The Unblinking Ear Podcast: 2010 (Again)

(Above: another thing I somehow missed in 2010)

Welcome to this edition of the now weekly Unblinking Ear Podcast.

In our previous installment, we heard some of the best rock music of 2010. Here, we hear the music I missed 2010 but is worthy of your attention. For the past month or so, many have been publishing their best of the year lists. I've spent that time going through the ones from people I respect and listening to their picks which I hadn't heard. I'm not even close to done and I've already found enough stuff to fill an entire podcast. And there's more where that came from. Hopefully, I'll be done with 2010 by the time Pazz and Jop rolls around. Expect the next couple of podcasts to be peppered with previously unheard (by me) 2010 releases, along with a bunch of new records and, of course, the old stuff from when curmudgeons like me thought music really had it going on.

For now, I'll tip my hand and cite these fine people with fine taste as sources from which I'm swiping content. I have the feeling that some of the more waggish of you will comment that this podcast is better than my actual "best of" podcast. You know what? I might agree with you. Full credit goes to these folks:

Nate Knabel
Doug Mosurock
Jay Hinman
Brushback
WFMU's Terre T (Coming Soon)
WFMU's Evan "Funk" Davies
WFMU's Jason Sigal
WPRB's Jon Solomon
Matador Records Staff and Artists
Goner Records Staff
Chunklet Staff


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The Unblinking Ear Podcast: Goodbye 2010!

This is the audio companion to the best of 2010 list below. It's also not a bad audio companion for the beverage above.

At this point, I'd also like to give you my new year's resolution for 2011:

(pauses for drama)

In 2011, the Unblinking Ear Podcast will be done on a weekly basis.

A new podcast will be available every Monday for the entire the year.

That's the plan. If I falter, feel to remind me that I'm letting the world down.

For now, let's listen to the year that was as we glare at the vista of our future.

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Ten for '10: The Unblinking Ear's Year in Rock

The Village Voice Sound of the City panel recently asked if 2010 was the best year for music ever. I try to shy away from hyperbole myself but even if one ignores most of their (and, it seems, every other music critic's) picks (LCD, Vampire Weekend, the ubiquitous Kanye), 2010 was indeed a rather good year. In compiling the list below, I found myself with about six or so "definites" and 20 or so "could bes." That's a lot more than usual.

2010 was also the year we lost Jimmy Lee Lindsay Jr., better known to the universe as Jay Reatard. Though gone, his influence on the rock underground remains. It's been four years since he released his watershed solo debut Blood Visions. Also released the same year was Times New Viking's debut album and these two records cast a long shadow. The first few years of the 21st century yelled "Return of the Rock!" as loudly as possible but whatever moderate commercial success was achieved by demi-raw garage or post-punk revivalists fizzled by the middle of the decade. Of course, the music biz answer to failure is always "slick it up" and suddenly rock was in short supply once again.

While it's debatable on whether or not Reatard and TNV kickstarted the new lo-fi/DIY movement, they certainly seemed to remind many of the purifying, primal thrill noise and volume can bring to a pop song. Good records by interesting bands have been coming at a fairly steady clip ever since. Punk was finally (if only partially) reclaimed from the shopping mall and rock was not dead after all.

Or is it? This year, the Official Arbiters of Music Taste for the Young, White and Privileged seemed relieved that the lo-fi "trend" had run its course and it no longer had to pay lip service to a sector of the underground it didn't care for or understand in the first place. Evidence can be found in their dismissive, middling reviews of Woven Bones, Wounded Lion and Thee Oh Sees. Others found it difficult to distinguish what should be obvious sonic variety in different bands using the same basic rock vocals/guitar/bass/drums set up. At times, I feel like a teenage metalhead who can easily pick out the nuances between his favorite bands. Whereas to most people, it all sounds like the same unlistenable racket.

In any case, below is a list of the best rock music going right now. To my ears, anyway. Listed more or less alphabetically to free myself and the artists from the indignity of ranking. Accompanying each pick are either excerpts from past reviews or new text if I had not reviewed them previously. I'm sure some of you are going to download all of these at once. My advice: Pick the one that sounds most interesting you and try just that one. Music is a lot better if you take the time to enjoy it.

