one


Category 4:

Quality recordings, just not a whole lot of memorable staying power:

The Spinto Band - Cool Cocoon

The record is a solid record, while mostly unmemorable. Outside of the excellent 'She Don't Want Me' which is so catchy it's sick. It's really repetitive, which adds to the catchy aspect, but it's got a great declining sound along side. It's all I can think of when I think of this band at this point, which is good for them to be memorable, bad that the rest of it is apparently out of my mind.

L. Pierre - The Island Come True

This album is an instrumental record, firstly. It also has a bit of a creepy air to it, if you understand what I mean there. It doesn't quite sound like Halloween, but I can certainly see listening to it in the background at a party of similar nature. 'Sad Laugh' and 'Exits' stand out. But not a record I would just listen to for a pep me up. The album has red herring cover art. There is no island about this. That being said, it's still good.

Local Natives - Hummingbird

Opening track 'You & I' starts with some of the most compelling vocals of 2013. It just demands that you listen to it. Local Natives build on the song adding in the chorus with a great falsetto and harmonies. I can't speak much about this record as a whole, but 'You & I' is certainly a song that stands out from the past year's recorded music. The rest of the record is fairly unmemorable outside of 'Three Months' in which the Local Natives really strip it down to let the vocal power the entire track, a bit of a piano, a little bit of drum and guitar, but the vocal just soars. Two songs that really shine through all the noise of 2013.

Eisley - Currents

The DuPree family that makes up Eisley have all (except one) entered parenthood between The Valley and Currents. Currents is full of, surprise, water themes, and leaves the listener wanting more. Perhaps due to a whole lot less angst. A LOT less angst than on The Valley. Another record that you can listen to, and it's suddenly over, and you remember little to nothing. "Wicked Child" is a highlight, which features even MORE DuPrees than normal, kid sister's band Merriment joins in on this track.

Bored Nothing - Bored Nothing

Opening song "Shit for Brains" is awesome. It is, however, the only song that has stuck with me from this album after a few listens. A beautiful twee little song. And we all probably do have shit for brains. 

Cold War Kids - Dear Miss Lonelyhearts

I have this theory, the even number releases by Cold War Kids are let downs, odd number records are highlights. Dunno. Love their debut and 2010's Mine is Yours. 2013's Dear Miss Lonelyhearts was forgettable at best. "Tuxedos," the album single, is the track that has easily the best build, and appeal.

Dr. Dog - B-Room

Regrettable how forgettable this Dr. Dog album is. Their previous three records are all so impeccable. Perhaps that's part of the dilemma. B-Room is so mellow you can listen to the whole record without realizing you have. Nothing stands above the masses. Easily the biggest disappointment of 2013. There were some great bands putting our records in 2013, Dr. Dog amongst them, and this is sad.

Category 3

Really, really good records

This is where the disparity starts. And the hard times between category 3 and 2 came into play

Yo La Tengo - Fade

From the beginning Fade grabs your attention. Opening track 'Ohm' is perfectly titled. It has a sound that could easily be found in Buddhist temple, if they were having a party. The vocals are low in the mix, but it works well, the balance of beating tempo and falsetto lead to a capturing listen. Yo La Tengo are masters for a reason, they turn around and track to 'Is That Enough' is so sweetly twee it hurts. It's a great record to do homework to, surprisingly. It's a great soundtrack record, there are few moments where you will perk up and have to pay attention. Most notably the back to back tracks of 'I'll Be Around' and 'Cornelia and Jane.' The former is the opposite of the opening track. Mellow vocals, as always, but the acoustic guitar and low key, even airy sound of the rest of the track just begs for you to pay attention. On the later track, 'Cornelia and Jane' and features the female half of the Kaplan marriage that makes up two thirds of the band. Softly sung, but a fuller sound than her husband. Yo La Tengo has been a band for longer than this reviewer has been alive (the band turns 30 in 2014), and this is just a 13th record that proves why.

Vampire Weekend - Modern Vampires of the City

Modern Vampires of the City won the Grammy for best alternative record of the year. While it was great to see the band and the Grammys acknowledge Vampire Weekend's work, I am not entirely sold on this record. Their two previous records are still what I will think of, and what I go to, when I have a need to listen to this style of indie-rock. There are some great songs on this record, however, obviously as I've listed it on my year end list. Ha. Another record I feel is a bit top heavy. The three back to back to back tracks of "Unbelievers," "Step," and "Diane Young" are easily the best of the album, and they're tracks 2-4. "Step" is highly memorable, there's a great beat, and honest lyrics and vocal delivery. The chorus is infectious. There's something about the way he sings the word "bones," it resonates, well, in your bones. It's an extremely well crafted song. "Diane Young" breaks apart from even Vampire Weekend's 'usual' and is a must listen track. I don't think I could do it justice to even attempt to describe. Excellent use of voice manipulation, and dynamics.  

