Using this feature for a different purpose this week — I want to take a look back at the past year of releasing Devinyl Splits Vol. 2 via Bad Timing Records with my partner, Zack. The Devinyl Splits series is a collection of split 7” installments in which Kevin Devine partners with a different companion for each release.Read More
Following up on Weekly 40-Watt #7, where I wrote about The Allman Brothers Band’s At Fillmore East, and by the recommendation of my dear friend Owen, I am listening this week to Duane Betts’ 2018 EP, Sketches of American Music.
Duane Betts is the son of original Allman Brothers Band member Dickey Betts, named after the band’s legendary guitarist Duane Allman. Being named after one of the greatest guitar players of all time and being the son of the guy who wrote “Jessica” and “Ramblin’ Man” makes for some lofty expectations for your own music, whether that’s fair or not.Read More
A bit of a shorter Weekly 40-Watt this week. Last year I got into Hatchie’s five-song EP, Sugar & Spice, the first release from the Australian bassist and singer/songwriter. Since Hatchie just announced her debut LP with a new track, I wanted to jot down some notes about why her first five songs have impressed me so much.
There is a quality to some really great songs that makes them feel as though they’ve always existed. They sound like they have always been there, they were there when you were born and they’re there now and they’re always going to be there. You’ve always known the melody, it’s always gotten stuck in your head, you knew it with the first breath you took.
I got this impression from “Sure” the first time I heard it, feeling like it was a song that clearly could have been a smash in the ‘90s but with a truly timeless appeal. The opening track from Sugar & Spice really hits its stride when Harriette Pilbeam starts singing, wrapping you up in its hazy, cloudy arms. It’s an enveloping song with a simple pop melody and a viciously catchy hook. (And I later realized that its timeless nature could be accredited to the intro melody’s similarity to an actual hit from the ‘90s — “Kiss Me” by Sixpence None the Richer.)Read More
When you’re in school, they don’t teach you that The Allman Brothers rocked. There’s a bunch of rock’n’roll music that you hear on the radio or whatever, and you do inevitably hear “Jessica” and “Ramblin’ Man” and “Midnight Rider” at times. These songs do rock, but you don’t hear the extensive jamming that appears on the album that actually delivered the group into the mainstream.
While listening to the deluxe edition of At Fillmore East extensively over the past few months, I also began reading up on the tragic history of the band. The group released two records to minimal acclaim, but found through an insane touring schedule that they were much better on stage than in the studio at the time — this is what led to the group recording At Fillmore East live over the course of two nights on March 12 and 13, 1971. The original seven-song, 80-minute version of the album charted highly and brought the group the type of artistic and commercial breakthrough they needed to keep the project going.Read More
There are several songs that I primarily associate with the Tony Hawk’s Pro Skater series back from the N64 days:
“Police Truck” by Dead Kennedys
“Jerry Was A Race Car Driver” by Primus
“Cyco Vision” by Suicidal Tendencies
“New Girl” by Suicide Machines
“Superman” by Goldfinger
“Blitzkrieg Bop” by Ramones
Now … this type of primary association is a factor of multiple events that need to happen concurrently. First off, this association wouldn’t have existed if I’d heard these songs before to any significant extent. If I already had some type of relationship with that Primus song, for example, its primary association in my head would be attributed elsewhere.Read More
I’m not writing about a band or artist for the first time this week, but instead dedicating this installment of my weekly music blog to a term that I used last week in my post about AM Taxi’s Shiver By Me. The term is replayability quotient, and after a quick Google search I’ve decided that I invented it.
Going back to when I wrote reviews on AbsolutePunk.net, at some point I started attempting to factor in a record’s long-term value into my “critiques.” I remember prioritizing this at the time as a way of policing myself into giving fewer albums really high scores. AP.net was known for reviewer ratings that tended to skew high, and I was especially guilty of that, especially early on in my album-reviewing time. When you write those reviews, especially if you’re writing about a release that is not highly anticipated, it’s tempting to give something you like a pretty high score so that people who are skimming through will notice it and potentially become intrigued. I was really fallible in that regard when I was younger.Read More
This week’s album is AM Taxi’s Shiver By Me. It’s the first new full-length since 2010 for this Chicago rock’n’roll band, and only their second overall, but the band members here have more musical experience than that output lets on. They know how to play their instruments pretty well.
