Wish Defense, the new release from Chicago-based FACS, is out today. These guys have been in my heavy rotation the past few years and I’m stoked on this new record. Recommended if you like angular, minimal, slightly weird, art rock.
Music
I’ve been on a Deftones bender the past few days. Turns out I may be seeing them 2x next month (on each coast…just how work travel pans out) and I’ve been revisiting their complete discography. Underrated in the annals of rock music!
Favorite Concert: Schoolhouse Spazcore
Thursday, January 30, 2025
I really enjoyed reading all the blog questions challenge posts from a few days ago and while I was drafting mine it sparked an idea to kick off a new one. I follow a lot of music blogs and folx on Masto with a music bent, through which I’ve discovered some really great artists. I’ve grown to love this feed of music discovery; it brightens my day!
Shows and concerts are also a big part of my music adventures, so this challenge is to share your most memorable / favorite / epic concert you’ve been to. I’d love to read posts from Jake, Naz, Jason and Brad if they’re so inclined to share.
My Most Memorable Concert
The year was 1998. It was a different time. The internet had arrived, but it was still tangential to life. I was 19 years old and in my first years of undergrad at a rural Pennsylvania university. Back then, music was also a big part of my life and I was deep into the underground post-hardcore scene.
I was in a band at the time, and my friends were all in bands. We played anywhere that could hold a few dozen people and had electricity. One particular night in October, my friends in The Juliana Theory were playing a show opening for headliners Knapsack. There was also a band in between called At the Drive-In. I wasn’t familiar with At the Drive-In, but I was very into Knapsack’s Day Three of My New Life and I was always down to support friends, so I made a plan to check out the show.
The show was taking place at The Armburst Schoolhouse, a venue I had never been to and actually had never heard about before seeing it on the show flyer. Google Maps wasn’t a thing back then, so I MapQuested it on my school-issued desktop computer and printed out the directions. It looked to be in the middle of nowhere. Carless, I borrowed my buddy Todd’s Blazer and drove about 40 minutes to the destination, which in fact, was in the middle of nowhere.
I rolled up to a nondescript, abandoned one-room schoolhouse. A couple punks were smoking outside and there was a gravel lot with a couple tour vans and maybe a dozen cars. I paid my entry fee at the door (probably $5) and got one step closer to a blown mind.
The Theory’s set was solid, but what I witnessed afterward was like something from another planet. At the Drive-In took the stage (er, classroom?) by storm and blasted the fortunate few in attendance with a level of energy and intensity no one was prepared for. For about 30 minutes they crashed through most of the cuts from their most recent record, In Casino Out. Cedric and Omar were absolutely frantic and on fire, flanked by Jim on the other side as the stable anchor.
As a musician myself early in my journey, this performance solidified for me what live music should be. It should be a release of raw emotion. Movement through pulsing meters. Perfectly imperfect, with no regard for what may come in return.
Anyone who follows this scene knows that the rest is history for At the Drive-In. They went on to release Relationship of Command, tour with Rage Against the Machine, and spawned amazing projects like The Mars Volta and Sparta.
And even thought the internet was in its infancy, some forward-thinking saint was there with a shoulder-mounted camcorder to record the performance with no concept that it would live on in infamy on a thing called YouTube:
This record just came on my shuffle and I totally forgot:
- It was in my collection, and
- What a freakin' banger it is
Flickerstick might be the best band to come out of a reality/game show. Bonus points for music nerds: Without Googling, what was the name of the TV show that was their ‘big break’?
My Favorite Records of 2024
Monday, December 30, 2024
I thought 2024 was a fantastic year for recorded music. It seemed like every few weeks another absolute banger was released. As an avid listener, this year also saw my personal transition away from Spotify as a streaming source to a more intentional discovery and direct purchase model that I believe honors artists in a way streaming services don’t (or won’t).
In no particular order, here are the ten records released in 2024 I found to be my favorite:
Dulling the Horns by Wild Pink: I know I just said ‘no particular order,’ but this just might be my record of the year. The songs and texture are just so layered. Simply complex, in a way that’s refreshing. The title track showcases this effortless density and is a standout on a stacked collection of songs.