Casual Victim Pile compilation (Matador)
If Casual Victim Pile wasn't the record of 2010, then 2010 was the year of Casual Victim Pile. Released back in January, this collection of bands from Austin, TX was like a harbinger for the year to come. Many of the bands on the comp released good to excellent albums this year: The Young, Woven Bones, Dikes of Holland, Tre Orsi, Harlem, The Golden Boys' John Wesley Coleman. Others like Kingdom on Suicide Lovers and The No No No Hopes contributed standout tracks that have me looking forward to their future releases. Casual Victim Pile served as notice for every other scene to step up their respective games. Frankly, it might be one of the best regional comps ever. And Rayon Beach isn't even on it!

Grass Widow Past Time (Kill Rock Stars)
Rather than provide direct hooks to hang your hat on, Grass Widow invite you to luxuriate in their singular sound. Their voices (the band's harmonies are top notch) and instruments weave in and out of each other. Each element is distinct and sometimes oblique yet they seamlessly form a whole. That may read as being challenging and it can be but Grass Widow is also stealthily inviting. They prove that rock music doesn't need to loud or noisy to be uncompromising. Nor does it need to be traditionally catchy to burrow its way right into your brain's pleasure center. (Originally posted: 8/25/10)

Mantles Pink Information EP (Mexican Summer)
San Francisco's Mantles first came to my attention via their cut Woodist's excellent Welcome Home/Diggin' The Universe compilation. This made me feel like a fool as they had already released a handful of 7"s and a full length on Siltbreeze of which I was totally ignorant. I did manage to get my hands on this 5 track EP though. And, lucky me, it totally smokes. The Mantles have gotten the requisite VU/Paisley Underground/NZ comparisons but I heard healthy dose of Richard Lester Myers-style swagger and weariness in there as well. And really, you can never have too much of that.

Nothing People Soft Crash (S-S)
Their debut, Anonymous, made my best-of list for 2008. Their second album, Late Night, was in some ways even better and surely would have made my best-of list for 09 had I bothered to make a proper one. Soft Crash, their third album in as many years, is better still. Such prolificness is impressive in and of itself but the substantial growth they've shown with each release in such a short period is simply astounding. (Originally posted: 6/30/10)

Reading Rainbow Prism Eyes (HoZac)
Reading Rainbow's stronger melodies easily distinguish themselves. Songs like "Wasting Time," "Always On My Mind" and the title track are some of the most infectious of the year, outclassing most of band's peers among the new naive. (Originally posted: 11/23/10)

Ted Leo and the Pharmacists The Brutalist Bricks (Matador)
The Brutalist Bricks is not any kind of departure from Leo's trademark sound. Rather, it distills his greatest strengths and offers some strongest melodies of his career. And it sounds fantastic, sporting crisp production with each element clearly pronounced in the mix. (Originally posted: 3/9/10)

Tre Orsi Devices + Emblems (Comedy Minus One)
I may have given the impression that Tre Orsi is merely some revivalist act. This is not the case. If they wanted to go that route, they could simply drive headfirst into cliché, which they thankfully avoid. Rather, the trio uses their influences as a foundation for their own style, simultaneously muscular and melancholy. That they could reclaim the soft/loud dynamic from nearly 20 years of terrible post-grunge and spin it into something distinctly their own on a song like "Best Kind of Failure" is nothing short of remarkable. (Originally posted: 6/8/10)

Tyvek Nothing Fits (In The Red)
This is the Tyvek album you've been waiting for. Though chaos is an essential part of Tyvek's approach, here they focus all the clamor and weirdness that sprawled all over their prior LP into their songs. The result is an unrelenting attack. Songs pummel you one after the other, never allowing you to catch your breath. (Originally posted: 11/9/10)

Wounded Lion s/t (In The Red)
Wounded Lion are not dissimilar to fellow Californians Nodzzz in their mix of rough simplicity and unrelenting catchiness. Actually, the band(s) I was reminded of most when listening to this platter were Big Dipper and the Embarrassment. Songs like "Hunan Province" and "Belt of Orion" seem to have inherited their sense of melody directly from Bill Goffrier's old bands, sources that are both fertile and infrequently replicated. (Originally posted: 4/27/10)

