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sinceileftyoublog · 4 months

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SILY's Top Albums of 2023

BY JORDAN MAINZER

Another year of settling into "the new normal" in the music world, for better or for worse, still brought us great records. The underground NYC hip hop scene burst with creativity. Rock and Roll Hall of Famers reinvented old songs. Stalwarts of experimental music, contemporary jazz, and modern-day blues released their career bests. Even archivists had their day. Below are 16 great albums released last year and 6 more honorable mentions no less worthy of inclusion--I just didn't have time to write about them.

Armand Hammer - We Buy Diabetic Test Strips (Fat Possum)

It's all in the title: on their sixth album, billy woods and E L U C I D navigate through a society where not only is shit that should be free, expensive, but a secondhand market encourages hustlers to make a profit. Amidst capitalist corruption and individualism, the threat of an AI takeover and close calls getting caught with drugs, both emcees face the bleakness while occasionally imagining a better world. As always, the victories are small, but mighty: good weed ("Woke Up And Asked Siri How I'm Gonna Die"), morally righteous laundromat owners ("When It Doesn't Start With A Kiss"), the freedom to bask in schadenfreude ("Niggardly (Blocked Call)"). And yes, it takes a lot for two slow lurching wordsmiths to rise above production from the likes of JPEGMAFIA, DJ Haram, and EL-P, always-inspired samples ranging from E-40 to Sun Ra and Japanese rock band Ghost, and features from Pink Siifu, Junglepussy, and Moor Mother. But they deftly connect the dots from centuries ago to now, presenting societal dysfunction as a core component of our country and world. "George Washington's heart a frozen river, boy / Opps in the backwoods, slave teeth in the mouth when he say ni**a," woods raps, as if to shock you out of complacency and make you numb to the horrors at the same time.

Arooj Aftab, Vijay Iyer, & Shahzad Ismaily - Love In Exile (Verve)

It's hard to believe that Love In Exile, the first collaboration between singer Arooj Aftab, legendary jazz pianist Vijay Iyer, and multi-instrumentalist Shahzad Ismaily, was recorded live with minimal overdubs. Then again, it's clear there's something special brewing within the trio, who first performed together in 2018. That is, the way in which each performer enters and exits and weaves within another is as natural as it is stunning. On Love In Exile, Aftab sings in Urdu--the sound of her words mattering just as much if not more than their meaning--and Iyer plays piano and electronics, Ismaily bass and Moog. The result is an interplay between beauty and dissonance, minimalism and swells of noise, intimacy and grandiosity. Iyer's piano seems like it's increasingly sure of itself on opener "To Remain/To Return" as Aftab's smoky voice resembles a soulful, mournful reed. Ismaily's bass is slow-lurching and rounded throughout, the steady presence that only so much ripples on songs like "Eye of the Endless" as Aftab and Iyer provide contrast in timbre. Love In Exile is the type of album born out of a moment; yet, it gives seemingly endless pathways in which to get lost.

Arthur Russell - Picture of Bunny Rabbit (Audika)

Throughout Picture of Bunny Rabbit, Arthur Russell’s voice is as much of an instrument as his bowed cello, fading in and out on “Not Checking Up”, “Telling No On”, and “Very Reason”. The mysterious aura of Russell comes from both not knowing what’s out there and, on the music we do know exists, being unable to tell what he’s saying or what instruments he’s using. A rubbery whooshing pervades “The Boy With a Smile” and “In The Light of a Miracle”. The 8-minute title track sees dissonant cello disintegrating in real time, unfurling like tape over feedback squalls to the point where it sounds like a MIDI version of a guitar solo. At the same time, Russell always knew when to surface. The harmonica on “The Boy With a Smile” creates a rootsy tactility, the controlled chaos of his string playing yielding free percussion. Russell’s vocals rapidly shuffle on “In The Light of a Miracle”, though they’re as clear as ever, contrasting his sticky cello, plainly borrowing rhythms from Indian classical music.

