“The Long, Bloody Road To Hell”
This was back during a time when I was dealing with frenetic hand-drumming married to near-chaotic thumb piano lines. Early 2004, I think. A collection of increasingly ominous historical quotes from a variety of figures that ends with Rodney King’s sobbing plea to stop making it horrible for the old folks, and the kids.
Don’t forget to stop by the books page here to check out some fiction which you can use to subsidize my existence.
Bob Marley & The Wailers – Exodus
Released June 3rd, 1977 on Island Records
The Wailers were an early ska group, originally, forming in 1963 and featuring Bob Marley, Bunny Wailer, and Peter Tosh. Seven albums later they’d morphed into the premier reggae act in their native Jamaica, but as usual with these sorts of things that just meant major change was around the corner. Wailer and Tosh left in 1974; Marley put together a new version of the Wailers for 1976’s Rastaman Vibration while both Wailer and Tosh released their own solo albums (Blackheart Man and Legalize It, respectively, both reggae classics in their own right). Rastaman Vibration became a major success, scoring a berth in the Billboard charts (hitting #8) and, in “Roots, Rock, Reggae”, Marley’s only American Top 100 hit. Then, in December of 1976, Marley and his wife were shot at in an assault that likely had political motivations, since Marley was scheduled to play a concert that was a de facto rally for Jamaican Prime Minister Michael Manley. Despite his injuries, Marley played the show as scheduled, because he was about as badass a performer as you’re ever likely to find. Following this incident, however, Marley decamped to London, where he would remain in exile for two years.
Exodus was the first result of being holed up in London, and it is thought by many to be his finest album. Certainly his career retrospective, Legend (a staple of every dorm room, head shop, and activist squat since time out of mind) features more songs from Exodus than any of his other albums. There are a huge number of stone classics featured here: “The Heathen”, “Exodus”, “Jamming”, “Turn Your Lights Down Low”, and “One Love/People Get Ready” are all signature tracks. Part of it’s appeal at the time was how different it was from the reggae music coming out of Jamaica in the late 1970s. Exodus was more laid-back, with an increased focus on piano tones and freer, lighter beats. There were elements of rock ‘n’ roll (especially with regard to Marley’s guitar playing – check out those opening licks on “Natural Mystic”) and the then-white-hot funk scene. The only real connection to the reggae scene that Marley had exiled himself from was a nod to the rhythm and the liquid nature of the pulsating bass lines, something that could have been borrowed from funk music if Marley hadn’t already come from the reggae world.
It was this melding of reggae tinges with rock, funk, and blues motifs that drove Exodus, like it’s predecessor, into the Billboard charts and made an international superstar out of Bob Marley. He would be dead within four years, a victim of a malignant cancer that first manifested itself in a tumor under his toenail in the same year that Exodus was released. His final words – “Money can’t buy life” – are a clear statement of truth in a world increasingly bent on driving the capitalist machine into overdrive and then collapse.
Prince – Sign ‘O’ The Times
Released March 31st, 1987 on Paisley Park and Warner Bros. Records
Sign ‘O’ The Times was Prince’s first album after the breakup of The Revolution, and came in the middle of a sort of creative free-for-all. At the time of the Revolution’s demise, Prince had been working on a Revolution album (Dream Factory) as well as a solo album, Camille, which featured sped-up vocals and an androgynous new persona (named after the album’s title). After a flurry of activity, recording, and the breakup of the Revolution, Prince had the idea to release all of the above in a 3-LP set called Crystal Ball. Warner Bros. said no, because they have no sense of humour.
Instead, Prince culled down his recordings and released a double-LP set, solo, called Sign ‘O’ The Times. The album drew in large amounts from both cancelled records. “Housequake”, “Strange Relationship”, “U Got The Look”, and “If I Was Your Girlfriend” come from Camille and all bear the squeaky, sped-up vocals that Prince was experimenting with on those recordings. “The Ballad of Dorothy Parker” and “Starfish And Coffee” were part of the Dream Factory recordings right from the original demos. In lesser hands, such a hodgepodge of components would have ended up as a gigantic mess, a hymn to overreaching ambition. Prince, though, comes across on Sign ‘O’ The Times like he knows exactly what he’s doing and where he’s going at all times. Without hyperbole, the album is an encapsulation of everything that went right with pop music in the 1980s. The drum machine (a Linn LM-1 for the gear nerds among us) is precisely funky, and never comes off as mechanical or stiff. Prince’s expert sense of in-the-pocket grooves when it comes to bass is on point everywhere, especially on the rather apocalyptic twilight rhythm of the socially conscious title track and the sensual “If I Was Your Girlfriend”. There’s a decent balance between funk, soul, R&B, and that Eighties brassy pop. Underneath all of that, however, is evidence (provided on “The Cross” and to an extent on “I Could Never Take The Place Of Your Man”) that Prince played rock ‘n’ roll guitar like a motherfucker.