The Young Voyagers of Legend (Mexican Summer)
More than once I've seen the Young likened to the Replacements, probably because of singer Hans Zimmerman's passing resemblance to Paul Westerberg in voice and phrasing. It's a pretty erroneous comparison as the Young's music is wide open and exploratory, whereas the only thing the Mats were interested in exploring was the bottom of a Bud can. However, the false identification becomes easier to forgive when one realizes the Young don't have any easy precedents to reference. Are they the loosest post-hardcore band around or the tightest psychedelic trash? Live, I might say the former, on record probably the latter. It ultimately doesn't matter how one identifies them, of course, only that they're treading some exciting sonic territory that at once seems strange and alien yet undeniably, concretely rock. If you're only going to check out one album from this list from a band you've never heard of before, make it this one.

Honorable Mentions:

Best Coast Crazy For You (Mexican Summer)

Bottomless Pit Blood Under The Bridge (Comedy Minus One)

Dikes of Holland s/t (Sundae)

Fresh and Onlys Play It Strange (In The Red)

Idle Times s/t (HoZac)

Myelin Sheaths Get On Your Nerves (Southpaw)

Parting Gifts Strychnine Dandelion (In The Red)

Super Wild Horses Fifteen (HoZac)

Ty Segall Melted (Goner)

Welcome Home/Diggin' the Universe: A Woodsist Compilation (Woodsist)

The Unblinking Ear Podcast: What I'm Into

(2010 isn't over. You shouldn't even be done with your advent calendar yet.)

Periodically, people ask me what I've been listening to lately. This kind of puts me on the spot as I try to cycle through everything I've listened to in the past few weeks and which of it might be appropriate or attractive to the speaker. Ultimately, it usually provokes a semi-hostile, passive aggressive reaction from me such as "I don't know! Stuff!"

Besides, I do a fairly regular podcast and maintain a music blog. What I'm digging at any particular time is a matter of public record. It's only a few clicks away if you own a computer. I can't do all the work for you people.

Incidentally, this is not a best of 2010 podcast. That will be the next one. Yes, I'll be condensing all the music I've liked best in the past year into a single download. How much more convenient does it get?

So the next time you see me out in public, just compliment what I'm wearing or something. We can talk about music. Just try and keep the topic narrow. And buy me a drink.


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The Unblinking Ear Book Club: Andrew Earles' Hüsker Dü Biography

A biography of one of my favorite bands penned by one of the sharpest music writers around, there was probably no chance that I wouldn't enjoy Hüsker Dü: The Story of the Noise-Pop Pioneers Who Launched Modern Rock. And indeed, I did enjoy it, consuming the entire book in two or three sittings over the course of 24 hours. Though Hüsker vocalist/guitarist/songwriter Bob Mould declined to participate (he's working on his own autobiography with Our Band Could Be Your Life author Michael Azerrad), this is an exhaustive tome, featuring interviews and insights from vocalist/drummer/songwriter Grant Hart and bassist Greg Norton plus many of the band's colleagues and contemporaries.

Author Andrew Earles makes explicit in his introduction that his book is meant to be a serious examination of Hüsker Dü's music and influence, not the more sensationalistic aspects of the band that often seem to dominate their posthumous write-ups. He succeeds admirably. Earles mostly avoids what could be considered the more exploitative elements of the Hüsker story: the band members' sexuality, their alleged drug use, the exaggerated acrimony of their messy breakup. He almost apologizes when the narrative necessitates these subjects' inclusion. This could be read as an attempt on the part of the writer to not alienate his heroes. However, it's more likely that Earles realizes that Hüsker Dü were not Mötley Crüe, and that this book is not The Dirt. Hüsker Dü's contributions to culture, in their music and as a trailblazing role model for future independent bands, are more powerful than any titillating tales of rock 'n' roll revelry.

One of the reasons Earles' book works is that he gives the band proper context. The author has a firm understanding of punk rock, post-punk, hardcore, college radio, the Twin Cities music scene, SST records, what later became "alternative" and "indie" and what each meant musically and sociologically. Hüsker Dü was part of all of these things to varying degrees while simultaneously forging their own path. Earles establishes where the Hüsker story converges with the above, often affecting them as much as they were affected by them.