Read the rest of our review here.

billy woods & Kenny Segal - Maps (BackwoodzStudioz)

The prolific billy woods’ second album with beat mastermind Kenny Segal is centered around touring, inspired by the idea that the road–or the lack of home–is, in itself, home. On Maps, places where people reside are as constantly changing as the landscapes that pass as you’re on the highway. It’s the perfect fodder for woods’ neuroses and pessimism, the low thoughts that occur when you have too much time on your hands but still can’t make sense of your surroundings. He’s constantly searching for stimuli–weed, food, drinks–to distract himself from the human condition. Like the titular “Houdini”, Woods escapes, even if temporarily.

Read the rest of our review of Maps here.

Bob Dylan - Shadow Kingdom (Columbia)

It wasn't just Taylor Swift rerecording their own catalog in 2023. As part of the soundtrack to Alma Har'el's 2021 film Shadow Kingdom: The Early Songs of Bob Dylan, the Bard himself gave us his new versions of old tracks, mostly his Dylan's 60s heyday, save for a new instrumental. Notably, it's his Dylan's record with a band with no drums or percussion, and it's a mystery who played on it, as there are no official credits. It's also his first album of new studio recordings since 2020 opus Rough and Rowdy Ways, so naturally, he leads off with a reflective "When I Paint My Masterpiece". In general, his arrangements are more gentle, from the swirling harmonicas and trailing strums of "Queen Jane Aproximately" to the bluesy, tempo-changing "I'll Be Your Baby Tonight". "Tombstone Blues" comes across like a spooky tale, slowed down, as opposed to the ramshackle stream of consciousness of the original, while the eerie and mournful "What Was It You Wanted" is a revelatory adaptation of the late 80's classic. And "Just Like Tom Thumb's Blues" shuffles along with a calypso groove, almost as if it's a tribute to the late Jimmy Buffett. He may not be doing it to regain the rights to his own songs, but on Shadow Kingdom, Dylan asserts that there's value in revisiting old friends.

Drive-By Truckers - The Complete Dirty South (New West)

The Complete Dirty South is us an opportunity to listen with 2023 ears to a 2004 album that’s truer than ever. The rich still get away with doing illegal things (“Where the Devil Don’t Stay”), increasingly intense weather patterns still devastate the poorest of communities (“Tornadoes”), and government austerity policies still force people to work longer hours, for lower pay (the incendiary “Putting People on the Moon”.) When Patterson Hood sings, “Motherfucker in the White House said a change was comin’ round / But I’m workin’ at the Walmart, Mary Alice in the ground,” it’s the much more realistic, downtrodden version of “Meet the new boss, same as the old boss,” a sharpshooting lyricist’s analysis of the devastating consequences of incrementalism, let alone inaction.

Read our preview of two Drive-By Truckers solo shows from December.

GOLD DIME - No More Blue Skies (No-Gold)

With No More Blue Skies, Andrya Ambro, the former half of No Wave-inspired Brooklyn indie rock duo Talk Normal has delivered the most distilled statement of her artistry to date. Combining her classical training and ethnomusicological studies as a drummer with the hammering intensity of her live performance, the album is a examination of contrast, an exercise in presenting ambiguous questions and smashing them to see if any answers lie within.

Read our review of GOLD DIME's career-best.

jaimie branch - Fly or Die Fly or Die Fly or Die ((world war)) (International Anthem)

Though the late trumpeter and composer jaimie branch’s third album Fly or Die Fly or Die Fly or Die ((world war)) is a final statement, it’s even more effective as an eternal one. It begins with keyboards that sound like church organs, an eerily somber sonic manifestation of irrevocability. As Chad Taylor’s rolling drums enter, branch gives us one of her trademark trumpet blares, as if to announce, “I’m here.” She wasn’t one to spend much more time announcing her presence, though–the track segues into an Afro-Latin style jam, clacking percussion and horns in line with Lester St. Louis’ nervy bowed cello. ((world war)) from then on spends most of its runtime just the way branch liked it, in a groove, with some breaks along the way to remind us of the urgency of the moment.

Read our review of Fly or Die Fly or Die Fly or Die ((world war)).

