Tag Archives: deerhunter

Top 20 Songs of 2013

2640 copy

This list was once a big deal around here at BDWPS. Back in 2010, it was comprised of a top 100 list with an audio clip for each.  Not only was this a lot of work, it also never got nearly the attention that our Top Albums list always receives. I’ve also found that since starting the BDWPS Podcast that majority of the songs listed have been played and discussed at some point during the year.  By the time this list arrives, my discussion of the track seems a bit stale.  Below you’ll find 20 of my favorite songs of 2013.  Although it’s not much in comparison to what it once was, it’s still a solid playlist of memorable hooks that may have went under radar this past year.

Continue reading

Leave a comment

Filed under Top Songs Lists

Top 40 Albums of 2013 (1-20)

tumblr_m4wgv4fwzb1rt65swo1_1280 copy

(Check out 40-21 HERE)

As I came to my conclusive final ordering of albums, I couldn’t help but feel like my list differed from the norm. You’ll find familiar faces like Arcade Fire and Vampire Weekend, but many of the albums that ended up surfacing near the top are absent from all the major lists I’ve perused in the past few weeks.  Does this mean I’m out of touch or that I’ve become such an outsider that I can’t connect with the mainstream? I hope not. Those albums you find on this list that you’ve never seen included on other lists are not my attempt at being different, rather, they are albums that fell through the cracks by the major outlets and deserve a listen from anyone who still appreciates “the album” as a work of art. The BDWPS.com mission statement of “guiding you down the path less traveled” is truer than ever in 2013.

Continue reading

36 Comments

Filed under Top Albums Lists

The Top 20 Albums of 2013 (So Far…)

bob-dylan copy

I always have difficulty when coming up with these lists because there are often albums I’ve enjoyed that I’m forced to leave out. When I had the current mid-year list down to 25, I thought about bucking my yearly tradition of 20 and upping it to 25. Then, I recollected a long forgotten high school memory. During my junior year, our basketball coach had a decision along the same lines – with 10 returning seniors and a strong incoming Junior class of 10 quality players, he had to make cuts in order to meet the roster limit of 15. Instead of manning up and just cutting some of the old players or telling some Juniors to take a year off, he let the extra five Juniors (one of them being me) stay on the team as kind of a practice team. This would turn out horribly with our group of five often feeling outcast and forgotten, and by seasons end, we’d named ourselves The Bullheads (because in Iowa, a catfish isn’t considered a keeper). I decided that, yes, there are some great albums on the outside looking in this year, but at the same time, including them would water down my already loaded list. 2013 is off to a great start musically, and here are my “Top 20 Favorite Albums” so far (no bullheads included: i.e. Daft Punk).

Continue reading

12 Comments

Filed under Top Albums Lists

Deerhunter “Monomania”

Deerhunter

Monomania

[4AD; 2013]

Rating: 8.4

When Deerhunter first burst onto the music scene in 2007 with their über-hyped Cryptogram, I was a bit skeptical. Every review/interview focused on the back story of Bradford Cox, a young man suffering from Marfan syndrome writing songs about isolation and loss over the echoing madness within the cacophonous guitar cavern that is Cryptogram. Add to the storyline the death of former bassist, Justin Bosworth, and you have all the trappings of a music journalist’s wet dream.  I had seen artists like this come and go in the blogger rat race to discover the next big thing, and I figured Deerhunter and its quirky back story would be forgotten within months.

As a true testament of Bradford Cox and company’s talent, the band returned with more focus and a more refined sound on the following two albums, Microcastle and Weird Era Cont (released together as a double album). Deerhunter were officially more than a cute little anecdote; they were the real deal. In 2010, Halcyon Digest solidified their place atop the indie rock hierarchy, proving that they could take their wandering, spacious spirit and rein it in for their most accessible album to date.

Continue reading

3 Comments

Filed under Album Review, Best New Albums

Best and Worst SXSW 2011 (part I)

Once again, South By Southwest was a much different experience this year. The past six years I’ve always had one of two people by my side, and usually both: PtheStudP and Johnny Goodyear.  For the first time, our SXSW pact was broken due to circumstances out of their control, leaving me reeling and unsure whether I could do the festival all by my lonesome.  Fortunately, after making a phone call to my longtime friend Sewer, I was able to coax him to join me for the week, and as an added bonus, my other friend Doon would also be along for most of the festival.  After a week of great shows, free beer, and nightly stops to the Sausage King, here is my list of the best and worst of SXSW 2011.