Sign ‘O’ The Times would be the last great Prince album – unless you count The Black Album, which was supposed to be Prince’s followup to Sign ‘O’ The Times until he had a bad trip and became convinced the album was evil. Instead, he rushed out the half-baked Lovesexy, followed that up with the Batman soundtrack (which was okay as well) and then got into a horrendous, legendary fight with Warner Bros. that saw him change his name into a symbol and churn out a series of rushed albums to get out of his contract with the label (although Love Symbol is honestly pretty decent). Legend (and Kevin Smith) has it that Prince has a vault of music that could last us all until doomsday, but chances are good that, as far as quality goes, none of it is going to top what Prince was doing on Sign ‘O’ The Times.
Iggy Pop – The Idiot
Released March 18th, 1977 on RCA Records
The Idiot was Iggy Pop’s first release since the final (epic) Stooges album four years previous. The intervening years had been, to put it mildly, chaotic; the last Stooges show in 1974 had been highlighted by a brawl between the band and a group of bikers, and Pop had delved into cocaine in a heavy way in the years afterward. At one point in 1976, unable to keep himself from shoveling drugs up his nose, he checked himself into a mental hospital. An old friend and collaborator, David Bowie, visited him there often and when he was released Bowie took him out on the Station To Station tour, which probably didn’t do wonders for his inability to stay off drugs. They got busted together in Rochester, NY (although just for marijuana) and in 1977 decided to decamp to West Berlin to kick their habits. While there, Bowie started playing with the ambient, electronic textures that would inform his Berlin trilogy, and in many ways The Idiot is the first album of Bowie’s Berlin era. It is entirely unlike much of the rest of Pop’s discography, and musically it is far more reminiscent of, say, a connection between Station To Station and Low. It’s a funk-influenced R&B and soul album written and recorded by musicians surrounded by German electronic pioneers (Kraftwerk’s seminal Trans Europa Express also came out in March of 1977).
The Idiot may not be the most “Iggy Pop” album, per se, but it is a great album nonetheless. Bowie’s work in Germany is presaged in most ways by his work here, and he admitted several years later that he used Iggy Pop as a sort of guinea pig for the sound that he wanted to flesh out on his own records. As such, it features Iggy Pop crooning like the sort of deranged android Lothario that the Thin White Duke himself was at that time. Bowie himself would in fact nick a couple of the songs a few years later: the grinding “Sister Midnight” would become “Red Money” on 1979’s Lodger and of course the Bowie version of “China Girl” from 1983 was a much bigger hit. The Idiot is a perfect summation of where both of them were at when a desire to get the hell out of L.A. hit them in very early 1977: drugged-out, discoed-out, dragging themselves through the night and generally feeling as though the entire world had been struck down an octave or so in pitch (or, how “Mass Production” sounds). It would go on to have great influence on a number of up-and-coming goth, post-punk, and eventually industrial groups. Siouxsie Sioux and Martin Glover (of Killing Joke) both singled the album out as a favourite and it was still spinning on Ian Curtis’ turntable when he hung himself in 1980. The drum beat from “Nightclubbing” was reworked as “Closer”, the biggest hit Nine Inch Nails ever had; it was also appropriated by both Oasis and the Sneaker Pimps, proving a sort of bizarre cross-genre affection for The Idiot‘s Pop-Gone-Bowie charm. While the Sunset Strip bands would try to manufacture and sell a flashy, inclusive sort of sleaze, The Idiot was a piss-take of sleaze-rock that skewered all of those bands ten years in advance.