No Arc by Rave Ami: My local selection this year comes from rockers Rave Ami. These guys are tight, fun and bring some unique energy to their live shows and recorded releases. I sorta feel like they’re a bit overshadowed by bigger Pittsburgh-based bands, but for my money this record rips hard.
Evergreen by Soccer Mommy: Sophie Allison describes her music as ‘chill, but kinda sad’ and I think that’s right. I’ve always felt the best songs were the saddest songs. Evergreen definitely brings the emotion, but not is a way that’s trite or placating. I find the songs on this release to be honest, raw and forthright in a way that’s comforting but also challenging.
Lighthouse by Francis of Delirium: A friend sent me this record earlier in the year and it’s been in constant rotation ever since. Lighthouse has a little bit of everything – in a good way. Luxemburg-based Jana Bahrich writes grungy pop songs that you find yourself singing to yourself during those random quiet moments of your day.
All Pleasure by THUS LOVE: No frills, four-on-the-floor rock and roll from Vermont-based THUS LOVE. The thing I love about this record is the swagger the band brings. It starts out of the gate with the opening ripper On the Floor and continues for the duration. I think swagger is a lost art these days and it’s great to see a group that’s out and proud bring it unapologetically and full-on.
Where we’ve been, Where we go from here by Friko: What a freaking epic release from Chicago duo Friko. These songs wander and traverse genres like there are simply no boundaries. Part singer-songwriter, part noise art, part chamber orchestra. On paper, the math doesn’t appear to work, but on tape it’s genius.
Cool World by Chat Pile: This is definitely the heaviest record on my list. Cool World is intense and guttural. The whole thing is raw and throbbing with some killer breakdowns that are sure to open up the circle pit at live shows.
Second Dinner by slimdan: Another one that has been in heavy rotation for most of the year. I am in love with slimdan’s pop-driven songs. They’re smart and catchy, and carry melodies that seem both familiar and fresh at the same time.
for frank forever by piglet: A late addition to the list, I randomly stumbled upon piglet - a solo project from Irish songwriter and producer Charlie Loane – just a few weeks ago. for frank forever carries really interesting production and infections melodies. I’m looking forward to seeing how piglet evolves into the future.
Valentin Prince by Valentin Prince: A fantastic LP from Richmond-based guitarist and songwriter. Sorta jammy and sorta trippy, but the song structure and performance are on point. This is a free digital download on Bandcamp, so don’t sleep on it!
Waxahatchee playing the Tiny Desk? Yes please.
Holy smokes, this cover of Tool’s Stinkfist by Summer Woods is fantastic!
Archive Under Attack
Tuesday, December 10, 2024
A diverse coalition of artists has united to voice objection to a $621 million copyright infringement lawsuit against the Internet Archive. The lawsuit claims the Archive is violating copyright rules under the “smokescreen” of their Great 78 Project, which aims to digitize vinyl records produced between the late-1800s and the 1950s. A portion of the Great 78 collection includes work from well-known acts like Frank Sinatra and Elvis Presley. The plaintiffs and some estates of included artists claim the project is unlawfully reproducing and distributing works under copyright.
The case is being led by music rights holders Universal Music Group and Sony Music, while the objection includes support from artists such as Amanda Palmer, Deerhoof, Real Estate, Ted Leo, Kathleen Hannah and Cloud Nothings. A judgement against the Internet Archive at the scale of $621M could bankrupt the organization.
It’s an ironic gut punch to musicians and audiences alike to see that the Internet Archive could be destroyed in the name of protecting musicians. For decades, the Internet Archive has had the backs of creators of all kinds when no one else was there to protect us, making sure that old recordings, live shows, websites like MTV News, and diverse information and culture from all over the world had a place where they’d never, ever be erased, carving out a haven where all that creativity and storytelling was recognized as a critically valuable contribution to an important historic archive. – Amanda Palmer
The Internet Archive does important work at the intersection of digital culture and public access. The work needs to continue and you can help ensure that it does.
The Mastodon toots from Merlin Mann the other day have prompted me to spin my Elliott Smith collection tonight. A perfect dark, winter night for it. The copy of XO is signed!
It’s the year of our lord 2024 and we have new music from Thursday. And I spy Norm (of Texas is the Reason fame) on guitar!