Jason Isbell & the 400 Unit - Weathervanes (Southeastern/Thirty Tigers)

Over the past few years, Jason Isbell’s had a lot of time to think. Pandemic and lockdown-induced isolation made us all spend a bit more time between our ears, and for Isbell, it was his experience on set for Martin Scorsese’s Killers of the Flower Moon that yielded even more alone time. These spaces in between catalyzed the creation of Weathervanes. Like Isbell’s best records, Weathervanes tackles many areas of life, from getting older and grappling with regret and depression to existing in an increasingly fraught and vulnerable world. What makes it succeed most is the extent to which he relied on his collaborators to make it, purportedly inspired by watching none other than Scorsese seek out the opinions of others while filming Flower Moon.

Read our preview of Isbell & the 400 Unit's show in Joliet last March.

JPEGMAFIA & Danny Brown - Scaring the Hoes (AWAL)

JPEGMAFIA's called SCARING THE HOES a “practice album,” made with the SP-404–no Pro Tools–after learning it for a year. It certainly has that loose quality you’d think, alongside the exact amount of chaos you’d expect from the debut full-length join-up from him and Danny Brown. Of course, Peggy finds kinship in the deep cuts and the underground, from the underappreciated Bun B to old soul and funk, Japanese pop, and gospel. The samples and production are inspired. At the same time, Peggy knows he’s your favorite Twitter follow’s favorite rapper, so the title itself, referring to something a Very Online Man would say who thinks his taste is too esoteric for women, is tongue-in-cheek. “How the fuck we supposed to make money of this shit?” Peggy asks on the title track. “You wanna be an MC? What the fuck you think, it’s 1993?” The only thing better than effortless tempo changes, switches on a dime from maximalism to dreamy instrumentation, is self-awareness of his own idiosyncrasies. Bonus points for “God Loves You”, which juxtaposes a guttural, spirited gospel sample with the filthiest lyrics on the album.

Read our preview of Pitchfork Music Festival 2023, containing JPEGMAFIA, here.

Matana Roberts - Coin Coin Chapter Five: In The Garden... (Constellation)

On the 5th of their 12 planned Coin Coin albums, saxophone master Matana Roberts tells the story of an ancestor who died after complications from a self-inflicted abortion. Though it's a tragic story, Roberts reclaims the narrative and casts it as part of a wider tale of institutional racism, sexism, and classism. Songs with spoken word are interspersed throughout instrumental expressions of sounds as tangible as tin whistle and as abstract as synth, structures at times free and at times delving even into rock, let alone jazz bops. Each detail of story included is clearly intentional, meant to paint a picture of Roberts' ancestor while portraying their story as not unique. Roberts' spoken word--closer to voice acting, even--is incredible, as they repeat in varying levels of genuineness, "Well, they didn't know I was electric, alive, spirited, fired and free / My spirit overshadowing, my dreams to bombastic / My eyes too sparkling, my laughter too true." Their saxophone is expressive, yet mournful, providing motifs of lamentation and hope at once. On the penultimate "for they do not know", Roberts layers and repeats the album's main refrain, "My name is your name, our name is their name / We are named / We remember, they forget," as if to emphasize the prevalence of their ancestor's story throughout history. And closer "...ain't i...your mystery is our history" juxtaposes Western and African traditions, pointedly demonstrating that the evils brought upon their ancestor are rooted in colonialism and Western hegemony rather than a standalone calamity.

Robert Finley - Black Bayou (Easy Eye Sound)

Seven years into his improbable comeback, Robert Finley views his role as a singer and entertainer as twofold: meeting the audience at the heart while simultaneously giving them advice, telling them the barebones truth when other authority figures won’t. On Black Bayou, he reckons with ideas of homesickness and loneliness, lust and love, selflessness and salvation. Buoyed by longtime collaborator Dan Auerbach of The Black Keys, Finley wrote all of the songs in the studio, and his familiarity with his supporting cast of musicians resulted in songs that were both efficiently recorded and emotionally acute. Kenny Brown’s guitar winces with longing on “Livin’ Out A Suitcase” as Finley’s tired of traveling. On “Waste Of Time”, a song that sees Finley taking pride in rural living even if it means missing out on opportunities provided by cities, the buzz-saw guitars and Jeffrey Clemens’ clattering percussion yield a perfect maximalism to go along with Finley’s claims that, yes, there’s still a lot to digest right outside your doorstep.