Chance The Rapper – Coloring Book
Released May 13th, 2016
During the wild, chaotic run-up to the release of The Life Of Pablo, Kanye West announced that it would be a “gospel album”, inspired by the African-American tradition of blending worship in church with soaring choral music that God himself might hear. Despite the label, the only gospel moments on the album were the admittedly brilliant opener “Ultralight Beam” and “Lowlight”, an intro to the more traditional (and Young Thug guesting) “Highlight”.
Fellow Chicago musician Chance The Rapper was on the former, and it’s Chance The Rapper that is now bringing out what ‘Ye promised: a full-on gospel hip hop record, embracing the worldliness of life in often-violent Chicago, and simultaneously the glory and life guide of his religion. Rather than the lysergic uncertainty of his breakthrough Acid Rap, Coloring Book finds a man confident in his faith and in sorrow for his city and his people. “Blessings (Reprise)” has him saying “They never seen a rapper practice modesty, I never practice, I only perform”, and this serves as a good overarching theme for the record as a whole. It’s an album that stands in direct contrast to the nihilistic, violent drill scene that Chicago is known for; rather than a finger-waving sermon, though, tracks like “Summer Friends” seem to offer a prayer for those caught up in the summertime violence that is endemic to the drug and gang-ridden city streets. The problem with overtly “Christian” artists is that the music often seems to take a backseat to the message; they’re so concerned with connecting with “the kids” that they don’t take the time to actually figure out what makes the secular music so appealing in the first place. Chance succeeds exactly where “Christian rap” or “Christian rock” fails: he lets his faith infuse his music, rather than supersede it. He’s intensely relatable, even when you’re outside of the continuum of his experience.
Even better in this day and age, Chance is staunchly independent. He doesn’t need a label, and he doesn’t need to sell his album just to fulfill label quotas. Coloring Book is free, and as such it’s technically classified as a mixtape. It’s a subject he addresses on “No Problem” with Lil’ Wayne (no stranger to label problems himself) and “Mixtape” (with ultra-prolific fellow mixtaper Young Thug), but it’s also a subject he brought up originally on “Ultralight Beam”: “He said let’s do a good ass job with Chance 3 / I hear you gotta sell it to snatch the Grammy / Let’s make it so free and the bars so hard / That there ain’t one gosh darn part you can’t tweet”. Mixtapes are ineligible for Grammys, and if there’s an album that deserves a Grammy it’s Coloring Book – a fact that perhaps led Chance to release it on DatPiff and then shortly after make it a short-term iTunes exclusive. Nonwithstanding whether having it on a paid streaming service makes it “for sale”, Chance’s Twitter fans ended up tweeting all of the lyrics to Coloring Book. They’re a loyal group and Chance is the sort of artist to reward them for their loyalty with both quality and (between his own work, his guest spots, and his gig fronting Chicago experimental pop group The Social Experiment) quantity.
Chance deserves to be mentioned in the same breath as the other giants of modern hip hop – your Weezys, Drizzys, Yeezys, K. Dots, et al. He’s got a killer flow, has a Kendrick-like appreciation for intricate wordplay, and has the ability to ride a vibe for all it’s worth better than pretty much anyone else. In a genre dominated by a careful balance between artistry and crass mercenary sales grubbing, Chance takes the left hand path and is all the better for it.
AND THE REST…
Always Strive And Prosper
04/22/2016 on Polo Grounds Music
The perennial also-ran to A$AP Rocky comes into his own with a solid album of hard-hitting verses backed with a staggering amount of high-profile guest spots.
04/22/2016 on Pink Flag Records
Eight songs from 2015’s Wire record were redone for this mini-LP. As it turns out, the pioneers of jittery indie rock fall apart when they try to hold themselves still even for a moment.
04/22/2016 on Carpark Records
Toronto has a reputation for noisy rock ‘n’ roll – emphasis on the noise part. In the grand tradition of METZ, Fucked Up, et al. comes Greys, who pile noisy parts on top of each other until they approximate songs. While their sound has expanded somewhat from their debut, it’s still fairly limited in terms of it’s overall impact. Still, for something to crank up to ten and annoy the neighbours with, you could do worse.
Plants And Animals
Waltzed In From The Rumbling
04/29/2016 on Secret City Records
A pleasant surprise from a band that’s been very hit and miss since their stellar debut, Parc Avenue. Strives less for radio play than it does for campfire grit.