Tegan & Sara - Heartthrob

 This is pure-pop out of Tegan & Sara. It's certainly not a bad record at all, however, it's certainly not Tegan & Sara's best work, either. Though, if this is the route pop-radio decides to go, maybe I'll go back to listening? 'Closer' and 'Drove Me Wild' are so infectious, overall a fun listen. 'Love They Say' is so sweet you'll probably have to go to the dentist. Then they follow it up with the heartbreaking 'Now I'm All Messed Up,' a good rinse after all that sweetness. 

Sara Bareilles - The Blessed Unrest

Debatable the most "popular" record on my list. I was very pleased to see The Blessed Unrest nominated for album of the year by the Grammys. It's the only album out of those five that made my list. Opening track "Brave" has been used everywhere in commercials, oddly with those windows tablets. Anyway, the song is actually a quite powerful song. Sara has been around the pop princess world, but if you stop and listen to what she's singing about, she's got a great deal with her label, or something. Because girl tackles much tougher topics than the typical. "Brave" is a song about helping a friend come out of the closet. Despite being everywhere, it still is quite a moving song. Props there. AND did you see the duet with Carole King on the Grammys? Holy Hell!! Other major points in the Sara Bareilles book, she writes both the music and the lyrics to nearly every song in her repertoire. I have been re-converted. I enjoyed her before "Love Song" became the smash hit, and then drifted, then she showed back up in my music world with her Ben Folds produced EP a few years back, and for shame for ever leaving. She's got hit after hit on this album. "Little Black Dress" has a great thumping beat, great use of her range, and a neat horn line. "Islands" and "1000 Times" also highlight Sara's incredible voice. Even if you're not big into that pop world, this is an album worth checking out. Roman Candle - Debris It's been a while since Oh Tall Tree in the Ear. Debris is a great follow up, that I feel like I've been waiting for, for years. Because I have been. Debris pushes Roman Candle further than they have gone before, integrating more sounds, more themes, and different vocal styles. Highlights include; "Small Time," "Not Strangers Anymore," and "I Drank Bourbon After I Brushed My Teeth Last Night." Let's talk about that last track there. On top of having such a quality song title, the story is well stated, honest lyrics, great use of reverb, and pushes Skip's voice to ranges he doesn't usually attempt. Despite all that title track "Debris" might be the best of them all. Starts out with a great guitar, slowly adding in more and more sounds from the percussion and other guitars, and keys. Then the vocals start out so low in the mix you can barely make out what Skip is singing. Sounds like a great piece to have in the background of a pivotal point in a storyline. Fits perfectly as the middle track on the record, and the title track. The slow burn to get to the main riff of the song pays off. There's expert use of reverb, and loving slow jam feel. And then, then they throw you spoken word on top? Well done. I guess it's okay you took so long.   Paul McCartney - NEW Paul McCartney put out a new record. It's been FIFTY years since The Beatles came to America for the first time. Sir Paul has still got it. New is such an honest record from the living legend. "Early Days" is insight into what it was like to be a Beatle, to be one of those amazing four men. The lyrics are honest, they are remorseful, they are sad, and wonderful all at once. What it was like to try and get a gig before they were big, such a retrospective view that so few people can honestly sing about. Paul gives us such an honest opinion, and it's wonderful to see. It starts out as just a guitar and Paul's voice "they can't take it from me, if they try, I lived through those early days, so many times I had to change the pain to laughter, just to keep from getting crazed." Who can't relate to some of those feelings. The song gives me shivers, the relationship between Paul and John was strained at the end, but this is a song that really tells you how much he misses his friend. Other supreme highlight is "Road," which is much more of a modern sounding rock song, and has anthem-ability. "The road to somewhere stretches through the night/ we follow blindly, headed for the light/ I can't see anymore / the blinding light." It's got a great bass piano line. It's got clapping, thumping beat, understated vocals, I hope that things are going right in the McCartney camp. New certainly is.  