Best Showcase- Vans

At first glance, you would think that a Showcase held by Van’s would be an emo-scream-o nightmare based solely off of the rosters they’ve organized for the Van’s Warp Tour the past few years. But the likes of Bad Brains, OFF!, Trash Talk, and Black Lips made for a pretty impressive, multi-facted line-up, running the gamut of what punk rock can be.  Whether it be Trash Talk’s rage against melody, OFF!’s resurgence of Black Flag’s crunch, Bad Brain’s fusion of reggae-punk, or even Black Lip’s punk rock take on the 50s and 60s – there was something for everyone in this  punk buffet.

 

Yes, THAT Bad Brains...

Trash Talk took their act to the crowd.

Trash Talk impressed with a rip-roaring show filled with sweat and stage dives.  Their fill-in bass player deserves recognition for stepping into the slot of an injured Spencer Pollard who was stabbed last week in a hate crime.  Black Lips sounded as jangly and fun as ever, although singer Cole Alexander was tame in comparison to the legends I’ve heard of their performances.  Bad Brains seared through classic after classic, and I would challenge to say they sounded better than they did on classics like “I Against I” and “Rock For Light”. Okay, I’m getting a little ahead of myself, but they were pretty damn great for a bunch of old dudes. The highlight of the show though was OFF! with Keith Morris growling and roaring complaints and allegations. He stalked the stage, back and forth, like a man possessed, and if it weren’t for the giant bald spot hidden beneath his five dreads, you’d think they were a group of teenage punks transferred from 1979.

Here’s a clip I took of “Now I’m Pissed”:

Worst Band- Stripminers

She looks excited, doesn't she?

To say the Van’s Showcase was perfect would be a lie.  While I can’t speak for the closer Talib Kweli since we left to go see Pete and the Pirates (more on them in the next post), the opening band The Stripminers were possibly the worst band I’ve ever seen in SXSW history.  Being a “side-project” for The Donna’s Brett Anderson and the Radishes Paul Stinson, The Stripminers not only sang milk-toast-pop-rock fit for the Jonas Brothers, but they were so devoid of charisma that they came across as a vacuum for all that is fun.  I understand that this was one of their first shows together, but you could feel so much tension between the members on the stage that you would swear they are a band of veterans on the verge of a break-up after years of touring.  Nope. They announced their new project in February.

It became obvious quickly that Anderson was the alpha of the group, and the others stayed away from here and avoided eye contact as to not to disturb the sleeping dragon (she didn’t even help the band break down the stage after the show). Mid-show, we tried heading next door to Emo’s Jr. to see a better band, but we were greeted by the rap-metal band Skrew – proof that the curse of Fred Durst still lives.  We decided to return to The Stripminers because at least their miserable performance was funny in a “Piranha 3D” kind of way while Skrew were bad in the vein of “Grown-Ups” (has there ever been a more painful film to watch?).

When we came back to The Stripminers, their crowd had completely evaporated, and Anderson’s request for clapping resulted in only the sound of crickets chirping.  At one point she looked right at Sewer and I and scowled when she saw the two of us laughing directly at her lackluster performance.  I should probably feel bad about that, but for some reason, I don’t.

Best Band Discovered- Davila 666

On Thursday night, when the opportunity to see OFF! arose, Sewer wanted to check them out a second time (plus, Doon had joined us and we both agreed he had to see them). With Megafaun playing next door at the same time, I figured I had an obligation to pay my respects to the guys who wrote and recorded “Gather, Form, & Fly”.  Worried I wouldn’t get in, I left my friends around nine and arrived just in time to catch the Minneapolis band Leisure Birds. I enjoyed their set, but between songs I’d catch a glimmer of punk rock anthems echoing from the “neighbor’s” yard.  After four songs, I decided I had to revisit my friends next door to see what all the commotion was about.