Context is also part of the reason Earles spends the first six(!) chapters focusing on the band prior to the release of Metal Circus, conventionally deemed the band first "important" release. It's as though Earles wrote each early chapter as its own essay examining some part of the band's story. Usually mentioned in passing as a footnote, Hüsker Dü's label Reflex Records gets a full chapter, correctly establishing it as pioneering independent, not on the level of SST but born of the same impulse. This essay approach means the initial chapters bounce around a bit chronologically and contain some redundant information. For the most part this is fine, but a rather egregious example is a quote from Greg Norton regarding Canadian punks D.O.A. and the Subhumans that reappears in the following chapter a mere eight pages later. It's rare bit of sloppiness in what is otherwise a tightly constructed book. In addition to context, these early chapters also shed some much needed light on Hüsker Dü's hardcore days. Earles is sure to make a point that I've often made myself: Hüsker Dü were not some run of the mill hardcore act that eventually changed their sound and became "good." They were one of the best hardcore acts around, on par with anyone else in the genre.

Earles spends the remaining chapters giving a chronological account of each Hüsker release and the band's activities surrounding them, with an extra chapter thrown in focusing on the band's singing with major label Warner Brothers. This may seem like the author is rushing things in comparison to the early portion of the book, but it accurately reflects the speed at which Hüsker Dü was developing musically and gaining forward momentum. He concludes with respective chapters on the band members' ventures following their dissolution and the band's legacy as well as a lengthy appendix on Hüsker and Hüsker-related releases. In these chapters, Earles offers useful and insightful analysis of every release from the band, often dissecting them track by track. It's here that Earles demonstrates his strong grasp of why Hüsker Dü was a remarkable band, offering thoughtful appreciation of their not-infrequent musical innovations. A notable exception is the band's final album Warehouse: Songs and Stories, about which Earles has seemingly little to say. While the album is certainly not Hüsker's strongest, this is disappointing. As a dense, sometimes frustrating, sometimes excellent 20-song double LP, it practically begs for thorough exegesis.

Overall, Hüsker Dü: The Story of the Noise-Pop Pioneers Who Launched Modern Rock is an essential read for fans Hüsker Dü. For those who aren't fans, I'll remind them that Hüsker Dü is an essential band. You can do the rest of the math yourself.

I'll conclude with a live clip of Hüsker Dü, because it's not like I need much of an excuse anyway.

The Unblinking Ear Podcast: Repeating Myself

(Above: a man who knows his repetition.)

Ever since I began doing this podcast two and half years ago, it's been a sort of unofficial policy that I'd never play the same artist twice. (The exception being new releases, naturally.) I figure with such a wealth of music out there, why would I subject listeners to the same artists over and over when I could be introducing them to something new? Variety is the spice of life, they say. I even compiled a list of all the artists I've played with the intention being a spotting groups I hadn't yet played who would be worthy of inclusion.

Well, latest podcast, I made a bit of a blunder. I not only played an group I'd already played, but played the exact same song as well. And you know what? None of you called me on it. Perhaps, everyone is fine with the commercial radio policy of giving particular tunes 200 spins a week.

So from now on, I'm going to relax this policy just a bit. There's still a wealth of great bands I've yet to play. I'll get to them eventually, I'm sure. In the meantime, if you think hearing the same bands on this podcast once every year or two is terrible monotonous, you just let me know.

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New Release: Reading Rainbow

One of the more striking performances I've seen in the past year was from Philadelphia duo Reading Rainbow when they opened for HoZac labelmates Super Wild Horses. Their stage setup was noteworthy because Robbie Garcia (guitar, vocals) and Sarah Everton (drums, vocals) faced each other instead of the crowd. I know nothing (nor do I care to speculate) about Mr. Garcia and Ms. Everton's relationship offstage, but this simple act radiated a subtle but undeniable joy and intimacy. Informed by the K/C-86 vibe that's become fashionable of late, their sound was remarkably full given the minimal instrumentation. The two person harmonies felt absolutely lush. I stuck around for Super Wild Horses. They were fine but couldn't help but pale in comparison to their openers.

Today sees the release of Reading Rainbow's second album and HoZac debut, Prism Eyes. Does it capture the uncommon buzz of the band's performance? Well, perhaps only partially. What played as a bold declaration of identity in a live setting comes of as just a bit samey-sounding on record. However, it's an inviting sound in which listeners can easily luxuriate and there's enough variety here to prevent Prism Eyes from becoming monolithic. Plus, Reading Rainbow's stronger melodies easily distinguish themselves. Songs like "Wasting Time," "Always On My Mind" and the title track are some of the most infectious of the year, outclassing most of band's peers among the new naive.

