By Melissa B.
I love a good soundtrack, even for things I’ve not seen. I love the way that carefully chosen songs can convey a feeling and even a look, and that the use of music in a show or movie can make or destroy a moment.
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By Melissa B.
How fortunate the New Orleanians are: Once Christmas and New Year’s are over, they get to move straight into Carnival season. Parades, food, music, revelry, and the finest of these things, I’d wager, is the music.
I’ve often wondered how New Orleans can have so many obscenely talented, homegrown musicians. Is it the food, the humidity, the heritage, the proximity to water? Is there a great funk reservoir that all of the drinking water comes from? Do they put it in babies’ bottles at birth? Whatever causes it, there is a bumper crop of amazing New Orleans music out there and Meet Me At Mardi Gras puts it all in one convenient disc, making a party in your living room, or car, or ears. What have you.
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If there’s one good thing that can be said for what turned out to be a furthering of turbulent and dark days the world over, 2011 was at the very least a good year for music. A great year, even.
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By Kai Shuart
In the interest of full journalistic disclosure, I have to say that I know Melody Walker—the artist behind this CD—personally; I had the privilege of playing with her many times when we were both attending Humboldt State University and seeing her talent grow from her early days playing at Muddy Waters. We remain great friends to this day.
However, that does not diminish the fact that this is an outstanding record. The opening title track, “Gold Rush Goddess” intertwines the earthy images of dynamited mountains and the lusty image of a woman dancing for money and melds them into a cohesive allegory for exploitation, as evidenced in the lyric “Come down off that mountain/come down all you men/but don’t you come knockin’ without money in your hand.”
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By J Howell
To trot out, once again, the nearing-cliche bit about The Fall said by the late John Peel, “they are always the same; they are always different.” Simple wisdom from Peel regarding the Fall, and always applicable: Ersatz G.B. is no different in that regard. Whether that’s a good thing or not is entirely up to the listener.
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As always, I wish I’d had the time and resources available to experience more, but here are some of the things that made 2011 memorable (in alphabetical order, to be fair).
À l’Intérieur (Inside) at TIFF Bell Lightbox, August 20: Though I’d already watched this film three times on DVD, I felt that I needed to see it on the big screen. I’ve probably said this a few times already, but it’s still true: it manages to completely transcend the horror genre to become a bona fide work of cinematic art. It is indescribable and powerful and if you haven’t experienced it yet, you should.
Adam Ant: For all those folks who thought he was a crazy, bloated has-been, recent live performance clips on YouTube will more than prove those half-baked theories wrong. He’s so much more than the guy who did “Goody Two Shoes” and any and all adulation for him is well deserved. His descent into madness, fall from grace, and subsequent return to form (used in the truest, most non-cliched sense ever) are remarkable achievements. He remains, after thirty years, a huge inspiration to me. (more…)
Here is some popular music I have been digging this year.
Some on this list came out this year and some didn’t.
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Coming up with a summary of what I liked that emerged in the current year is getting tougher to do, the older I’m getting. I’m harder to impress and surprisingly, I’m even more susceptible to boredom. I think I can chalk it up to the fact that the older we all get, the less time we have. So I don’t have the time to waste my personal life on bullshit. Its bad enough that I live in Clevehole!
So without further ado, here are some new records that I think are worthy of my precious time!
This was, by far, my favorite album of the year (actually, the past two years). But first some background: Mick Harvey is one of the few musicians out there who doesn’t have any embarrassing bullshit in his discography. He continuously produces quality work and is prolific with his output, but is always viewed as a “collaborator” even though he has several solo albums. Typically Mick works with a lot of people; he’s been surrounded by many talented ones in his career (who would probably be useless if they didn’t have someone as organized and hardworking as Mick around to make sure shit gets done), but hasn’t ever really gotten the credit he deserves. (If there were an “Employee of the Year” Award for musicians Mick should’ve won it many times over!)
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By J Howell
The concept of the “sophomore slump” may be a tired old critical cliché, but it’s applicable often enough that when a band with a great debut gets around to that second record, one may find oneself a bit nervous. Thankfully, Peggy Sue—whose Fossils and Other Phantoms was likely the best debut album of last year—have not only avoided the second record hex, they’ve completely obliterated it. It’s difficult to recall another sophomore effort that so masterfully retained the best of its creators’ aesthetic while expounding upon it by orders of magnitude; the example that springs to mind is Castanets’ First Light’s Freeze, and like that record, Acrobats may well stand as a modern classic.
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Saint Winehouse
© 2010 Vicki Berndt
This past year boasted many new releases by some of my favorite all-time artists. Technically, Robyn’s Body Talk trilogy came out in 2010, but her career blew up stateside this year, culminating in her appearance on Saturday Night Live in December.
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