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samusique-concrete · 1 year

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My fav albums of 2022!

I’m trying to at least squeeze in this post in January 2023, hehe :p

I’ll go from last to first. Let’s go!

10: Dawn FM - The Weeknd

I’ll be honest, i’m not in love with the entirety of this record. I think it has some of the best pop songs that’ve dropped recently (back to back even!), but after track 7 it’s not quite the same (am i alone in this?? let me know!!). It’s a shame too, because at 16 tracks total, the “great” part ends up being less than half of the album. Sooo why is it on my top 10 at all? Well, because i did still play it and replay it tons of times. Those first songs on it... man. Immaculate vibes. Though after Out of Time ends i almost always turn it off 😅

Side tangent regarding Out of Time, btw: I’ve always liked OPN, and getting the chance to listen to his production on big artists like this is kind of a treat. When i heard OoT though i was like “Damn! They arranged this?! This is really precise and detailed and far beyond the scope of what i thought they were capable of...” So then when i learned that the backing track was actually sampled from Tomoko Aran’s 1983 song Midnight Pretenders i was really disappointed (i’d even listened to that album AND song before, i just didn’t remember it). We’ll leave the discussion of how i feel about covers/sampling in general for another day though!

Fav song on it: Gasoline

09: The Ruby Cord - Richard Dawson

I’m telling you man, that Hermit song? Those 41 minutes go by reeeal quick. Don’t be scared of pure beauty! On top of it there are also some other banging tracks as well. The Fool’s soundscape is another highlight for me, for example.

Fav song on it: The Hermit

08: Fawn - Foxtails

I like heavy shit, although i’m not usually into screamo stuff... but i’m kinda slowly changing that. This record was great for me in that regard cuz it’s not all entirely sung in that style. Great entry point if you wanna get attuned with that general sound, probably. I didn’t know this band prior to hearing this, and now i can say i’m a fan! These tunes rule. They sound younger than me though, and i’m still trying to cope with that LOL

Fav song on it: Space orphan

07: Tropical Dancer - Charlotte Adigéry & Bolis Pupul

Brilliant dance/club/techno/house from these two. I would say “biting social commentary” if 1) it wasn’t the most clichéd phrase ever and 2) if it wasn’t at least the baseline """wokeness""" society should just operate at nowadays, honestly. It’s also charming and funny. And danceable AF. Great great great record; not many like it.

Fav song on it: Reappropiate

06: Super Champon - Otoboke Beaver

Punk! Heavy! Fast! Fun!

Fav song on it: First-class side-guy

05: Ants From Up There - Black Country, New Road

Lmao, speaking of musicians that’re younger than me. This album’s a certified instant classic, and you probably know that already. You don’t need to hear it from me again. You can listen to it again, though!

Fav song on it: Haldern

04: Renaissance - Beyoncé

Not much i can add to the discussion of this album, or Beyoncé in general... Well, actually, one thing that comes to mind is how this record comes off as extremely pro-capitalist and individualistic on her part. Idk i admit i don’t usually listen to her, so idk if that’s her usual spiel. It makes sense tho, with her being a gajillionare and having a completely different lifestyle than any of the people who listen to her. This album’s whole aesthetic is money. Even in the sound! It sounds like it was very expensive to make and like every single little beep and/or boop on it was analyzed and tested by a large team of specialists in order to fit perfectly in a song. I will say, though, it sounds fucking amazing. Really pristine production. Bop after bop. I’ve danced to this album a lot.

Fav song on it: Virgo’s Groove

03: Pigments - Dawn Richard & Spencer Zahn

I loooove the concept of this album. It reminds me of 2021′s Promises by Floating Points, Pharoah Sanders & The London Symphony Orchestra in how a musical motif is introduced at the start and how it gets developed across the whole runtime of the record. I don’t wanna compare these two albums though; they’re very different. This one’s also really groovy at times! Love the composing, arranging, instrumentation, singing and everything else in this. And also, little details like the naming of the songs after... well, pigments, and having those pigments in order of appearance on the cover go a long way to making an album feel like a holistic, thought out experience for me. Love it!

Fav song on it: Crimson

02: Hellfire - Black Midi

Insane. Go listen to it if you haven’t already listened to it like 500 times like me. Or! Better yet, if you’ve heard it 500 times go and listen to it again. Insane! These kids really are pushing the whole jazz rock/prog rock/alt&art rock in general scene forward. I also love how each story (i.e. song) on this feels like a very different but still very tangible depiction of a hellish experience.

Fav song on it: Dangerous Liaisons

01: Motomami - Rosalía

Motomami’s an excellent record. That’s just how it is. It’s also special to me specifically because it dropped right around the time when i moved away from home, and i had it constantly on repeat on my new place. However, the real reason it’s on my #1 spot is because it kinda changed things, culturally speaking. It was a force of nature to be reckoned with, upon release. You see, i live in a natively Spanish speaking region, and over here this album was some sort of a cultural reset. I think that’s bigger than me or anyone else’s preferences, and it’s more than enough to warrant the top spot. I also just happen to love it!