Prism Eyes may not quite replicate seeing Reading Rainbow live, but a fraction of a transcendent experience is a lot more than most bands offer. You should probably check this one out.

The Unblinking Ear Podcast: Know Your Genre

It's things like the above (stolen from Judd Apatow's Twitter feed) that make me think I should be much more specific in my iTunes store description.

Speaking of genres, how much come indie types can't come up with good subgenre names? What was the last one? Freak folk? Chillwave? Nobody wants to subdivide, I suppose. Metal fans cleave their medium into tiny slivers, but everything from U2 soundalikes to pure noise is "indie." Mostly this crowd just revives and misapplies terms like "lo-fi" (anything with distorted guitar that's harder than Sufjan Stevens) and "garage" (see prior).

I tried to get Curmudgeon-core (over 35 and reads Terminal Boredom) into the popular lexicon but no one was biting. But I'm making an effort.

The next podcast will be devoted entirely to "mustache punk."


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New Releases: Tyvek, Parting Gifts, Hank IV

I know a lot of you were probably disappointed by the results of last week's election. However, there are reasons to be cheerful, such as the release of the three albums below. I have confidence that the purchase of all three by all of my readers will be enough to kickstart the economy and leave us in good shape for 2012.

Anticipation for Tyvek's debut album was almost impossibly high. Based on a handful of fantastic singles and a well deserved reputation as an incendiary live act, the band were anointed the great hope of the lo-fi/DIY/garage/punk/whatever-the-fuck-you-want-to-call-it underground.

When their self-titled full-length was finally released in May of last year, disappointment was probably inevitable. Though a fine and adventurous record, some felt the album diluted the white hot intensity of their single with frequent Swell Maps-style song fragments and odd excursions. The consensus seemed to be "it could have been better." It probably didn't help matters that the original lineup was breaking up while the album was being assembled.

Tyvek's second album, Nothing Fits, comes out today on In the Red with all traces of excess excised. In other words, this is the Tyvek album you've been waiting for.

Though chaos is an essential part of Tyvek's approach, here they focus all the clamor and weirdness that sprawled all over their prior LP into their songs. The result is an unrelenting attack. Songs pummel you one after the other, never allowing you to catch your breath. This is not to say Tyvek are a brutal or punishing listen. Far from it, actually. Though they're not especially interested in melody, the band has a unique sense of tunefulness. They know just where to place a sudden stop, timing shift or blast of noise for maximum impact.

We could have a lengthy discussion whether or not punk rock actually exists in 2010. That's a topic for another time. But if you wanted to argue the "pro," Tyvek would be exhibit A. Nothing Fits is a strong contender for album of the year.

Also out today on In The Red is Strychnine Dandelion, the debut album from the Parting Gifts, a new project from Greg Cartwright of Reigning Sound and Coco Hames of the Ettes. Though the album definitely has the loose informal feel of a side project, it's still a blast to listen to. New tunes from a songwriter of Cartwright's magnitude are always welcome and he turns in a couple of gems here. Cartwright has also proven himself the master of unearthing obscure but brilliant Jagger/Richards compositions. The Reigning Sound's cover of "I'd Much Rather Be With The Boys" was one of the highlights of Time Bomb High School. Here the Parting Gifts dust off "(Walking Through the) Sleepy City," which is expertly intoned by Ms. Hames. Just try and listen to this version without smiling. Actually, one could say that about this entire album.

The third Hank IV album, creatively titled III, is also out today on Siltbreeze. Unlike the two records above, I haven't actually heard this one yet as Siltbreeze is not in the habit of playing the promotional copy game. Still, since the Hank IV's prior two platters made my best-of lists for their respective years and since they were possibly the best live band I've seen in the past half decade or so, I'm going to go ahead and recommend this one sight sight unseen (or, more accurately, sound unheard). If it stinks, that's on them, not me.

Update: Just prior to publication of this piece, the Hank IV released a video for the lead off track from III, so I've now heard at least a percentage of the album. It's awesome. Check it out here.