I fell in love with AM Taxi’s first LP, We Don’t Stand A Chance, back in 2010 when (I think) then-AbsolutePunk.net contributor Chris Fallon reviewed it. I was drawn by the comparison this band received to The Gaslight Anthem back then … The ‘59 Sound was a couple years old and American Slang was still incredibly fresh, I think just released when We Don’t Stand A Chance came along. The comparison is apt; Adam Krier’s vocals do indeed sound like Brian Fallon’s, with that type of rasp that stays omnipresent in this type of poppy punk rock and roll. The guitar work and overall song structures remind of Gaslight easily, and the step-further comparison to Springsteen is there for the taking, too.Read More
Today’s focus is William Tyler, a guitarist who played in the band Lambchop for a long time and who has put out eight of his own releases, most often associated with Merge Records throughout his solo career. The band Lambchop is worth looking into on its own — here is an Essentials playlist from Apple Music for them — and I would especially recommend them for fans of alt-country acts like Limbeck. Easy to see here where a band like Limbeck could have taken plenty of influences from this band.Read More
This week’s 40-Watt blog is not strictly about a band that I’m listening to for the first time, like last week’s was, but it’s a band that I’m visiting for the first time in a long while.
I originally heard The Front Bottoms back in summer 2010, when I reviewed their debut EP, Slow Dance to Soft Rock, for AbsolutePunk.net. They were an unsigned band and I wrote about them like they were an unsigned band. Back then, I called the EP an “eager and honest brand of indie rock/punk” and praised “The Beers” as a highlight. In retrospect, that song is certainly still my favorite song that uses the word “steroids” in a chorus — no doubt.
The way I closed that review? “Hopefully this band can muster up enough attention one day to embark on a proper tour, and maybe even work their way into a long-lasting career; it would be a shame to see this type of clever songwriting go unnoticed by the masses.”Read More
This is a new blog feature called Weekly 40-Watt. My goal with it is to encourage myself to listen to something new in my ears each week and start writing about music a bit more again. I’ll listen to one band or album, new or old, that I’ve never listened to before and write some stuff about it. Let’s see if we can somehow get 50 of these in 2019.
Today’s blog is about The Black Crowes. My friend Pat pointed me in their direction when, after playing a zillion hours of Red Dead Redemption 2 and watching A Star Is Born, I found myself searching for something rock-ish / country-ish / blues-ish with guitars. Probably I can blame the Jackson Maine tracks on the ASIB soundtrack for this itch.Read More
I basically use this blog for almost anything except personal content / life updates, but this post will firmly straddle the line of something personal while also being music-related, which is something I write about plenty enough.
Katie and I got married in March. We had an awesome wedding and reception in Gowanus, and I'll always think it's cool that while living in Brooklyn we were able to host 120 family and friends for our wedding at a place that was just a 20-minute walk away from our apartment.Read More
The following is an objectively good ranking of classic Disney animated movie soundtracks. The criteria for the soundtracks considered in this list is very simple: I focused on the best soundtracks from what is considered objectively the best run of theatrical animated features from Walt Disney Studios.
The run I'm referring to begins in the fall of 1989 and ends in the fall of 1999. Throughout this one single decade, Disney produced the following animated classics (this is not a comprehensive list of all films released in this decade, mind you): The Little Mermaid, Beauty and the Beast, Aladdin, The Lion King, Pocahontas, The Hunchback of Notre Dame, Hercules, Mulan, and Tarzan. You'll notice that this list excludes some crucial titles -- namely, Toy Story, A Bug's Life, and Toy Story 2 -- which are purposefully left behind as I've always viewed the Pixar x Disney partnership to be separate and have produced a superior product when compared to Disney's in-house animated films.Read More
I dove into my first listen of Spanish Love Songs' Schmaltz with a suspicion that I was predisposed to enjoy it. The going comparisons for the album were to The Menzingers, Hot Water Music, and other bands of that gruff pop-punk ilk. Right up my alley, in terms of music I've enjoyed for the last decade-ish.
But many bands putting out music that has been up my historical alley have failed with more regularity lately, in terms of my own enjoyment. Rarely does a pop-punk record come around that really impresses me, or has significant lasting value, let alone a debut. To boot, what was I going to gain from a band trying to reboot Chamberlain Waits when I've been latched onto The Menzingers' After the Party for the past year? It's not that I've moved on from double-time punk songs, but that as I'm getting older, I'm keeping up with the bands who grow with me.Read More
It is now February 15, and despite that being the date, I still have not put a 2017 year-end list on my blog. I will note that no one asked me for this list, so it must not be all that important, and my lateness to the party must not have been noticed. Primarily, I am putting this online so I can refer to it in the future. I've enjoyed having lists from past years to look back on, so that's why I'm bothering with it at all.
