[My Animal House; 2016]
Animal Collective’s 2016 release Painting With feels a bit like a final effort for the band. It’s a palatable album but lacks the spirit of adventure found in early AC works. After a 16-year span where they’ve released 11 albums, you can’t blame the boys for going through the motions at this point. It’s not that they’ve lost their muse – Panda Bear continues to create his melodic atmospheres on critically acclaimed solo albums, and Avey Tare’s boundary pushing solo work has reached incomprehensible levels (in a good way). Much like The Beatle’s near the end of their run, AC seem more comfortable and willing to take risks as solo artists. In 2016, the underappreciated and mysterious Deakin has emerged as AC’s biggest secret with his first solo album, Sleep Cycle. Continue reading
In the second episode of “The Year of the Bowie”, we take a look at Bowie’s struggle to find his own unique voice as a solo artist. You can check it out HERE, or you can subscribe to the podcast on iTunes or Stitcher (search: Year of the Bowie). If you enjoy the episode, “like” the video and give us a positive rating.
Below you’ll find some of the videos discussed in the episode.
The Hope Six Demolition Project
For her latest project, PJ Harvey took a voyeuristic approach to the recording process by allowing the public to witness the band in the studio through one-way glass. On face value, this seems a bit gimmicky, but it’s a pretty fitting reflection on PJ’s songwriting for The Hope Six Demolition Project. For the concept album, she was an observer herself, taking on the role of a reporter, viewing the impact of American capitalism on the world.
In this year’s episode of “Cinco De Metal” we check out some of the best metal releases in the past five months. You’ll hear new music from Baroness, Cobalt, Oranssi Pazuzu, Aluk Todolo, Black Tusk, and Deftones. We also take a look at the Lemmy Kilmister documentary, “Lemmy”.
Check out the episode HERE or better yet, go subscribe to the podcast at iTunes, Stitcher, or GooglePlay (search key word: BDWPS).
Baroness “Chlorine & Wine”
Cobalt “Beast Whip”
Oranssi Pazuzu “Saturaatio”
Aluk Todolo “III”
Black Tusk “Gods On Vacation”
Deftones “Hearts – Wires”
Hawkwind “Down through the Night”
Bob Dylan “Girl From the North Country”
City Sun Eater in the River of Light
As I watched Woods put on a stellar show at the Turf Club in St. Paul, Minnesota on Tuesday night, I had a strange image cross my mind during the performance of one of their latest tracks, “Can’t See It All”. As the song’s brooding bass line slink into my psyche, an image of a snake entered my mind. It seemed like a random vision, and I chuckled to myself at the weird places my brain can take me during a concert. But as I watched the band continue to play a set composed largely of material off of their latest, City Sun Eater in the River of Light, I began to think about how this band has been able to slither its way through the past decade, shedding skin with each album and returning with a fresh new take on psychedelic folk rock.
Despite my constant search for new music, there are times where I’ll buy an album simply because it’s being released on a great label. Names like Merge, Sacred Bones, and Dischord are a seal of quality and will rarely do you wrong. Such was the case when I decided to get Heron Oblivion’s debut album on Sub-Pop (another trustworthy entity) after only hearing a couple of songs on YouTube. I didn’t know where the band was from, how long they’d been together, or how many albums they’d released. The combination of the Sub-Pop name and the hints of early 2000s Comets On Fire psychedelic space rock were enough to sell me on them.
This week of new endeavors at BDWPS continues with the new episodic podcast series “Year of the Bowie”. For those that have listened to the BDWPS Podcast in the past year, you’ve heard me tell the story of Bob Dylan, month by month, at the end of each episode. My first intention was to do the same thing this year with the life story of David Bowie, but the more I thought about it, the five minutes of rambling at the end of each show just wouldn’t do justice to Bowie’s story.