Rocktober Record Roundup

(Have fun at your monster parties this weekend.)

As I mentioned in the post for my latest podcast, the past few weeks have had a slew of noteworthy releases. The sheer quantity has meant that it's been difficult to listen to any single one enough to write a thorough review.

So how about some non-thorough reviews?

The following are a bunch of recordings released this month you might want to check out, each summarized in a single sentence. I've pulled this stunt once before, which I'm mentioning as either a way of admitting I'm repeating myself or trying to get credit, 140 character limit or not, for beating Chris Weingarten and Discographies to the punch.

I'm going to try and give each of these some more listens in near future, despite even more good stuff coming in November. (Oh, Parting Gifts and Reading Rainbow, why you gotta be so good?) When I'm going to have time to listen to each is another issue though it's probable that any of the below are a better soundtrack to the World Series than Buck and McCarver.

Idle Times s/t (HoZac)

Just when you were sick of all the lo-fi poseurs, pretenders and bandwagon jumpers, this slab comes along to remind you that feeling the heat of the flame is a lot better than licking the soot.

Belle and Sebastian Write About Love (Matador)

Missing much of the playful bounce of 2006's The Life Pursuit, B&S revert to "sad bastard" mode, which should endlessly please their core fanbase.

Fresh and Onlys Play It Strange (In The Red)

Beats Best Coast for California album of the year, sounding something like a lost collaboration between Arthur Lee and the Gun Club.

Pop. 1280 The Grid (Sacred Bones)

A nice slice of synth-laced Birthday Pary/AmRep-style gnarl that may be a sign of great things to come.

The Corin Tucker Band 1,000 Years (Kill Rock Stars)

Maria Tessa Sciarrano of Her Jazz and WPRB said of this semi-solo debut from the Sleater-Kinney singer/guitarist "I believe this is what a mommyblog would sound like, if it were in musical form," which is too on the nose to comment further.

Cheap Time Fantastic Explanations (and Similar Situations) (In the Red)

Many people whose opinions I respect greatly praised Cheap Time's debut to the heavens though I deemed it merely "good" and I suspect the same will hold true here.

The Extra Lens Undercard (Merge)

I haven't actually listened to this yet but its inclusion here allows me to score cred points by mentioning Shrimper Records and linking to this.

The Problem of Leisure...

What to do for pleasure?

Play the Xbox Kinect™, of course.



At this point, it's hardly considered an affront to credibility for a band to have their song in a commercial but has there ever been a more explicitly anti-consumerist song used in an advertisement than this?

I suppose it's plausible that Gang of Four thought it conceptually brilliant/deliciously ironic to match a song that poses the question above to a product which actually aims to definitively answer it. It's equally plausible that they simply couldn't pass on getting cut a check for what I assume is a substantial amount of money.

Now that they've taken this step, one has to wonder if there are other songs in the Gang of Four discography available for use in advertisements.

I Found That Axe Essence Rare?

I Can't Believe It's Not Guns Before Butter?

"I Love a Man in Uniform" for the U.S. Armed Services?

"What We All Want" for John Hancock Financial?

Armalite is still in business, right?

If McDonald's winds up using "Cheeseburger," then... well, I guess I'll go get some McDonald's. After all, they have cool songs in their commercials.

The Unblinking Ear Podcast: My Cup Runneth Over

(You wouldn't believe how many images of cleavage a Google Image Search of "my cup runneth over" yields. Then again, you might.)

Though you'd never know it from my lack of posts (a fact I'll blame on the MLB playoffs), I've found myself in the enviable conundrum of having a rather large amount of new (and new to me) music grace my ears in the past few weeks. Enviable because much of it is quite good. A conundrum because its quantity means that I'm skipping around from record to record, enjoying most but giving any enough repeated spins to fully process them in a manner that would allow me to write an insightful account for presentation to you, dear reader.

Combine this with my finds from the WFMU Record Fair this past weekend (which will likely dominate my next podcast) and the records sitting on the Ikea Tullsta next to my turntable (still unplayed after weeks or months), and one can see that I'm currently residing in the land o' plenty.

So consider this podcast a cursory sampler of stuff you should give a listen. I'll admit, it's not my best "flowing" podcast but it's still probably more enjoyable than your average CMJ showcase.


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