Fav song on it: Diablo

Anyway. Have some honorable mentions as well, in no particular order:

Until next year!

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sinceileftyoublog · 1 month

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SPRINTS Interview: Personal to the Bone

BY JORDAN MAINZER

The first great album of the year came out five days into it, belying the post-New Year haze and bitter cold, walloping us into paying attention. Letter to Self, the debut LP from Dublin post-punk quartet SPRINTS, out via City Slang, is a tremendously assured collection of songs that the band describes as "to-the-bone" personal. They're led by singer-songwriter Karla Chubb, whose taut shouts, full-throated yells, and pained but deliberate lyrics match the utter tenseness of the compositions. She sings about her life, and topics ranging from depression and ADHD to sexuality and Catholicism, but without the overt autobiography that can plague even the most well-intentioned writers. Her singing sonically traverses the sinews of Colm O'Reilly's lead guitar riffs and bassist Sam McCann and drummer Jack Callan's brawny rhythm section. Each song is its own journey, and when they end, it feels like you've been holding your breath the whole time.

Though SPRINTS showed promise with their early material, they sound like a complete band with their debut. Working with Gilla Band's Daniel Fox in the studio helped them embrace the charged intensity that makes their live shows so thrilling. Letter to Self begins with "Ticking", the song that's been at the start of their live setlists, on which foreboding guitar, a double-tapped snare, and Chubb's chants build to a false explosion before the full beat truly drops. (Moments like this make it clear that the majority of the band are horror and sci-fi fans, but not necessarily obsessed with jump scares.) "Heavy" builds up similarly, with twangy guitar squalls and trilling drum fills, as Chubb asks pointed questions like, "Do you ever feel like the room is heavy?" before melismatic belting, lamenting that she's "watching the world go round the window beside me." Elsewhere, they combine the frankness of Fontaines D.C. with the cascades of Midwest emo ("Shaking Their Hands") and delve into swirling soundscapes ("Can't Get Enough of It"). As for Chubb, she knows when to scream; at her most full-throated, like on "Shadow Of A Doubt", she's a dead ringer for Courtney Love.

As much as SPRINTS' instrumentation purveys the spirit of their songs, Chubb is a deft lyricist, writing clever rhymes and cutting barbs alike. On "Cathedral", she chides the heartlessness of the Irish Catholic church when it comes to their views on queer folks like her: "He's singing from a hymn sheet, I'm singing for the others / They say I've gone cold while I'm sat drowning in the gutter." "Adore Adore Adore" bemoans the sexist double standards of the music industry, wherein anybody but a straight cisgender male is subject to only love or hate. "Am I everything you wish you had?" Chubb asks, "Or am I everything you detest?" Perhaps best is the album's closer, the title track, where Chubb honors her own ability to conquer trauma, generational and otherwise. "I can shake the leaves of hereditary," she sings, pronouncing the final word "he-re-di-tree" in a cheeky bit of wordplay, continuing, "I don't have to take the path that was carved out in front of me." On Letter to Self, Chubb and SPRINTS in general toss off a world of fear and shame in favor of self-love and acceptance.

SPRINTS plays Schubas on Tuesday night. Back in January, I spoke with Callan about Letter to Self, playing live, horror, and film scores. Read our conversation below, edited for length and clarity, and know the Irish band is excited to be in Chicago mere days after our raucous St. Patrick's Day celebration.

Since I Left You: One of the things I love about Letter to Self is that the instrumentation and the song structures engage the themes just as much as the lyrics do. Can you talk about creating a mood between words and instruments?

Jack Callan: That boils down to the songwriting process. It usually starts with Karla. It could be one riff on guitar or start with lyrics or melody. A lot of the time, and especially with the two opening tracks on the album, "Ticking" and "Heavy", from the get-go, we talked about building a literal feeling of anxiety. That's probably the case for most of the songs. We're trying to match the emotions of the music. The intensity of the song dictates the dynamics. It's quite natural: We all know each other so well.

SILY: As the drummer, specifically, you're at the forefront of toying with our expectations, especially on a song like "Ticking". You think it's going to explode into a rousing moment, but it pulls back. It eventually explodes, but there's a push-pull throughout.

JC: Yeah, absolutely, particularly with "Ticking". It's probably one of the oldest songs written on the album. We probably wrote it at the same time as the songs on our second EP. It didn't really sit well with those [songs], but we always knew we were going to come back to it. When we started properly planning for [Letter to Self], we knew it was going to be the opening track because it has such a slow build. You think it's going to kick in, but it doesn't. Live, we start sets with that, and it sets the tone nicely and builds the anxiety.

SILY: One of the most powerful things about Karla's lyrics is that she asks questions. "Do you ever feel like the room is heavy?" You don't know who she's talking to, but as a listener, it almost feels like she's talking to you. How do you feel about that confrontation when playing live?

JC: I think it's incredibly effective. The way Karla writes is very personal and vulnerable, but in a way it's not so specific you know exactly the circumstance what she's talking about.