This year I mainly listened to The Menzingers, but managed to squeeze in time to listen to other bands as well.Read More
Each of the previous three years has come with a certain disclaimer -- that I'm listening to less music than I pretty much ever have in the past. Not the case this year! My music listening has picked up quite a bit this year, though it stills tends to come in waves. I'm spending more time listening to music on the train than I used to, and while my commute time is still mostly devoted to a book, a comic book or a podcast, this alone has increased the amount of new albums gracing my ears. Additionally, I'm spending more time in the gym this year than in years past, which is proving to be the main source of my music listening so far in 2017.
Here's the dang list.Read More
The Menzingers occupy this specific space in rock music. They aren't the only band that live in this space, but they're one of the best at doing this thing within it. There's no hard definition for this space, no concrete rules or regulations that determine its residents; it's not marked by a specific sub-genre or even a certain execution of a familiar sound. The space they fill is more recognizable by the way a Menzingers song can make you feel.
This feeling was all around me when I listened to "Lookers" for the first time. Released in August last year, the track was the first single dropped from their upcoming album After the Party. Friend of the program Dan Ozzi wrote, in Noisey's premiere of the song, about The Menzingers' affinity for nostalgia within their songwriting. This affinity is of paramount importance to The Menzingers' membership in this space, and that space is where the term déjá nostalgia will apply most directly. He called on the band's past records, On the Impossible Past and Rented World, for their nostalgic vibes and commented that "Lookers" feels like an instant Menzingers classic, which I very much agree with.
Nostalgia is a prominent feeling when listening to this band, especially to OTIP, due to the imagery in which The Menzingers often deal. The scenes from that album are well known by now: American muscle cars, American diners, American waitresses, a non-zero amount of American drunkenness, driving without aim, getting nowhere (the plot does not develop / it ends where it begins), etc. The Menzingers are amongst the few bands that pull this off without being corny, which is the highest risk run by bands who operate in this area, lyrically. And the nostalgia factor comes into play because diners, muscle cars and other settings or objects like those don't feel particularly of this era, though all of them still exist; there's a wistfulness, a vignette tinge, a haze and romanticism to it all. On the Impossible Past feels simultaneously new and old, even on first listen.Read More
A personal characteristic that bothers me regularly is my inability to listen to normal music while I'm doing any type of work that requires reading comprehension or writing. This didn't always used to be the case, but at some point in the last three years, it became impossible for me to have most music on via headphones while I was writing anything, and more recently, I don't like having music on when I'm reading, either.
Some quick tasks are exceptions to this rule, and I can definitely have music on when I'm doing more "drone-ish" work, like updating spreadsheets or the more technical parts of my job. But the general rule is that I'm not listening to any music with vocals while I'm working. This obviously rules out most of the music I like, and it also rules out listening to podcasts while I'm working.
This was my impetus behind getting more into instrumental post-metal recently (I'll probably have another blog about that at some point). But my recommendation for today is the Narcos original series soundtrack, which I will credit my friend Andy (who tweets once a year, about football) with turning me onto indirectly. If you haven't seen Narcos yet, it's a Netflix show about Pablo Escobar and his drug empire in Colombia. The first season was awesome, highlighted for me by the acting performances, and I'm planning on starting the second season soon.Read More
Duh! Modern Baseball's Holy Ghost took the top spot on my mid-year albums of the year list, and has as good a shot as anything else of being #1 come EOTY time. Also -- side note -- oddly enough, I haven't really sat down and figured out my list yet, even though I've been writing these blogs for a few weeks. I plan on doing that Tuesday in preparation for recording an episode of Chorus with Jason about our favorite albums.
Holy Ghost (Apple Music / iTunes, Spotify, YouTube embedded below, Bandcamp, vinyl) continues to stand head and shoulders above many of the albums I've heard this year. It has a great emotional range complemented by a big leap in songwriting from MoBo on an instrumental level. And though it has very focused inspirations, it manages to appeal broadly to a wide audience, whatever the listener is going through.Read More