Read our interview with Finley about Black Bayou here.

Sunny War - Anarchist Gospel (New West)

Sunny War battles self-destruction throughout Anarchist Gospel; in the lead-up to its release, she spoke about her music representing a battle between that side of herself and the one trying to make things better. On “New Day”, she uses the language of addiction to wax on love, hurt, and obsession: “Believing in magic can be tragic / I’m love’s junkie, I’m love’s addict.” One of the record’s true standouts is “I Got No Fight”, where pained guitars and screaming organs exemplify Sunny’s desire for the days to end, depression that buzzes like a fly in her ear. On the gorgeous country tune “His Love”, she sings of an unhealthy relationship, “His love fades, my love grows,” and the timbres of her voice and the instruments similarly diverge, her lurking deep vocal register contrasting the spryness of the backing vocals, guitars, and pattering drums.

Read our review of Anarchist Gospel.

Various Artists - Tell Everybody! (21st Century Juke Joint Blues From Easy Eye Sound) (Easy Eye Sound)

For the better part of the past decade, Dan Auerbach's Easy Eye Sound recording studio and record label has showcased some of the best in contemporary blues music, from various regions across the country and spanning sub-genres. Tell Everybody!, the label's latest compilation, makes the case that a current crop of songwriters, vocalists, and instrumentalists are making essential wartime-style juke joint blues numbers. It's comprised of alternate versions of songs from past Easy Eye Sound albums (Jimmy "Duck" Holmes' version of "Catfish Blues", Leo Bud Welch's glistening "Don't Let the Devil Ride"), posthumously released offerings from idiosyncratic legends like James Gang/Pacific Gas & Electric/All Saved Freak Band guitarist Glenn Schwartz, and strong statements from up and comers like Detroit Dobro-drummer duo Moonrisers, Chicago's Gabe Carter, and Kentucky picker Nat Myers. Auerbach even finds room for new songs from himself and The Black Keys, who sound better than they have in years by embracing the drippy psychedelia of their early material on "No Lovin'". And performing the title track (and baring teeth on the cover) is Robert Finley, whose daughter Christy Johnson delivers smooth gospel backing vocals to contrast Auerbach and Kenny Brown's searing guitars, the multi-generational sound of past, present, and future.

Wednesday - Rat Saw God (Dead Oceans)

“Hot Rotten Grass Smell”, the opening track to Wednesday's incredible Rat Saw God, immediately juxtaposes country guitars with shoegaze squall. Songwriter/vocalist/guitarist Karly Hartzman references Smog’s “The Well” before turning inward to a bleak vision: “Your closet froze after you left / Except the people who took your shirts / Closed off your door with yellow tape / Saw myself dead at the end of a staircase.” The song ends with a sudden cut to field recordings of peepers. Heartbreak, anxiety, life, death, both the natural environment and the concrete depression of the South. It’s all there for Hartzman’s poetry, and no moment is too small or too ordinary for worship.

Read our review of Rat Saw God.

Willie Nelson - I Don't Know A Thing About Love: The Songs of Harlan Howard (Legacy)

Part of me thinks living legend Willie Nelson would rather continue paying tribute to his forebears than do anything else. The late Harlan Howard essentially gave Nelson his first break after hearing some original tunes, signing him to the Pamper publishing imprint in the early 60's. Of course, last year, Nelson would go on to celebrate a 90th birthday and be inducted into the Rock and Roll Hall of Fame, while Howard, who passed away in 2002, is still mostly known behind the scenes, writing songs that would become immortalized by Buck Owens, Waylon Jennings, Ray Charles, and Brenda Lee. So leave it to Nelson to present Howard's best songs, with minimal arrangements, to emphasize the brilliance of his songwriting, the devastating simplicity of lines like "I'm about as helpless as a leaf in a gale." Nelson leads a stellar backing band through blues stomps ("Excuse Me (I Think I've Got A Heartache)", a screaming version of "Busted") and plaintive and empathetic waltzes ("Life Turned Her That Way"), exemplifying a three chords and the truth philosophy appropriate for all moods and experiences.