Paging Mr. Proust
The veteran alt-country band has lost quite a bit of oomph over the years, and their ninth album can’t hold a candle to their earlier career. Decent enough stuff, but unexceptional.
The standard-bearers for the modern Riot Grrl movement get a little slicker and a bit more commercial on their third album. It works, but I miss the fireworks and slashing of old. At least the punk rock feminist righteousness is still intact.
Because there aren’t any albums in this list I want to take the time to commit more than 300 words to.
City Sun Eater In The River Of Life
04/08/2016 on Woodsist Records
The veteran Brooklyn lo-fi folk group plays it safe on their latest album – entirely too safe. Everything here sounds like Woods, even when it’s trying hard not to.
Ben Harper & The Innocent Criminals
Call It What It Is
04/08/2016 on Fantasy Records
Ben Harper’s first album with his Innocent Criminals backing band since the first Obama election is a solid return to form, a slick and professional amalgam of his styles: funk, rock, soul, reggae, and old school R&B.
The Dandy Warhols
04/08/2016 on Dine Alone Records
The poster children for diminishing returns approach the singularity. Why even bother at this point?
04/08/2016 on Dualtone Records
The band doubles down on their folky Americana tracing, with a graver tone than the first time around. The best that can be said is that at least they didn’t just go full-on Coldplay like a certain other indie-folk band of saps.
Royce Da 5’9″
04/15/2016 on Bad Half Entertainment
The veteran Detroit rapper isn’t gunning for radio singles or memorable street bangers here. Instead, he leans on his top-notch lyrical skills to deliver a solid, message-driven album that also happens to feature some great hooks.
04/15/2016 on Because Records
The French psych-garage band combines a variety of European traditions – Italian giallo soundtracks, French ye-ye music, Spanish guitar melodies – with hard-hitting American psychedelic garage rock. Features New Order bassist Peter Hook in an obvious cameo on one track.
04/15/2016 on Suicide Squeeze Records
Like Drew Storen, The Coathangers are a once-reliable outfit that has lost its velocity and therefore it’s meaning by 2016. They try to develop some new tricks but, also like Storen, it remains to be seen whether they can pull that off in the long-run.
04/15/2016 on Dead Oceans Records
The former Woods bassist puts out a lush album of moves cribbed from the Bob Dylan playbook. Not exactly essential, but not a throwaway album either.
04/15/2016 on Secretly Canadian Records
A sort of lazy-eyed post-punk, like if Thom Yorke fronted an underground band. There’s nothing here that reinvents the wheel or even improves upon an aspect of their influences, but it passes the time well enough.
Surgical Meth Machine
Surgical Meth Machine
04/15/2016 on Nuclear Blast Records
After putting Ministry to bed with a trio of albums that all said the same thing (“George W Bush sucks”), Al Jourgenson returns in 2016 with a project that blends industrial oblivion with the blurred effect of speed metal. It doesn’t have the hard-hitting punch of his Ministry days but it’s funnier than anything he’s done in years, and the latter half of the album has more hooks than a bait shop.
Love Letter For Fire
04/15/2016 on Sub Pop Records
The Iron & Wine frontman teams up with Jesca Hoop to put together an album of rich country-tinged folk ballads that I can’t remember a blessed thing about as soon as they’re over.
04/15/2016 on Livity Sound Recordings
When it comes to electronic music meant to get you moving, Utility is competent. That’s not really a compliment but it’s not altogether denigrating either. You could do worse.
04/22/2016 on Susannasonata Records
An effective blend of the baroque majesty of Joanna Newsom and the cutting-edge mystique of St. Vincent. It would be a much better album if it wasn’t so overly long.
Asphalt For Eden
04/22/2016 on Profound Lore Records
Dense, thick, and lo-fi, the hip-hop group’s first album in six years (with new members) hits all of the right notes from their previous, critically acclaimed efforts. Noisy without being willfully so, and brief without being truncated.
Special Friday Edition!
Friday is the day on /r/music where the mods like to turn off the ability to post YouTube videos in the hopes of the subreddit actually becoming one for music discussion and not, say, where Reddit likes to dump it’s garbage fire taste in music. Ha. Ha ha. Well, they try, that’s the important thing.