When I walked through the entrance I found what looked to be five Puerto Ricans hopping around while the singer howled out unintelligible lyrics.  Despite the language barrier, the riffs spoke straight to my gut, rumbling for more and pushing me toward my friends who were already taking in the lively set.  Without my old partner PtheStudP around, I didn’t expect to find many new bands, but fortunately I waltzed into the Club DeVille to catch the last half of Davila 666’s set (and I still even got to see Megafaun).

This is the only clip I could find online of their set and it’s cut short, but you get the gist:

Best and Worst Crowd Interaction Moment- Screeching Weasel

I’ve already written a blog on this (see Sunday’s “Video Clip of the Week”), but I can’t deny that Ben Weasel punching two women during what may be Screeching Weasels last show ever will forever be tied to this year’s SXSW.  Looking back, I can’t decide whether it was a horrible moment or punk rock at its finest (hear me out…).  Ben spent 50% of the set complaining about money, SXSW, bloggers, their label, YOU NAME IT. He alienated the majority of the audience by the show’s end, so it’s no wonder that the crowd began tossing beer and ice toward him. In the end he punched two women, something I would never condone, yet I can’t help but feel he pulled an Andy Kauffman on all of us, playing our emotions and leading us toward the type of lowly, unrestrained behavior that punk rock has been missing for a while now.  I bet even he realizes he took his angst just a little too far.

It’s fascinating to watch each time:

Worst Venue: East Side Drive-In

A few weeks before SXSW 2011, a new venue began popping up on all the day showlists – East Side Drive-In.  At first I figured it was just another dude letting bands play at his house a la The Church of the Friendly Ghost, but then suddenly I saw a shocker: Pitchfork was breaking their tradition of doing their parties at Emo’s, opting for this mysterious East Side Drive-In.  It had to be more than just a house, and unfortunately, it was.  I didn’t make it to the Pitchfork show, but I did head out to the east side of the interstate to check out the Fun Fun Fest show at the Drive-In.  When we arrived, we came to find a desolate, dusty field with the type of stages you’d find at a Warp Tour. It looked like a music festival with a food court area, and tents for beer and liquor.  The fact that it was also a free show on a Saturday resulted in a crowd of undesirables. Large crowds, sprawling venues, and food courts: this is exactly what SXSW is not about.

Best Venue- Lovejoy’s

There is not much I can say other than I still adore Lovejoy’s.  It may not have the best stage, but everyday you can guarantee that they will have great free beer on tap. There’s no better way to start each day then with a beer by the likes of Dogfish Head, Flying Dog, and Left Hand.  Not bad in comparison to NPR’s day show offering of one free PBR.

Best Day Party- Rhapsody Rocks

Shockingly though, Lovejoy’s didn’t have best free drinks of the week. The Rhapsody Rocks show at the Club DeVille take that honor, offering up an endless supply of free Guinness, Red Stripe, and Jeremiah Weed. But the free stuff didn’t end there: free posters, t-shirts, bottle openers, pancakes…it seemed like each time you strolled to the port-a-potties a new goody would appear on the table.  Oh, and the show was pretty damn sweet as well. Anytime you kick your show off with Ty Segall, there’s no doubt that someone knows what they’re doing.

Ty Segall woke me from my Guinness haze:

How do you follow Ty Segall up? Kurt Vile and the Violators isn’t a bad choice.  In fact, ever since seeing Vile and his band put on a mesmerizing set, I’ve listened to “Smoke Ring For My Halo” a total of seven times.  With his mellow melodies, I swear he put a trance on me (but I don’t mind).  Starting your day party with Ty Segall and Kurt Vile is like having Cliff Lee and Roy Halladay as your starting pitchers; no need for a bullpen.  I returned to my friends after Vile and we half listened to Small Black and Glasser for the next few hours, although our main focus was on that magical black concoction known as Guinness and conversation that led to excessive laughter.

Around four, the venue began to fill up quickly, signaling the sign that the monsters of indie rock were about to close the show out: yes, my friends, this would be the only Deerhunter show at SXSW 2011, and we were there to see Bradford Cox and company do there thing.  Despite the excessive crowd, we were able to get up pretty close and catch the band under the shade of the tent canopy while all the other onlookers sweated away in the warm Texas sun.  The band took their constantly morphing guitars to a new level, bringing classics like “Desire Lines” and “Nothing Ever Happened” to uncharted territories. At home, I play Deerhunter and focus on the lyrics of loneliness and desperation, but on this day of great music, great beer, and great friends, I listened to them and felt strangely happy.