SILY: The album title Letter to Self reminds me of a diary. It's a cliché album descriptor when writers say that a personal album is "like reading someone's diary," but this one truly is. If I were to pick up somebody's diary without knowing them, it wouldn't make total sense. I might be able to relate to vague feelings, but I wouldn't know the specifics they refer to. Do you think the record achieves an ideal level of abstraction?

JC: Absolutely. A lot of it was about dealing with those emotions or experiences. Since we've started out as a band, Karla's become more comfortable being vulnerable and open in her songwriting. Our first EP had some personal things, and our second EP was about the self and everyday life, but this is more to-the-bone personal. I think that felt very natural to Karla. There's an honesty to it. She's writing about her own experiences and how she feels about them.

SILY: How is playing the songs live from an emotional standpoint? Do you find yourselves in a similar headspace to when you recorded them, or do you let loose?

JC: I think the recording process, especially for Karla, was more taxing emotionally. Before recording, we rehearsed songs a bunch, and we messed around with demos for a while, but because the lyrics are so personal, putting down the tracks in the studio, that's when it hits you that the songs are going to go out into the world and everyone will listen to them. When you're in the studio, and there's no live audience, just us and Daniel Fox, our producer, it just feels a lot closer. By the time you get to the live set, the music isn't just ours anymore. People will interpret it any way they want. The live shows take on a life of their own, as well. It's more about the band at that point. The live shows have a lot of energy, a lot of fun. On stage, we've never really taken ourselves too seriously. We have a bit of a laugh, even when the subject matter is heavy.

SILY: Have the live versions instrumentally or structurally taken on a new life? Do you extend things or change things up at all?

JC: A little bit. Not as much with some of the album tracks yet, because we haven't been playing them as long. It's usually something that happens naturally. Some of the songs from the EPs we play differently. "Literary Mind" was recorded again for the album. It's is way faster than the original recording. We recorded it and started playing it live. How it is on the album is closer to how it is live.

SILY: Do you have a favorite of the Letter to Self songs to play live?

JC: Probably "Cathedral". The start of that song is a bit scary, but the chorus is proper all-out headbanging. We've played it a little bit live, but not for that long.

SILY: I can imagine that's a cathartic song for you to play live. You're just pounding along.

JC: Yeah. Loud and fast.

SILY: What's the story of the cover art?

JC: It was a still taken from the music video for "Adore, Adore, Adore". During the video, there's a scene where Karla has been abducted and wrapped up in gauze. If you look closely, you may notice the thick eyebrows and mustache: I'm one of the abductors. There's a plastic bowl with water in it her head was being dunked into. The photo was taken from underneath.

SILY: Something not everyone would realize just listening to the album is how much all of you--except for Sam--love horror films and sci-fi.

JC: It was definitely a big inspiration for the videos in particular. It was thematically linked to the "Adore, Adore, Adore" video, but also just a bit creepy and weird.

SILY: Over the past 10 years or so, there's been a resurgence of artful horror films that aren't just genre pieces, that deal with a lot of the same themes on this record. They use an aesthetic to explore themes that might be traditionally explored in different genres. Do you have some favorite contemporary horror films?

JC: I'm definitely a big fan of Hereditary and Midsommar. They were a reference point, slightly thematically, and aesthetically as well. Slightly creepy but not slasher horror. Stuff that's unsettling. Especially with the music. It's not jump scares, just that slight feeling of, "I don't feel right about this."

SILY: Have you ever thought about trying film scoring?

JC: I would absolutely love that. I saw the original Suspiria not that long ago that Goblin did the score to. It's super weird. The film's amazing, but the score is incredible as well. When I saw it, I thought, "I could totally see us doing something like this." It would be a lot of fun.

SILY: I know Letter to Self just came out, but are you the type of band constantly coming up with new songs? Or do you have to sit down and dedicate time to it?

JC: There's constantly new stuff knocking around. There are already demos for what could be album 2. Even from [Letter to Self], there are plenty of demos that couldn't make it in the end. You do eventually need to find time to sit down all together and work on stuff. It's increasingly difficult as we're on the road so much, but we need to block in weeks throughout the year so we have time to do it.

SILY: Is there anything you've been listening to, watching, or reading lately that's caught your attention?

JC: I just finished Goodbye to Berlin by Christopher Isherwood. The last book I read was Carmilla by Sheridan Le Fanu, which came out 20-30 years before Dracula. It's similar, with vampires, but there's a lesbian love element to it. It's really good, only 150 pages. A lot of people reckon Bram Stoker stole a lot of his ideas for Dracula from it. There's a lot of what we now think of as vampire lore in it from what we [attribute to] Bram Stoker. There's a castle in vague Eastern Europe [in Carmilla], so he definitely lifted some ideas from it.

I went to see Spy Kids in the cinema last week. That was a lot of fun. I don't know why they were showing it, but it was a favorite of mine as a kid. I'm going to see Poor Things tomorrow.

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