I just reviewed some SQL code and now I’m spinning Coalesce at 8am. It’s gonna be a productive day. \m/
Wednesday, November 27, 2024 →
Polly Jean, Phoebe and Connor
There was so much great music released last Friday! Lucky for me, I roadtripped to Baltimore this weekend, so I got a good chance to really digest the new albums from Kim Deal, Father John Misty and Kendrick Lamar during eight hours behind the wheel. Three very different, but very solid records.
Wednesday, November 20, 2024 →
Robin Pecknold (Fleet Foxes) covered Elliott Smith’s Pitseleh at his NYC show last weekend and it is awesome. One of my favorite Elliott songs and he does it justice.
Singer-songwriter Mathew Sweet suffered a debilitating stroke last month while on tour in Canada. He has no medical insurance and required an ambulance transport plane with onboard medical staff to get him back to the U.S. His friends & family have created a GoFundMe to assist with the expenses.
The Cost of Vinyl
Tuesday, October 15, 2024
According to TechRadar, vinyl record sales dropped 33.3% between 2023 and 2024. Before I dive into the substance of this, the reporting outlet must have taken a slight liberty with the 33 1/3 percentage drop, right? I mean, what are the odds that the vinyl sales dip would equate precisely to the RPM speed of an LP?
Anyhoo, Carrie Marshall writes:
I love vinyl, and in a world where streaming CEOs have a higher net worth than almost any musician in history, I want to support artists directly by buying their stuff. But like many music fans, I’m buying a lot less now because I simply can’t afford the prices being charged.
I love vinyl, too. And supporting artists directly is important to me; it’s why I migrated away from using streaming services. However it’s very hard for me to justify spending $30 - $50 for a vinyl record, therefore I’ve been buying more digital downloads from Bandcamp lately.
My hope is that all of this is pointing toward a reaction in the vinyl market, after which we might get a settling of the supply and demand forces. I’d love to support more artists through the purchase of physical media, but it will be hard for most people until the prices come down.
Choice Cuts for Bandcamp Friday
Thursday, October 3, 2024
Heads up! Tomorrow is Bandcamp Friday, where Bandcamp waives it’s fees and passes those funds on directly to artists and labels. Here are a couple releases that have caught my interest and will probably make their way into my collection tomorrow:
Dulling the Horns by Wild Pink: Just. Wow. The guitar tones on this record are so interesting. Fuzzed-out and warm like a fleece blanket on a winter day. And the songwriting is so good.
H. E. Double Hockey Sticks by The Hell Hole Store: I really like the vibe of these guys, who are based in Philadelphia. Dope rhymes and sick beats. Wit wiz.
Hurricane Relief by Jon Charles Dwyer: This is a benefit release and Dwyer is donating all his proceeds to the Hurricane Helene relief efforts throughout Appalachia. Tomorrow is a good day to maximize your support.
Exhaust by Pyrrhon: These guys are from NYC and they are siiiick. Epic blast beats, tasteful breakdowns and full-on goblin mode vocals.
opaque by Mo Dotti: Dreamy shoegaze from this LA-based outfit. Jangly guitars and thick tones back reverb-soaked vox. Feels like this one would be good late at night with some bourbon.
sentiment by Claire Rousay: This came out earlier this year, but I slept on grabbing it. I guess you could consider this singer-songwriter? The arrangements and production are so interesting though, so I struggle to pigeon-hole it.
Craig Berry on the political economy of the Oasis reunion and working class nostalgia:
This is folk music, at its best and truest. Stood in a field with your arms around the lads who bullied you at school singing about Sally needing to wait is pretty much the same as singing about dead relatives in a County Mayo pub while your pissed uncle plays the fiddle.
I was never really into Oasis, but this is a very interesting take on the economic and political undercurrents surrounding the group’s lasting popularity.
Green Day was absolutely fantastic last night. They played 37 songs (Dookie and American Idiot in their entirety, along with some other bangers) and blew the doors off PNC Park for nearly 3 hours. It’s so great to see a band kicking ass like that after three decades.
The Standard asks, “Why does Gen Z have such bad concert etiquette?”
I dunno. What did boomers think of mosh pits in the 90’s? What did Gen X think of the cell phones that popped up at shows in aughts? All of this seems like a bit of generational hand ringing to me. The kids are alright.