The Guinness had an affect on my cinematography:

 

Leave a comment

Filed under South by Southwest

Top 40 Albums of 2010 (10-1)

10. Beach House

“Teen Dream”

[Sub-Pop; 2010]

If you don’t pay attention, you’ll love “Teen Dream” because of Victoria Legrand’s smoky voice.  If you don’t pay attention, you’ll quickly be singing along to the dreamy melodies of each memorable Beach House song.  If you don’t pay attention, you’ll like this album simply because it’s tranquil and tender.  Wake up. There’s no time to rest with Alex Scally on the guitar. You may not have noticed him at first with such a powerful voice up front taking charge, but take one look in the background – there! Behind the organ! Do you hear that eerie character sneaking in and out of the mix? Do you feel his energy floating around the room, bouncing from wall to wall, possessing your speakers and taking these already incredible songs to a euphoric level?  Once you’ve spotted Scally, you’ll no longer be able to listen to “Teen Dream” without noticing his spirit. He’s the friendly ghost of the album, and he only makes “Teen Dream” a more welcoming place to sit and enjoy for a spell.

 

9. Crystal Castles

“Crystal Castles”

[Fiction/Last Gang/Universal Motown; 2010]

The Crystal Castles last release was about as confusing as releasing two self-titled albums in succession (which they did).  Half of the songs were chilled-out dance songs, while the other half was comprised of Nintendo sampled scream-o freak-outs.  It was a great album, if not in part due to this unpredictability, but it also seemed like the band was still trying to figure out exactly who they are.  With their 2010 release, it’s obvious that they’ve figured it out.  The Nintendo gimmick has been dropped and in its place is an electro-dance album that is melodic and chaotic at the same time.  While most music of this genre is usually feel-good, Crystal Castles emanate frightening synths, produce a menacing beast within the beats, and hide an alienated, distant scream within the vocals of Alice Glass.  As a result, this is an album of loss, disorder, and fear, all balled up into one focused dance album that aims to destroy all ravers in its path.  Who needs ecstasy when you’ve got anarchy?

 

8. High On Fire

“Snakes for the Divine”

[E1 Music; 2010]

I must be honest, I have not been a metal fan for long.  SongsSuck has been turning me onto all forms of metal over the past five years, but it’s been a slow, methodical process.  Last year, after becoming obsessed with Slayer, the iron doors flew open and a newfound love for the genre was born.  Being such a new budding metal fan, I can’t claim to have the best ear for what’s a great riff, or what’s a great solo.  I’m just learning the differences between black metal, stoner metal, and doom metal. Really, it’s all quite confusing and new to me.  Despite my utter metal ignorance, I do know one thing: “Snakes for the Divine” is a fucking incredible album.  Unlike other albums on this list, I can’t pinpoint exactly what makes it so viciously thrilling. Maybe it’s the over-flowing amount of turbulent riffs. Maybe it’s Matt Pikes barking bellow from the depths below. Maybe it’s Greg Fidelman’s production. Whatever it is, this is an album to be reckoned with. The strangest part for me is that I always thought metal was “angry” by nature, but listening to “Snakes for the Divine” does the opposite, awakening my spirit, refreshing my energy, and igniting the flames of fortitude. Simply put: “Snakes for the Divine” makes me happy.

 

7. No Age

“Everything In Between”

[Sub-Pop; 2010]

No Age have always been noisy, but there is something different going on with “Everything in Between” that took me a while to figure out.  Instead of the all-out art-punk wave of distortion that past albums have prominently featured, “Everything in Between” is as stripped down as you can get while still being abrasive.  It shows the band taking a mature step toward using their biggest strength sparingly to leave the listener yearning for even more earaches.  While they once splattered the overdrive and feedback haphazardly, they’ve now figured out how to access their palette and use these shades of sound when necessary. With the walls of noise torn down, the band’s masterful songwriting is left out naked for all to see, and as a result, “Everything in Between” is their most revealing album yet.  Once bare and exposed, Dean Spunt sings of heartache, betrayal, depression, and addiction.  I used to just like No Age because they wrote kick-ass two-man punk songs that split my ears; now I love them because they’re writing pop songs that cut straight to the heart.

