This wasn’t the plan. The plan was to review one of the myriad of new albums coming through the door on an almost daily cadence. But here I am, late Monday night, sipping some scotch and digging through my Fanatic books by Henry Rollins building out playlists (said playlists are public and can be found here on Spotify and Apple Music for those inclined to check out some seriously great music) and the need – nay, the urge to listen to Ty Segall came over me. So here we are, with his 2017 eponymous album playing through the speakers, every gnarled guitar lead and garage soaked riff firing up my brain’s pleasure center like an fireworks display at Disney World. I’m shocked there isn’t already a Ty Segall entry on the site, but what better way to introduce the man than Ty Segall, right?
Continue reading “Ty Segall: Ty Segall (2017)”
Taking a break from the classic rock discoveries thanks to Sea of Tranquility and moving to another massive source of music discovery: Henry Rollins – specifically his role as DJ at KCRW (which you can stream to your heart’s content here) and the collection of books detailing his playlists and the inspiration behind. It was his radio show that got me into the first two Generation X albums, and without his championing I never would have come across Empire, the band formed when guitarist Bob Andrews and drummer Mark Laff over a desire to move in a different musical direction than the more commercial punk/pop Billy Idol craved. The result may have only been one album, but 1981’s Expensive Sound is a great hidden gem in the post-punk/rock and pop world.
Continue reading “Empire: Expensive Sound (1981)”
WhatFunLifeWas. Beheaded. Transaction de Novo. I had no idea these albums existed two years ago. I was unaware of Bedhead, the band that created this music, or the slow core scene in general. And yet I’ve always known this music. In a real sense, the music of Bedhead is the music that has always played in the quiet hours inside my head ruminating and reflecting on questions I’ve had my entire life. Bedhead 1992-1998 is a boxset of the band’s collected output, and to say that for me it’s become one fo the essential musical components of my life is not an exaggeration. Continue reading “Bedhead: 1992-1998 (2014)”
To start, this was not the Beck album I thought I was going to write about. I went into the morning happy to revisit an old friend, a sunny, chill psychedelic folk album that reminded me of gots lazy days and warm introspection. Well, that album was Morning Phase, an album I apprarently don’t own despite really enjoying. Instead, I have Modern Guilt, Mr. Beck Hansen’s brief but listless 2008 effort that starts promising but ultimately leaves almost no impression once it’s over. Continue reading “Beck: Modern Guilt (2008)”
Moving away from the heavier doom of Humbug, 2011 finds the Arctic Monkeys embracing the lessons of simpler arrangements and more straightforward songwriting. Pop-infused like opener “She’s Thunderstorms” and “Black Treacle” chart the course for the tongue-in-cheek Suck It And See. It’s the first time the band sounds like something other than completely themselves, and despite the strong collection of songs here it’s this album where I start to fins myself wandering a bit in attention. Continue reading “Arctic Monkeys: Suck It And See (2011)”
Humbug is a great example of how you can have all the same pieces, all the same musical components from your previous albums, but can create something completely different in the simple construction of said pieces. It’s that the Arctic Monkeys significantly altered their sound, but by enlisting Josh Homme from QOTSA as a producer there’s a looser, bludgeoning vibe to the tracks, overall more claustrophobic and viscous. It all leads to a deeper, darker record that gets better with every listen. In other words, just another Arctic Monkeys record. Continue reading “Arctic Monkeys: Humbug (2009)”