If you tuned in yesterday, you’ll get the basic gist: I take a look at the top ten songs posted on /r/music in the last 24 hours and tell you how terrible Reddit’s taste in music is. In much rarer occasions, I’ll tell you where they get it right. Fridays will be fun because of the phenomenon mentioned above: it’s going to be a collection of those songs with the staying power to make it through the discussion posts.
Also, for the record, no I don’t plan on this being an everyday thing, but I would like it to be an everyday I can manage it thing.
June 2nd, 2016 (12:30 PM) to June 3rd, 2016 (12:30 PM)
#1: Mr. Bungle – “Air Conditioned Nightmare”
Reddit manages to kick it off with something weird and cool, courtesy of Mike “Weird and Cool” Patton. Goes through four different changes in tone and structure, each completely different than the one before. In anyone else’s hands, it would be a gigantic mess, but Mike Patton isn’t anyone else.
#2: Dinosaur Jr. – “Feel The Pain”
Sirius XMU’s favourite Dinosaur, Jr track is also Reddit’s most commonly posted DJ song. Thankfully it never gets old, although I’ve heard it three times today between the radio and this particular set. Two good tracks in a row, Reddit, maybe Fridays are your thing.
#3: Beck – “Wow”
Ah, the new Beck track. The one that starts off like a generic hip hop beat, or maybe something like what Beyonce might have rejected for her self-titled 2013 album. Then Beck manages to bull through it in a display of sheer Beck-ness. Still, it feels a little empty and it’s not until 2/3 of the way through that Beck lets his freak flag fly in even a limited fashion. Honestly it feels a little like Beck chasing a hit and I’m not sure how I feel about that. Holding out opinions for the album, we’ll see.
#4: The Cult – “Love Removal Machine”
The Cult were an Eighties goth band that scored some hits when they decided to be an AC/DC tribute band instead. My mom knew the lead singer in high school at one point, to no one’s surprise he was a dick. Trust Reddit to go ga-ga for generic hard rock because “it has guitars”.
#5: A Day To Remember – “Bad Vibrations”
Why do metalcore bands have such fucking awful band names? Why do metalcore bands all recycle the same damn low-end chugging? Why do metalcore bands mistake sung choruses for depth? Why do metalcore bands insist on breakdowns that are cheesier than a Wisconsin hamburger?
Anyway, you can always tell when the pre-teens are posting, because there will be metalcore.
#6: The Monkees – “Birth Of An Accidental Hipster”
Okay, show of hands. Who was crying out for a Monkees comeback? Anyone? Put your hand down, dad, Jesus Christ. Wait, this is actually sort of good. I…I kind of like this. Noel Gallagher co-wrote it? I suppose that explains some things.
#7: Portugal. The Man – “Plastic Soldiers”
Who gave the indie kids access to the internet? They managed to find a Portugal. The Man track that isn’t all that great. It’s about as middling a work as you can find from a middling also-ran indie act. You thought you were doing something good, but instead you fucked it all up. Good work, Reddit.
#8: Soundgarden – “Rusty Cage”
The rest of the post title literally reads: “I know this has been posted before, but not for months & I think it’s well worth posting again.” Oh, well, I guess that makes sense except wait IT WAS LITERALLY POSTED YESTERDAY AS THE JOHNNY CASH COVER.
Who are you trying to fool, anyway? We all know where the inspiration to post this came from.
Decent tune though.
#9: Link Wray – “Rumble”
Link Wray poked a hole in his speaker cone with a pencil and invented hard rock single-handed. That might be a bit of an exaggeration, but not by much. Reddit of course knows it from its multiple pop cultural appearances, including Tarantino. At least it’s better than just posting the songs from Guitar Hero .
#10: Joywave – “Nice House”
Lyrics are the only really halfway interesting part of this song, the rest is a really generic and straightforward electro-pop song, like what Hot Chip would write if they got really, really boring all of a sudden. The outro is rather nice though.
TODAY’S AVERAGE: B- (Not bad, Reddit!)
And now for a new sequence, brought to you by the…ahem…”tastemakers” of Reddit’s infamously awful /r/music community.
It’s often said that Reddit has shitty taste in music. Granted it’s usually 4chan’s /mu/ community saying that, but let’s be serious here. Whether it’s the constant love of Queen and Foo Fighters that makes me roll my eyes or the circlejerking over how superior they are because of their love of Tool, /r/music is a bottomfeeder in terms of music communities.