Maria Taylor - Something About Knowing Maria Taylor, one half of the vocal stylings of Azure Ray, strikes out on her own on this lovely solo record Something About Knowing. Her voice is as gorgeous as always, and her album artwork is beautiful. If opening track "Folk Song Melody"doesn't sell you, well I don't know what else to do. Her super sweet voice, and the way she sings is just unique. It feels just like that beach on the artwork. Something you can sway and sit in the sun to. Lazy day music, lazy day music with a touch of sadness sometimes. "Tunnel Vision" has the drum beat of a U2 or Coldplay song, but then the dreamy vocals of Maria Taylor, it's certainly a welcome addition to her discography. Highlights include: "Tunnel Vision," "Folk Song Melody," and "A Lullaby for You."  Mandolin Orange -  This Side of Jordan This album is as close to true bluegrass as you're going to find on this list. Mandolin Orange from North Carolina is staying true to their genre. This Side of Jordan is their first record on Yep Roc, a personal favorite record label. The supreme track "Waltz About Whiskey," is everything this album is rolled up into one. Steel guitar, great lyrics, great harmonies, a nice little piano line and guitar. For fans still missing Nickel Creek or The Civil Wars. Their blend of Americana Bluegrass with a bit of gospel, makes you feel like you're in those North Carolina hills. Also, check out "Until the Last Light Fades." The Joy Formidable - Wolf's Law Wolf's Law is a great continuation of The Joy Formidable's career, I enjoy it more and more each listen, the real question is its longevity in my listening patterns. I am reminded by how good it is every time I listen to it, and there are many great songs on the record, but it doesn't stick in my memory like other records on the list. 'Cholla' is a great song, recommended if you've hopped on the HAIM train this past year. James Blake - Overgrown Overgrown won record of the year in the UK. It's great to see something worth noting winning such a title. The record is a great continuation on Blake's previous selftitled album. It's a blend of beautiful vocals, with a great reverb throughout the record. He also is comfortable not really sticking within one specific genre. The beat in the background most of the time is verging on something you could hear in a club, but he keeps it in the pocket to maintain a sentimental vibe.  Highlights; "Our Love Comes Back," "DLM," and THE song on the album "Retrograde." "Retrograde" is so catchy it probably needs a surgeon general's warning. It's a perfect blend of near hip-hop and electronica. Not sure how he does it. But he does it, and he does it well. Iron & Wine - Ghost on Ghost Sam Beam. Always out to impress. This album is a great blend of where he went on Kiss Each Other Clean and his previous more acoustic records. Opening track "Caught in the Briars" starts out with horns and those great Sam Beam vocals, and great back up vocals, it's toe tapping good. This is a record that took a bit to grow on me, however. Kiss Each Other Clean the love was instant. Ghost on Ghost took some more time.  I even liked the album artwork less (actually, it's my least favorite album artwork in all of the Iron & Wine discography). "The Desert Babbler" uses Sam's voice in an ideal situation. The falsetto is phenomenal here. Later in the album "Winter Prayers" is a call back to older Iron & Wine records. It's got so much space with a sparse amount of sound, mainly piano and some percussion, understated vocals, make for a haunting song. Slow tempo, Sam Beam really makes you sit and listen, three fourths of a way through a higher paced record. If it doesn't perk your ears, you're too busy doing something else. It's sometimes it's great to just sit and listen. (And I'm not just saying this cause he name drops my home town; "Milwaukee's a deaf ear for winter prayers/there's no night/there's no day/ with only hope in your pocket/ and hell to pay.") Hugh Laurie - Didn't it Rain  Here's my major detriment of the record; Hugh Laurie barely opens his mouth. It's a disappointment after his stellar Let them Talk. Songs like 'Careless Love' are reminiscent of his first blues record, and it is as wonderful as you'd expect. There's also the aspect that these records of his are all covers. That always takes a few points off the overall record in comparison to completely contained artist records. The Head and the Heart - Let's Be Still Speaking candidly, this is a let down record. The Head and the Heart's selftitled debut is a hard act to follow, however. Let's Be Still is still a quality recording. It's just going to be impossible to follow up such and impeccable record. This is a record that actually feels a bit bottom heavy. Opening track "Homecoming Heros" gets close to remind you what The Head and The Heart is, but just falls short of the mark (though, the chorus is still ace). "Cruel" is a highlight halfway through the record. Starts with just a piano and drums, then the vocals come in. Lower in the usual vocal range, but Josiah, Jonathan and Charity come together in a great vocal blend on this song. When the three of them sing together is when this band works best. "10,000 Weight in Gold" is also a wonderful track, it's