Honorable Mentions:

Bob Dylan - The Bootleg Series, Vol. 17: Fragments - Time Out Of Mind Sessions 1996-1997 (Columbia/Legacy)

The Clientele - I Am Not There Anymore (Merge)

Daniel Bachman - When The Roses Come Again (Three Lobed)

Danny Brown - Quaranta (Warp)

Gazelle Twin - Black Dog (Invada)

Lonnie Holley - Oh Me Oh My (Jagjaguwar)

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dustedmagazine · 4 months

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Christian Carey's year in review

2023 was pretty much an awful year for our world —climate disaster moves ever more quickly, violence abounds and US politics are a disaster. I would not write a thank you card to the universe for many of my own experiences during the year either. However, I am grateful for the extraordinary music I participated in, heard and wrote about: it was a great solace. A few highlights are below:

I composed three new pieces: Solemn Tollings, for microtonal trumpet and trombone, Just Like You for singing violist, and Cracking Linear Elamite for solo guitar. The latter premiered in December at Loft 393 in Tribeca, played by Dan Lippel.

In addition to editing Sequenza 21 and contributing to Dusted, I authored several reviews and a research article for the British journal Tempo. The article was on my research in narratology as a feature of Elliott Carter’s music, which I have been exploring and publishing on since writing my Ph.D. dissertation. It was great for this particular research, of character-types and interactions in the Fifth String Quartet, to finally see the light of day.

After a half-century of banged up and often unreliable used pianos, my wife Kay got me a new Baldwin grand piano for my 50th birthday. Since it has arrived, I have practically lived in it.

Post-pandemic and post-cancer, I began to dip my toe into attending live events. I went to the Tanglewood Festival of Contemporary Music, which was a mixed bag. As compensation, the Boston Symphony performances that weekend were excellent. I attended a great concert at the New York Philharmonic in November and another in December. For many years, Kay and I have made a holiday tradition of seeing the Tallis Scholars at St. Mary the Virgin Church in midtown. It was wonderful to return there. The Tallis Scholars’ performance was splendid, featuring a mass by Clemens non Papa.

After the Tallis concert, Kay was in Nashville, where her parents live, for two weeks, spending time with her brother Tom and sister-in-law Aymara, who were visiting from Qatar (Tom teaches at the Carnegie Mellon University campus there and Aymara is a yoga instructor), and celebrating Christmas with her parents. Here in New Jersey, it was just me and the felines, who were (mostly) well-behaved. To keep the holiday blues at bay, I went all out, decorating a natural tree and the house. I played every carol in the hymnal, and enjoyed old holiday standbys: Oscar Peterson, Dave Brubeck, and Mel Torme’s Christmas albums.

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There was much excellent recorded music released this year, and I will not attempt to document it all. Here are twelve records, in no particular order, that I expect will stay with me and be played often in coming years.

2023 Favorite Recordings

Yo La Tengo — This Stupid World (Matador)

Hilary Hahn — Eugène Ysaÿe’s Six Sonatas for Violin Solo, op. 27 (DG)

Morton Feldman — Violin and String Quartet (Another Timbre)

Natural Information Society — Since Time is Gravity (Eremite)

Leah Bertucci — Of Shadow and Substance (Self— released)

Juliet Fraser — What of Words and What of Song (Neos)

Laura Strickling and Daniel Schlosberg — 40@40 (Bright Shiny Things)

Emily Hindricks, WDR Sinfonieorchester Köln, and Cristian Macelaru perform Liza Lim — Annunciation Triptych (Kairos)

Bozzini Quartet and Konus Quartett play Jürg Frey — Continuité, fragilité, résonance (elsewhere)

Matana Roberts — Coin Coin Chapter Five (Constellation)

Chris Forsyth — Solar Motel (self— released)

John Luther Adams — Darkness and Scattered Light (Cold Blue)

Christian Carey

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