Or is it? I’ve decided to start an ongoing series where I listen to the top ten songs posted to /r/music in a 24 hour period and assign them completely subjective ratings based on my own insane whims and thought processes. Then we’ll see if /r/music’s taste actually sucks as badly as I’ve always thought.
Without further ado, I give to you:
June 1st, 2016 (12:30 PM) to June 2nd, 2016 (12:30 PM)
#1: Rancid – “Ruby Soho”
The most poppy and milquetoast of all of the Clash-rip-off’s poppy and milquetoast songs. /r/music loves punk rock, but only if it’s from Le Nineties and it’s been beaten to death on the radio since then.
#2: The Avalanches – “Frankie Sinatra”
The first time since 2001 that Australian sample-stackers The Avalanches release new music AND it’s fucking stellar? You win this time Reddit. You win this time.
#3: Dethklok – “I Ejaculate Fire”
I’d say something snarky about how the only way metal gets to the top of Reddit is in cartoon form but I can’t hate on Dethklok. This isn’t completely dildos.
#4: Johnny Cash – “Rusty Cage”
The best that can be said of this is that at least Reddit took a break from jerking off over “Hurt”. At least with “Rusty Cage” I don’t have to read about how “REZNOR TOTALLY SAID THAT SONG BELONGED TO JOHNNY CASH NOW BECAUSE THE COVER WAS SO MUCH BETTER!!1!11!”. In fact, one of the top comments is the exact opposite. Thank you, Jesus.
#5: The Distillers – “The Young Crazed Peeling”
Man it has been a long time since I thought of Brody and The Distillers. It still sounds like Courtney Love fronting Rancid to me, and as the years have gone by that prospect appeals to me exponentially less. Also, those fucking spikes. Jesus Brody, how much money did you shell out to get that look down just right? How punk rock of you.
#6: Huey Lewis And The News – “If This Is It”
Jesus Christ Reddit, Bret Easton Ellis was being ironic. What the hell is wrong with you?
#7: Lagwagon – “Island Of Shame”
Apparently it’s awful pop punk day on Reddit. Lagwagon was that band that was there for you if Pennywise was too edgy for you. Completely indistinguishable from anything else on Epitaph in the mid-90s.
#8: Grand Funk Railroad – “I’m Your Captain (Closer To Home)”
GFR got a lot of hate back in the day from critics because, well, they’re not really that good on average. Still, they were capable of moments of brilliance, and “I’m Your Captain” is one of those. For more on Grand Funk Railroad, consult your local library.
#9: Men At Work – “Down Under”
Goofy Eighties pop rock from the Gowan of Australia. I often wonder who posts these sorts of songs. Kids nostalgic for a time they never had to live through? Adults putting on rose-coloured nostalgia glasses? Mouthbreathers who listen to bland Mix FM stations at work? At least in dying you don’t have to deal with New Wave for a second time.
#10: The Justified Ancients of Mu-Mu (aka The KLF) – “It’s Grim Up North”
Reddit’s sizeable school shooter community comes through in the clutch.
TODAY’S AVERAGE: C+
M83 – Junk
Released April 8th, 2016 on Mute Records
My wife and I keep Sirius XMU, the “indie” satellite channel, on in the car pretty much all the time. One consequence of this is that, when the blogger guest DJs come on, things can get pretty random. One day, during what might have been Brooklyn Vegan’s set but was probably Gorilla Vs Bear’s, the subject of vaporwave was brought up. Sort of. Whomever it was referred to what they were playing as “weather-channel-core”, as in “the sort of music that you’d hear played over the weather channel as it flips through various local and regional forecasts.” This is pretty similar to the concept of vaporwave – where the dulcet sounds of late 80s/early 90s training video music (along with every other uncool musical movement of the era) are reconstructed into something bizarrely post-modern. Either way, it’s taking the sound of music that was never really meant to be listened to actively and ensuring that the listener has to do so.