got a great string and piano line. Not to mention Charity's harmonies. It's also the track with the most space, something that is notably missing on this sophomore release from the debut. Dale Earnhardt Jr. Jr. - The Speed of Things A quality follow up to Dale Earnhardt Jr Jr's debut. From the opening track this band from Detroit lulls you into listening. "Beautiful Dream" starts with a great harmonies before any drums are added to the mix. This band is easily one of my favorite electric bands. Despite a high level of computerized elements in this band, the guys still know how to craft a musically sound song. The album is a bit top heavy. Stellar tracks "Beautiful Dream," "Dream," "I Can't Help It," and "If You Didn't See Me (Then You Weren't on the Dance Floor)." The Avett Brothers - Magpie and The Dandelion IF I was giving these records numbers, it would be painful to see how low Magpie and the Dandelion was on my list. Part of The Avett struggle here is that they have been putting out such high quality records for over a decade. Magpie follows 2013's excellent The Carpenter so quickly, and it doesn't QUITE raise to the occasion. The songs on Magpie are excellent, as always. However, there are some bizarre choices throughout. The live version of "Souls Like the Wheels" for example. It's reportedly perhaps the ONLY time the song has been played live as a Seth solo. The band is currently playing a high gear electric version on tour. For those not in the know, "Souls" is on beautiful highly recommended The Second Gleam EP. It makes little sense to have a live track in the middle of your studio album, especially when there's a beautiful studio recording already out there. The electric version that you're playing live? Studio cut that and throw it on the record, you would still loose points, but not nearly as many. It's jarring on the record too, for the most part this is an easy listening Avett experience, outside of "Vanity" the album doesn't have too many high gear tracks. The album flows from one track to another, and then you get crowd noise. It's a bit too much. That all being said, there are some great Avett works on the record. "Vanity" is perhaps a bit too short, but it's a great lyrical piece, then there's this great break down about 1:30 into the track, which, I appreciate more of the grungey atmosphere breaking back into The Avett Brothers. Sure it's a bit more polished (hello, they finally have money) than yesteryear, but it's wonderful to watch. "Another is Waiting" is a great take on the fashion industry, the video is a must watch. "She's a rose/ she's a queen/ but she's staring at a magazine/ in the dark/ on that path/ where they doctor every photograph/ another is waiting/ she isn't saying anything." This track is supported by a great banjo line, some great back and forth vocals between Seth and Scott. "It's a fake/it's a con/ the nature of the road you're on/let's me see your skeleton/ well before your life is done." Other highlights on the record include "Bring Your Love to Me," "Morning Song," and "Open Ended Life." Brendan Benson - You Were Right Can we talk about how captivating Brendan Benson's voice is? It always demands so much attention without being overpowering. Stand out track "I Don't Wanna See You Anymore" embodies this entirely. On You Were Right Benson is just building on his great repertoire, each listen to this record proves to find a few more gems. "I'll Never Tell" has a great muted start and then kicks it into high gear, such a masterful use of dynamics. Well done. Bombadil - Metrics of Affection A surprise recommendation from Spotify itself. This is an interesting blend of genres, while mostly in the folk realm of things, Bombadil doesn't shy away from pushing the envelope. Opening track "Angeline" is a great way to get someone's attention right off the bat. Catchy as all get out. A little organ, a surprise female back up vocal pops in almost halfway through the track. The song is instantly toe-tapping. On a more acoustic level, "When We Were Both Cats" is a great sentimental song. Sounds like a song someone would sing in a bar to a woman across the darkness. "Isn't it Funny" has an Irish shanty sound to it, but then, at the end? There's a rap bit? Surprise! What a great, surprising, blend of genres. Standout, heart breaker, is "What Does it Mean" a song that uses a simple piano and a powerful vocal to propel the song. There's a bit of anger in the vocal, that is incredibly welcome. Some great lyrics in here as well; "what does it mean/when you cry/when i describe how your root beer eyes stab me with little tiny knives of longing in my mind/it seems there could be two explanations/they could be joyful tears/ or they could employ your fears/of facing the shame of saying you'd rather he be here/together baby you were meant for me/ maybe i act differently from how you expected me to be" What a hidden gem in the world of 2013 albums.