Sylvan Esso has remixed The Postal Service classic The District Sleeps Tonight. It’s a glitchy slice of heaven that does honor to the original, but adds some interesting flavor.
Legendary punk photographer Jim Saah will give a talk tomorrow (8/22) at The Government Center in Pittsburgh. The talk will be followed by a performance from J. Robbins of Jawbox. Looks like an awesome event.
Hear No Evil: Jesse Welles, slimdan, Font, Glass Beams
Monday, August 19, 2024
As summer winds down, here are a few artists & records that have been in my heavy rotation lately.
- Jesse Welles is like an angry Josiah & the Bonnevilles. His new album Hells Welles is a cathartic teardown of modern society. Think Arlo Guthrie singing about Boeing whistleblowers.
- Second Dinner by slimdan has been in my heavy rotation for a few weeks now. I am simply loving his pop-driven songs. They’re smart and catchy, and carry melodies that seem both familiar and fresh at the same time. My favorite track on the record is Wimbleton White.
- Font is scratching my indie-rock itch these days. Elaborate and angular, the songs on their 2024 release Strange Burden swell with substance. Complex time signatures and counterpoint lines weave throughout. But you can still feel the groove and dance to it.
- If you’re looking for some chill, instrumental tunes to put on while working or relaxing, Glass Beams may be of interest. Hailing from down under, their trance-inducing vibes are feel-good and groovy. You can be productive and bounce your head at the same time.
Back in the Saddle Again
Saturday, July 10, 2010
Some of you may know that I lived a previous life as a songwriter and musician. Almost a decade ago, I gave up the recording and touring life for one that fosters stable relationships and is conducive to raising a family. During the past ten years, I’d pick up a guitar every now & then, or sit down at the keys whenever there was a piano around and play some songs. But that’s about it. And honestly, I didn’t miss it at all. Other things had taken music’s place in my life.
But yesterday I was invited to play some music with A Generous Act, a group of amazing musicians who are writing and recording an album here in Pittsburgh. I threw out a rough idea I had for a song and within an hour it had evolved into a beautiful tune with three-part harmonies and a building, transformational sing-along outro. The tentative title is Sound Came Falling. If it ends up making the record, I’ll be over the moon and will definitely post it here.
It felt really good to create again and I think this experience might be the shot in the arm I need to begin writing again. Thanks, A Generous Act.
Sadness, Sweat and Sometimes Blood
Saturday, February 27, 2010
I used to make music quite regularly and for a (modest) living. I poured sadness into song, and spilled sweat and sometimes blood on stage for handfuls of people who paid a few bucks and honored us with their attention. We were often paid in booze and low percentages. I spent weeks at a time showerless and in a van, resting my head on a different floor in a different city almost every night. Toward the end we earned the privilege of Best Westerns and familiar faces.
I quit making this type of noise almost a decade ago.
People ask me all the time why I don’t make music anymore and I don’t really have a straight answer for them. I’ve been thinking hard about this lately. It’s bigger than family or responsibility, which both hold water as an argument. It’s bigger than burnout, which certainly played a part. The answer, I’ve come to realize, is happiness.
When I quit sadness, I inevitably quit this type of creativity. Out of the hundreds of songs I’ve written, all were driven by sadness. The best songs, in my book, were the saddest songs. They still are. But recently, an opportunity presented itself to make some music again. And I think I’m going to.
I forgot how great Superchunk was. Going through my CDs this morning looking for something different to get the day going, I picked up Indoor Living for the first time in about 8 years. Good stuff. They sure don’t make ‘em like they used to…
Alone on Stage
Tuesday, October 19, 2004
I just received word that I’ll be opening for the amazing Bob Mould. The show is on Tuesday, November 16th at the Rex Theatre on Pittsburgh’s southside. Hope to see alot of you there.
For those of you unfamiliar with Bob’s work, he was a member of two great bands before going solo. Husker Du was, and continues to be, an extremely influential group. They were one of the first to show that you could combine melody with intensity. Sugar, Bob’s band after Husker Du, continued where the Du left off. In my opinion, Sugar’s melodies and subject matter were a little more advanced than that of Husker Du. Two of my all-time favorite songs, “Hoover Dam” and “If I Can’t Change Your Mind”, come from Sugar’s Copper Blue album.