The genre has had some limited success, mainly online. Macintosh Plus (or Vektroid, as she normally goes by) had a lot of people on /mu/ convinced with Floral Shoppe that vaporwave was their life. Saint Pepsi has bubbled around alt-indie radio and Oneohtrix Point Never celebrated his signing to venerable Warp Records with R Plus Seven, a heavily vaporwave-influenced album. Still, in a year where everything sounds like Drake (because everything on the charts has Drake on it, natch), it’s hard to imagine people grooving to adult contemporary saxophones, smooth jazz sounds, factory-preset synth voices, and those hollow, echo-laden drums that scream “cheap Eighties power ballad”. And yet, here is Junk.
Of course, if anyone was going to “go vaporwave”, it was going to be Anthony Gonzalez. His M83 project may have kicked off with a couple of hard-synth albums that appropriated the bombast of Mellon Collie And The Infinite Sadness for an uncertain new age, but his sound came into its own on Saturdays=Youth, the soundtrack to the dream John Hughes movie that only ever existed in your head. It was unabashedly influenced by the Eighties, to the point where the person inside you that desperately wants to be cool feels uncomfortable listening to it at times. Hurry Up We’re Dreaming followed this up with a sprawling double album of synth-rock heroics, dream pop bliss, and more of that Breakfast Club soundtrack vibe. Junk is not like that. Junk takes Gonzalez’s love of 1987 and dives in full-force. This is the smooth jazz-AOR-proto-diva-power-ballad-hybrid album that has been lurking inside of his head since forever. “Go!” has one of those searing guitar solos that used to anchor pop songs (like Eddie Van Halen’s wailing on “Beat It”); “Walkway Blues” has some texture-treated sax (or synth-sax, possibly); “Moon Crystal” is pure VHS nostalgia – an advertisement for a spa, or some other feature you’d watch on an internal hotel channel. “For The Kids” is the sappiest family movie ballad that was never released in a glut of bad straight-to-video movies, although “Atlantique Sud” comes close. “The Wizard” adds in the thin-tape of cheap commercial grade VHS sounds, like a training video that’s been watched too many times over thirty years. “Sunday Night 1987” closes out the album with exactly what the title promises, a smooth, nearly edgeless bit of calmed-down soulful balladry with those Casio-preset piano noises and reedy late-period Billy Joel saxophones.
Junk has all of the trappings of vaporwave except perhaps for its politics. The artists that originally started piecing together the disparate parts that make up the genre intended to offer a satire or critique of modern consumer culture and the disturbing habit of throwing away everything that is even the slightest bit old. It’s meant to reveal the cracks in the golden facade of capitalism by ironically remixing music that was only intended to be a backdrop to sales tools, or to cynically fill in places in art that was only ever intended to make someone along the chain some money. Does Junk fulfill this? Not particularly. It seems to function instead as an homage to Gonzalez’s youth, much as his previous two albums functioned. It uses nostalgia to make nostalgic art, rather than critique the past and future. It’s done in such a deft and seamless way, however, that I can’t really count that apolitical status as a fault. Instead, it’s a tribute to a time and a sound that most people would rather gloss over or ignore. You can see that reflected in the reaction to the album; most people don’t seem to know what to make of it, thinking that there must be some hidden ironic agenda going on that they’re not in on. The cheese is sincere, however, and celebratory.
AND THE REST…
04/08/2016 on My Animal Home Records
That Kickstarter Josh Dibb did initially to crowdfund this album? He donated most of that to charity. Kickstarter is problematic. Sleep Cycles is a good album though, one that approximates the bare essentials of his Animal Collective day job without getting into the high-flying lysergic excesses.
A Cure For Loneliness
04/08/2016 on Concord Records
The former singer for the J. Geils Band tries to pretend that thirty years of history hasn’t happened and that he can still get away with lite-rock AOR music. It’s always fun when you can guess exactly where each song is going to go from the minute it starts. Did I say fun? I mean sleep-inducing.
04/08/2016 on Universal Music
Like an actual fever dream, it goes in many strange directions and there’s very little to grasp onto once you wake up.
Future Of The Left
The Peace and Truce Of The Future Of The Left
04/08/2016 on Prescriptions Records
I just want an album that’s as rich, over-the-top, and powerful as Travels With Myself And Another. Admittedly, this comes pretty close.
04/08/2016 on Moshi Moshi Records
One of those indie albums that sounds an awful lot like all the other indie albums. Except for “Dusseldorf” and “Glory Hallelujah”, though: both of those are stellar tracks.