2013 Albums, Part One

Alright, alright, this is the absolute latest I have ever published a year end list.
It's taken some time. Not to mention the fact I'm a full time college student again. I didn't start reviewing records until much too late in the year, and therefore have been behind for quite some time.
However, publishing on Super Bowl Sunday is actually quite fitting, because I've CHANGED THE GAME on how I review records.

Typically, I sit and fight with myself for a few days on which record goes where in a numerical order. This October I changed my mind. I had to come up with a new way to review records. I am, while being a nerd, indie-music-snob (sometimes), am also a huge football fan. (So you can shove it.) I'm a good Wisconsin girl and love my Green Bay Packers, I'm even a shareholder. After a up-and-down season and having our star Aaron Rodgers out most of the season, I spent a lot of time reading NFL blogs and that led me to The Quarterback Index. It's nothing super official, just opinion (as is this blog), that ranks the QBs each week on performance and statistics, etc. As I read that blog each week, I realized the guy writing it was making up his own categories. What and idea. Typically each week went Here's Peyton Manning, here's four or five guys who just aren't Peyton this year, and then blah down the list to the WHO? section.

Well, I'm doing a bit of that. I have 50 records here for you today (in multiple parts, character limits), that instead of ranking them 50 down to 1, I've come up with five categories:

Elite

SO close to Elite, but just short

Really, really good records

Quality recordings, just not a whole lot of memorable staying power

Records that I think I would really enjoy if I had spent more time with them

Within each category I am not ranking a record against another. Which really isn't fair in the first place, different genres, different production levels, different backing from labels, budgets, etc. Certain records mean different things to you at different points in your life as it is. I did keep my elite to five records as a rule, but outside of that it was fair game. They're color coded in my Excel spreadsheet, but here's 50 records of the 194 I compiled from 2013. We, of course, will be working backward, so without further ado;

Records that I think I would really enjoy if I had spent more time with them:

Blitzen Trapper - Seven

Blitzen Trapper has always done right by me, but there's something about this record that just doesn't leave an imprint in my mind. There's nothing wrong with this record at all, I just keep forgetting about it. Album closer "Don't Be a Stranger" is quite wonderful.

Eels - Wonderful, Glorious

If I'm honest, I did not spend much time listening to Wonderful, Glorious after it came out. E has put out great records over the years, and 'Bombs Away' reminds me of why I love Eels in the first place, but the middle of the record just never stuck with me, until you get to album closer and title track. 'Wonderful, Glorious' is just that, wonderful and glorious (I wonder how many people have already made that awful choice). Seriously, though, it's got a great drum beat and bass line driving the whole song. Then they strip it do some choral vocals and you can't help but enjoy what you're listening to. 

Elton John -  The Diving Board

It's not really fair for another Elton John record, he's such a pro, and there are so, so, so many great songs in his repertoire. "Home Again" is a beautiful, heartfelt song. It's got a great piano line, and it isn't too heavy in other production. This is the Elton that delivers the hits. It seems unfair to judge Elton on his previous decades of work, but there's another record coming up, of someone who did blow it off the roof despite being around for 50 years, Elton's record is relatively safe.

Frightened Rabbit - Pedestrian Verse

Another record I forget about until I listen to it. It opens with 'Acts of Man' which is a brilliant muted, vocal powered, song. A drum beat comes in, and the vocal gets more emotional, making for a great listening experience. Constantly adding more and more layers throughout the 4:54 play time. The honesty in the lyrics (and yes they run a bit explicit) make for a great listen. Pedestrian Verse isn't done with you yet. 'State Hospital' showcases a bit more of the Scottish accent, but again a song that has been crafted well, the build, and then the take apart, and build right back up and power in the song really demands more and more listens. It's also always great that a song can use curse words, but they're used in a way that doesn't detract from the song. The album closer 'The Oil Slick' gets a shout out just for a great use of choral vocals. 

Ivan & Aloysha - All the Times We Had

For shame, Allison, for shame, I didn't bother picking up this record until it was 2014 already. I can tell that this record is going to become a favorite as time goes on, I just haven't listened to it enough to adequately say much about it yet. It's for those of us who like a little folk in our music. "Don't Wanna Die Anymore" has everything you (or I) want in a folk song. It's got great vocals, catchy chorus, slight guitar, and a relatable topic. 

Kurt Vile - Walkin on a Pretty Daze

I'll admit it, I got introduced to this album way too late. Shame, because it sounds great. I am looking forward to get to know this record more and more in 2014. "Shame Chamber" has some great potential to become a favorite.







Mother Mother - The Sticks
Can you argue with how catchy 'Infinitesimal' is? No. I didn't think so. Easily one of 2013's catchiest songs. It's a record that I know that I should have dedicated more time to, however every time I even thought about the record I went straight to the aforementioned and then to 'Bit by Bit.' Let's talk about 'Infinitesimal' for a bit here; starting out with some breathing noises, and then eventually the vocal comes in and gets you bopping your head along. It's pop to the extreme, and it's wonderful. When all the harmonies are kicking along it really reminds me of Architecture in Helsinki, then there's a bridge with some spoken word. Kicking back into the catchy chorus, you can see why I skip ahead to this song each time. 





Wooden Wand - Blood Oaths of the New Blues
This record is good every time I remember to listen to it. It's just a matter of remembering. The vocals are warm and honest, it's opening number 'No Bed for Beatle Wand / Days This Long' runs almost twelve minutes. Wooden Wand reminds me a bit of any folk band you want with a hint of Ben Lee's cadence. It's a neat record that I need to remember exists. The final two tracks, totaling near eight minutes 'Jhonn Balance' and 'No Debts' end the record very strongly. 