6. Deerhunter

“Haclyon Digest”

[4AD; 2010]

I used to hate Deerhunter. Let me rephrase that; I used to hate the critics adoration of Deerhunter. Maybe it was a case of raging against something I didn’t understand.  What I’d heard of “Cryptograms” was spacey, aimless stuff that floated around lethargically, much like a jellyfish. Basically, it bored me to shreds.  A year later “Microcastle” came out and the critical acclaim continued for the band, so I decided I had to get down to the bottom of this whole Deerhunter phenomenon.  I still found much of it to be pointless meandering, but then one day something happened:  “Nothing Ever Happened” to be exact. Out of nowhere, a song arrived that, unlike the other Cnidarian stuff, had a backbone, had a beat, had a purpose.   Fortunately for me, their 2010 release “Haclyon Digest” is comprised mostly of this same goal-oriented music. Don’t worry old-school Deerhunter fans; even with a backbone, the music is still frail as ever. The listless sound has been replaced by depressing lyrics like “No one cares for me, I keep no company” from “Helicopter”.  Rest assured Graham Cox, I didn’t used to care for you or want to keep company with your music, but I’ve now officially joined the army of Deerhunter lemmings. Let us all rejoice our miserable demise!

 

5. Owen Pallett

“Heartland”

[Domino Records; 2010]

Of all the albums I reviewed in 2010, Owen Pallett’s “Heartland” received the highest score of a 9.  Here’s what I wrote: “ ‘Heartland’ is a gargantuan effort, an album produced on such a grand scale that I can’t imagine how Domino Records could fund such a monumental display. Every song is oozing with a sweeping string section, a verbose collection of horns blasting out triumph and turmoil in the same breath, and the concerto percussion group rattling away with thundering snare rolls that blend naturally with the drum machine hidden behind the timpani. The once unassuming one-man band has created a monster that D&D fans could only imagine.

Songs like ‘E is for Estranged’ and ‘Flare Gun’ are the type of orchestral fare you might hear in a Meryl Streep film, while offerings like ‘Red Sun #5’ and ‘The Great Elsewhere’ show Pallett meshing the prim with the in-proper as synths and pulsating rhythms bleed into the strings, a symbolic sound that fits with the storyline of the album. It feels as if the future is looming in the shadows, waiting to pounce upon the chaste and steal away its innocence.”

 

4. Titus Andronicus

“The Monitor”

[XL Recordings; 2010]

Earlier this year, I wrote what I consider one of my best pieces in my review of Titus Andronicus’s “The Monitor”. Here are some parts I culled from it: “One of the only New Jersey bands that truly fits the Bruce Springsteen mold is Titus Andronicus. Not only are their songs every-man anthems, but their constant references to the Garden State are pure Bruce. They play a wide range of styles yet define them within their own rustic parameters, another Bruce trait. And although it’s no Clarence, Titus even throw in some saxophone for good measure. Chirst, on the opening track, singer Ian Graetzer makes an allusion to the Springsteen classic ‘Born to Run’ singing ‘Tramps like us, baby we were born to die!’ and later he admits ‘I’ve destroyed everything that wouldn’t make me more like Bruce Springsteen.’

This is not a concept album, rather a concoction composed of pop-culture and history, resulting in a multi-layered, dizzying narrative. This album is like T.S. Elliot’s ‘Wasteland’ if he had written the entire poem on bar napkins while a drunken local played ‘Nebraska’ on the jukebox. The entire concept is a bit weird and pretentiously over-reaching, yet it all melds together magically, creating a world where ‘our forefathers’ and ‘a keggar on a Friday night’ can live side by side. The album does run a bit long, yet you can’t hold back a muse that was definitely born to run.”