2013 Concerts in Review

Some more in review posts of the last year before my year end list goes live. (Yes I've been procrastinating it, but I'm a college student again and I forgot how quickly winter break really goes. Plus Brooke was down from Chicago and we had many adventures.)

Some interesting statistics. 2012 I went to 42 concerts. 2013, 17. That's a considerable drop. Though, in 2012 I did see the lovely Jukebox the Ghost 9 times, and then in 2013 only once. There's a good chunk. That and being a college kid again, and moving out of the drivable distance of Chicago really limited my shows. I've only been to three since I moved to Orlando in August.

States visited for shows: Colorado (1), Illinois (6), Wisconsin (3), Michigan (1), Ohio (2), Georgia (1), and Florida (3)

Band saw the most: Ben Folds Five (with one solo Folds show in April) with 5 BF5 shows. 6 if you include Ann Arbor. For the band I was therefore in the first place, second place goes to 3 Avett Brothers gigs. Everybody else I just saw once. I of course saw Guster and Barenaked Ladies several times over on the Ben Folds Five summer tour in conjunction, but that's counting duplicates.

Bands I saw for the first time (that I was looking forward to - not openers I was clueless about going into it) in 2013: Guster, City & Colour, Edward Sharpe & the Magnetic Zeros, Nataly Dawn and Matt Pond.

Artists met either before or after gigs this year: Seth & Scott Avett (1), Jukebox the Ghost (1), Tim DeLaughter - The Polyphonic Spree (1), Kevin Devine (1), Amanda Palmer (1), Jenny Owen Youngs (1), Ben Folds (2), Darren Jessee (2), and Robert Sledge (3). Which constitutes 10 of 17 shows. That's damn good.

It's impossible to pick a particular favorite show because it's apples and oranges. The highlights that stick out over the year follow:

Hard to forget last January in Denver seeing Ben Folds Five and Brooke, Stef, Kate, Mollee and myself are walking around this outdoor mall (it was surprisingly 60 F that week) after having lunch, having a coffee. Then what I will never forget happened. We're chatting and of course all on our phones, then Brooke puts her arm out in front of me and gasps. First thought is that I'm about to run into someone or something, etc. Next thought processed she's saying "Darren! Robert!" We're walking straight at two thirds of the band. The band. It's been almost 365 days and I'm still giggling over it. The guys stopped and talked to us about all sorts of stuff. Anytime I get to spend with those guys is just golden. How many people in the world can say their favorite band knows them? I certainly count my blessings! Darren and I had a great conversation that helped me get my ass out of Wisconsin and down here and back in school. Just remember, anything you say to someone can change their life, either for the better or the worse. Words have power. Build people. Back on track, as we're talking to the Darren and Robert, Ben shows up. He had a CVS bag (the things you remember), and you could tell he was trying to get their attention without ours, and then noticed it was us. Oops. Then he says, Oh I still owe you $20. YOU DO SIR. Haha. The concert is relatively less memorable after that all happened. I do very well remember the Rock this Bitch/Freebird improv from the show, but the pre-show is far more memorable on it's own.

The Avett Brothers have some great memories over 2013 and shows I attended. Seeing them and freezing our butts off in line in early February in Madison, WI. Oh man. Meeting the guys before the concert was also very wonderful, and I was very happy to share that moment with Megan. The concert itself was awesome too, they consciously decided to play smaller venues early 2013. It was great, those days are probably long gone with their recent, well deserved, success. The show in Milwaukee in June was particularly memorable as well. They co-headlined with the Violent Femmes, which was great MKE hometown pride kind of stuff, but the time that TAB was on stage was during the opening night of the festival's fireworks. The fireworks start going off during 'I and Love and You' which is quiet for a TAB song. Scott was having a moment with the fireworks and getting the lyrics in. It was fun to watch. Another great moment during 'Down with the Shine' the lyrics of "out with the warm / in with the cold" a great breeze of cold air off of Lake Michigan came into the pavilion, which just made it all more magical. Then my last concert of the year was TAB here in Orlando, and I had some bomb ass seats. SEE HERE:

I mean, DAMN! It's a lot harder to come by first row TAB seats nowadays. AND I can't talk about how good Magpie and the Dandelion sounded live. Their setlist was surprisingly diverse between the albums, which was wonderful. 'Souls Like the Wheels' live is a completely different experience. I'll talk about this more in the album review post that is to come. 

I had mixed feelings this year about the Jukebox the Ghost concert I attended. Musically and all of that Ben, Tommy & Jesse we're fantastic, no qualms there. I also loved the fact they were able to headline the Metro in Chicago, but what the audience was comprised of certainly rubbed me the wrong way. Sure I could be snobbing out - at that point I was the person not related/personal friends with the band who had seen them the most…. the audience was just overwhelmingly young girls who were/are 'in love' with one of the three guys. I am certainly not one to get on anyone's case for fan-girling, but be realistic dudes. There was a notable lack of concert etiquette too, which is always distressing. But young kids….. c'est la vie. 

Seeing Kevin Devine this fall was fantastic. Going to a small place like The Social was neat to discover here in Florida. His stage presence never fails. Ever. You may not be able to hear for a few days later if you stand too close to any of the amps, but that grin on your face will satiate your hearing needs. You'll hear much more about KD in my albums post in the near future.

Dawes this summer in Chicago was great too. Megan and I waited a few hours to be in the second row, speaking of another band who's audience has exponentially grown. Boy do they deserve it too. It was a hot day and a good time. It was also wonderful to hear songs off the new record live. You'll hear more about Stories Don't End in the album post as well.

City & Colour was certainly the concert that I was most impressed by someone I hadn't seen live before. The lights alone are noteworthy. Dallas Green put on a great show, an incredible setlist (though I, of course, would have loved to have heard 'O Sister'). The House of Blues in Orlando was packed to see the band, which I was not quite expecting, but I was really glad to see it. Dallas cracked me up when he asked everyone to put away their phones and just pay attention to the music for ONE song, and the audience couldn't even do that. You'll hear more about The Hurry and the Harm in that same album post.

Ben Folds' solo show was also incredibly noteworthy. It was short. There was a terrible opener. Ben should have played a heck of a lot longer (especially for the ticket price). Ben hadn't played solo in a while, and boy did he screw stuff up. He even screwed up 'Brick.' Hahaaa. 'Sentimental Guy' was understandable, because how long had it been since he'd played it. He even had the lyrics printed out for 'The Bitch Went Nutz' (the fake one if you don't pay attention to spelling). It was a lot of fun, it was sad to sit apart from Brooke and Stef, but it was wonderful to watch Ben on a piano alone. PLUS then he planked on the piano for screwing up the lyrics. Hilarious moments with Ben Folds.
The Cincinnati Ben Folds Five show is also very noteworthy for how kick ass it was. (We also randomly ran into Robert outside of an art museum on our way back to our car after a coffee run). The guys were very into it and the crowd was too. The Rock this Bitch that night - Don't Roll the Dice 241-6748 (Adam S Levine - some injury lawyer) was priceless. I remember the phone number six months later. My brain is very good at that.

Overall while 2013 did not have a big festival involved like 2012's Bonnaroo and 2009 and 2011's Lollapalooza, it was a good year. Of my top 7 favorite bands I just didn't see Hotel Lights (who didn't tour) or The Old Ceremony (who didn't come anywhere near Milwaukee/Chicago or Orlando at least since I've been here). Seeing The Avett Brothers, Ben Folds Five, Ben Folds Solo, Jukebox the Ghost, and Kevin Devine all in one year. It's gotta be a win!

I've only got one gig booked for 2014 right now, it's The Avett Brothers in Tampa. Can't believe how quickly they're back here in Florida, but I'm not objecting at all. Everyone else should take note!

2012 Review

Hello! Before I launch headfirst into 2013 albums, let's take a review of what I loved in 2012. 2012 was easily one of my favorite years for music. Each year someone proclaims "this year was the best year for music in recent memory." I still stand behind 2012. All of my heavy - current - hitters released records except one (who released in 2013).

2012 Records I still regularly listen to in no particular order:

The Avett Brothers - The Carpenter
Ben Folds Five - The Sound of the Life of the Mind
Kate Miller-Heidke - Nightflight
Dr. Dog - Be the Void
Jukebox the Ghost - Safe Travels
Ryan Lerman - Pinstripes, the Sky
The Mountain Goats - Transcendental Youth
Now, Now - Threads
Grizzly Bear - Shields
Regina Spektor - What We Saw from the Cheap Seats
Andrew Bird - Break it Yourself
Jenny Owen Youngs - An Unwavering Band of Light

AND my best of from 2012, is still one of my favorite records of all time. It got upgraded in the last year to all time from year. Unfortunately, it's a record the average person won't have heard. A true shame, and a record I suggest to anyone and everyone that will listen.