3. Fang Island

“Fang Island”

[Sargent House; 2010]

Fang Island’s self-titled release made the number one spot on my “Best Summer Albums of 2010” and it didn’t just make it because it was “summer-y”.  No, this is an album as complex as Battles “Mirrored” yet as goofy and immature as Andrew WK’s “I Get Wet”. Here’s what I had to say about it this past summer: “The opening track to Fang Island’s self-titled album features the sound of fireworks popping, reminding me of when my dad used to take us out on the 4th of July in his fishing boat to watch the display over Spirit Lake. ‘Dream of Dreams’ multi-layered, Queen-like chant brings me back to the year ‘Wayne’s World’ came out and how whenever the song ‘Bohemian Rhapsody’ came on the radio my brothers and I felt compelled to re-enact the famous car scene. ‘Davey Crockett’ has a swirling synth/guitar line that conjures up memories of watching ‘Reading Rainbow’ with my brother Alex and laughing our asses off at the strange synth outro, and then commencing to imitate it the remainder of the day.  ‘Careful Crossers’ punk rock anthem reminds me of the summers my friends and I would make trips up to Sioux Falls, South Dakota to see punk bands sweat it out at the now closed Pomp Room.  ‘Daisy’ and its organ heavy backing track transports me to the summer I worked the late shift at a gas station and listened to Bob Dylan’s organ-heavy ‘Blonde On Blonde’ while selling cigarettes to meth addicts. ‘The Illinois’ is filled with guitar solos that almost seem stolen straight from classic video games, pulling my consciousness back to the days when, after a long day at the swimming pool, my friends and I would ride our bikes to the video store to rent the latest Nintendo game.  Simply put: Fang Island makes me feel like a kid again. And isn’t that what summer is all about?”

2. Wavves

“King of the Beach”

[Fat Possum; 2010]

If you haven’t noticed yet, both my top 40 albums list and top 100 songs list are riddled with pop-punk. I guess you could say I’m a sucker for a catchy little punk song. So what makes Wavves “King of the Beach” better than 2010 releases by others pop-punk greats like Male Bonding, Superchunk, Cloud Nothings, and Ty Segall?  Well, “King of the Beach” is more than just a collection of memorable 2-minute songs. On the surface, you may place the pop-punk label on this album with its front-loaded first three animated anthems. Although the fun is briefly interrupted by the “Pet Sounds”-esque “When Will You Come” the album quickly returns to the skate park for a couple more adrenaline fueled melodies.  Then, mid-way through the entire album, the real turn toward the strange occurs.  “Baseball Cards” and “Mickey Mouse” are filled with expanding atmospheres reminiscent of Panda Bear’s “Person Pitch”. “Convertible Balloon” and “Linus Spacehead” are adventurous pop songs held within the same strange world found in Brian Eno’s “Here Come the Warm Jets”.  But Wavves are at their best when all of these various sounds come together like they do on “Green Eyes”.  On the song, Nathan Williams sings “My own friends hate me, but I don’t give a shit.”  And really, why would you give a shit when you can write songs that seem so simple but are truly complex masterpieces that don’t fit within one specific genre; not even pop-punk.

1. Arcade Fire

“The Suburbs”

[Merge; 2010]

With the economy the way it has been this past year, you would think it’d be pretty tough to be an American these days, but somehow we continue to survive.  Maybe it’s our steady diet of fast food, or maybe its our ability to distract ourselves with reality television and celebrity gossip.  Whatever the cause of America’s resilience, it seems nothing can keep us from our daily, zombie-like trudge through life.  It really is pretty easy to get through adversity with the American model of excess equals happiness…but then there are those moments, sitting in traffic, dazing off into the horizon of billboards – those moments of self-awareness.   Questions arise: how did I get here? Where has the time gone? When I did I get old? What happened to my dreams?

If you don’t know what I’m talking about, you’re either fooling yourself or listening to Bill O’Reilly on your commute home.  On “The Suburbs” Arcade Fire have created a grandiose collection of songs that explore the modern man and the world of distractions we’ve created to forget the reality of what we’ve all become.  Throughout the album, motifs continually rise to the surface, whether it be kids, cars, letters, darkness vs. light, or of course the suburbs that have erased our memories (and street names for that matter).  The album is one long drive through suburbia, searching for that childhood home that has now been buried under “dead shopping malls (that) rise like mountains”.  You would think with 16 tracks all focused on the same overlying idea, “The Suburbs” would get about as monotonous as a real drive through suburbia, but following the Bruce Springsteen model, each song shows the same theme through a different lens, creating a well-rounded study on the perils of the American Dream.  In the end, we are all lost in the sprawl “searching every corner of the Earth” for that home we lost so long ago.

1 Comment

Filed under Top Albums Lists