The Old Ceremony - Fairytales and Other Forms of Suicide
Buy here from Yep Roc (Digital, CD, and Vinyl)
 
“What makes a man but tiny little spirals.” The first line on album opener “Star By Star” lets the listener know that Django Haskins is yet again going to verbalize things in his unique way. The man is one of the best lyricists I know. Thinks about things differently, he uses a higher level of vocabulary. It also certainly helps that the timbre of his voice is incredibly soothing. Even when he gets his yell on later on the title track. One thing that needs to be said aloud right now; on a whole the musicality of this record is the band’s best to date. I don’t know if it’s actually a better production level or what, but it sounds like the band is really hitting their stride and I am happy that the band is finally on a record label that’s able to give them nationwide publicity. Yep Roc, also home of Jukebox the Ghost, should prove to be a great partnership for Chapel Hill’s The Old Ceremony. It should mean more national touring, and I’m always happy to see the record promoted on Yep Roc email blasts.

 Back to the album. This band uses a lot of "non-traditional rock band" sounds. They travel with a vibraphone, which Mark Simonsen is always excellent on, as well as his keys. Gabriele Pelli plays a fantastic violin, and occasional various guitar duties, and an occasional banjo here and there. Dan Hall and Jeff Crawford keep the beat going on drums and bass respectively. “Elsinore” the albums’ second track, may perhaps be my favorite song off the record. Django’s voice is perfectly soothing through the entire track. It starts with just the vocal and an acoustic guitar and slowly builds up, light drumming joins in, then the keys and violin, halfway through they add in a banjo (and we know how I feel about that instrument). Just as the track builds they strip it right back down to how it began. Everything has the space it needs to breathe properly, fantastic dynamics. The lyrics and vocal really shine, but so does the violin, so does the keys, everything in its place, as it should be. It is a perfectly crafted song. There is just something about the way Django sings the word Elsinore is indescribable.

Following track “Fairytales and Other Forms of Suicide” kicks the momentum of the album up a notch. Electric guitar and those aforementioned yells on Django’s part. It makes for a fun song while the album switches gears for a bit. “Sink or Swim” is a political statement on the bands’ part. Satirical lyrics written from the Self-Important-Self-Righteous-Conservative position. “Now I was never black myself, but I feel pain, and I’m gonna give you some advice about making something of your life. You know it’s sink or swim, you’ve got a choice to make my friend, cause god bless the child, but if it ain’t blessed, it better learn to sink or swim.” A song, with an accompanying video that have meaning, but keep the tone playful enough that I doubt everyone hearing it even really knows what’s going on. “Day that I was Born” takes it back down tempo wise, and features a lower register in the vocals and one of my favorite violin parts on the entire record. This track is also a great example of Django’s poetic sense, pun not intended (you'll see); “I can almost smell your hair tonight/ the hypnotic poisonous dandelion/ I watered and set you out in the sun/ but you closed your petals to everyone….. ‘Cause you knew the poetry/ I just knew the poem/ You woke up next to me/ The day that I was Born.” The entire track is more of the same.

The next track “Beebe Arkansas” has one of the album’s greatest intros. Great build. Harmonies, female ones at that! “The Royal We” has a real peppy beat; the drums really drive the track. “The royal We is hardly ever known to think of you.” Django also has a great vocal part here; the intonation in his voice is distinct on the record even. “Catbird Blues” really slows down; this pop-noir band has a song for each mood on the record. Placing one of the albums slowest right before one of the peppiest songs on the record “Middle Child.” “Middle Child” Django tells the story I have lived with a middle child for a sister. Here they use some reverb, great vocal effect. It echoes really well. There is a great instrumental break down lead by Django’s electric guitar. Propelled by Dan’s drums, the other various noises going on in the background, some undeterminable lyrics, and the band is just jamming. The song is sure to get itself wedged in your head.

The album’s closer “Feet Touch the Ground” starts with the vibraphone and it ends the album on a soaring note. The lyrics are just as fantastic as anything else on the record; “But sooner or later we’ll find that the air’s too thin for us, like an old satellite on its final go round, we will burn through the sky, moving faster than sound, will we land in the sea? Or on to a house? Where a family sleeps? Unsafe. Unsound.” There are more backup vocals here, and more projection on the vocals, more perfectly inflected words, more beautiful violin, more great drumming, guitar playing, and bass line that keeps the song all tied together nicely. More of everything, yet perfectly constructed that everything, once again, is right as it should be. The only bad thing happening here is that the album is ending.

Fairytales and Other Forms of Suicide is a cohesive record from start to finish, also showing great promise for the band to come. I've seen photos popping up online that the band is back in the studio, I am intrigued to see what comes out of this band next with label support and a wider market. I have high expectations.

Check this blog out throughout December for 2013 album reviews like this one. Always open to album suggestions. I am not paid by any label or artists to review their records, this is all just my opinion. Feel free to disagree, but always be respectful!