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dustedmagazine · 4 months

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Ian Mathers’ 2023: J'suis fatiguée tu sais pas c'que j'suis fatiguée

a picture of Mandy, Indiana by Chris Hogge

It has been, if you’ll pardon the language, a stupid fucking year (or maybe it’s just, as Yo La Tengo correctly diagnosed, this stupid world). On any number of levels: for me, personally; in terms of international politics (although “stupid” is treating multiple ongoing genocides with a bit too much flippancy); the endless buffoonery of local politics; the people we’ve lost, even as the now pretty totally unchecked global progress of COVID thrashes peoples’ immune systems if not taking them out itself; and all of this means I barely have any energy these days to worry about our imminent environmental collapse (remember?). It’s been a grind, but as always music is one of the things that make life worthwhile, despite it all.

Even musically, I felt a bit adrift at times in 2023; one of my longstanding methods of music discovery, the esteemed group review site The Singles Jukebox, called it quits in 2022. And except for one last round of our traditional year-end Amnesty picks (where each writer gets to pick one song for coverage with none of the normal criteria for selection), that very much appeared to be that. And then a stray Discord comment late this year led to getting the band back together, and starting in late November the Jukebox has made a pretty amazing (temporary!) return. As always, that led to me encountering a ton of stuff I simply never would have heard of otherwise (and some new discoveries even slipped onto the lists below, just one more reason the practice most places have of running year end stuff early December makes me wince). It didn’t shift my existing favourites from 2023 much, nor did I expect it to, but it did make me feel like I had more context on the year as a whole, across more places and scenes and genres than I did before (but still incomplete, always incomplete).

This in turn feels tied to a change in my year-end list methodology. At this point I feel like I’m never going to settle on a consistent format forever and ever amen; different years pull different things out of me (both in terms of listening and in terms of sharing), and there’s also a bit of a pendulum-swing effect. For the past two years I’ve gone expansive, 40+ records, various other lists to get more things in. This was me chafing at (entirely self-imposed!) restrictions from years past, and it gave me a sense of freedom, even relief. I still stand by those lists (as much as I stand by any part of my past self). But this year looking at my account of what I’d listened to, realizing my shortlist was around 50 LPs and that if I was applying the kind of criteria I’d used recently I could easily include them all… I could feel myself wanting to go in the other direction. It took me a lot longer than I expected to pare that shortlist down to 20 albums (still an arbitrary number!), and I found the process oddly satisfying. Trying to decide what made those last couple of spots had me thinking harder about what I currently value and what my year has been like (and what my differing experiences with all these pieces of music were like) than I’d had to in a while.

Those longer lists have virtues this one doesn’t, of course; I have an even keener than normal feeling of leaving things out, of failing to adequately represent myself or music or… something. So while it’s true every year that there are records I loved that I don’t represent in any list, I feel the need to re-emphasize that truth here, specifically. Sometimes what made the cut over the days I spent putting this together surprised me; there are albums I wrote positive things about that I fully expected to be here that are hovering just out of sight in the 21-25 range. Some of them are represented in the accompanying list of songs that either don’t have albums or just stood out from their surroundings (and as last year I’ve tried to track down music videos, a form I still love, for all of those). From past experience, some of those standouts will wind up representing albums that, if I’d gotten more time with them this year, could have made it onto the main list. I also couldn’t let go of one of my secondary lists; I just really love EPs, and I wish more people made them (even if one of the entrants this year is long enough I’d normally consider it an album, if not for the band themselves dubbing it an EP).

As always these lists are alphabetical instead of ranked (and where I wrote about them, I’ve linked to it here); as I said, just narrowing them down was hard enough. I have no idea how to assess the relative merits of (say) L’Rain’s playfully, kaleidoscopically deep I Killed Your Dog versus a.s.o.’s self-titled, lush trip hop throwback versus the Drin’s gnomic, garage-bound bad vibes. They’re all great. But I did have two that felt like albums of my year, in different ways. The first of the National’s two 2023 records, First Two Pages of Frankenstein, was already a favourite when some of the personal stuff I alluded to above made me profoundly grateful that they’d put out this record, about mental health and the ends of things and mixed feelings, in this particular year (and then they put out a second record, which is not here because nobody gets to double dip, but it’s also good). I had a less specifically autobiographical resonance with Mandy, Indiana’s incredible debut i’ve seen a way but it did blow me away on purely sonic grounds in a way few bands have in the last decade or so. The greatness of that record to me is in more than just how stunningly different it felt the first few times I played it (although that was an experience I loved); as I said when I made their “Pinking Shears” my Amnesty pick for the Jukebox this year, it felt like a second miracle when the album did cohere into a set of songs that they wound up being some of my favourite songs of the year. Despite all the other ways I’ve been tired in 2023, it’s never been with music, and artists like the following (and the prospect of whatever I’ll encounter next year) are the reason why.

20 LPS

a.s.o. — a.s.o. (Low Lying Records)

ALL HANDS_MAKE LIGHT — “Darling the Dawn” (Constellation)

Avalon Emerson — & the Charm (Another Dove)

Brìghde Chaimbeul — Carry Them With Us (tak:til)

Carly Rae Jepsen — The Loveliest Time (Interscope)

Chappell Roan — The Rise and Fall of a Midwest Princess (Island)

The Drin — Today My Friend You Drunk the Venom (Feel It)

Eluvium — (Whirring Marvels In) Consensus Reality (Temporary Residence Limited)

Ghost Marrow — earth + death (The Garotte)

The Hives — The Death of Randy Fitzsimmons (Disques Hives)

L’Rain — I Killed Your Dog (Mexican Summer)

Ladytron — Time’s Arrow (Cooking Vinyl)

Mandy, Indiana — i’ve seen a way (Fire Talk)

Mute Duo — Migrant Flocks (American Dreams)

The National — First Two Pages of Frankenstein (4AD)

Pearly Drops — A Little Disaster (Cascine)

Spanish Love Songs — No Joy (Pure Noise)

Tacoma Park — Tacoma Park (Self Released)

Tørrfall — Tørrfall (De Pene Inngang)

Yo La Tengo — This Stupid World (Matador)

5 EPS

Babygirl — Be Still My Heart (Sandlot)

Death of Heather — Forever (Big Romantic)

hkmori — forever (Self Released)

Tara Clerkin Trio — On the Turning Ground (World of Echo)

Weaklung — We Bring About Our Own Demise (Self Released)

20 MORE SONGS

100 gecs — “Hollywood Baby”

Blur — “Barbaric”

boygenius — “Not Strong Enough”

Caroline Polachek — “Dang”

Dua Lipa — “Houdini”

Eslabon Armado y Peso Pluma — "Ella Baila Sola"

Jiraya Uai & MC Tarapi — “Hoje Tem Rodeio, Baile De Favela”

Kesha — “Eat the Acid”

Lexie Liu — “delulu”

Maria BC — “Mercury”

Mitski — “My Love Mine All Mine”

Olivia Rodrigo — “bad idea right?”

Picastro — “Earthseed”

Raye ft. 070 Shake — “Escapism.”

Sho Madjozi — “Chale”

Tinashe — “Needs”

Tyla — “Water”

Troye Sivan — “Rush”

Victoria Monét — “On My Mama”

Water From Your Eyes — “Barley”

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imathers · 3 months

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Top 20: Tacoma Park — Tacoma Park

What a wonderful, expansive album; in some ways it was my spring, last year. I went on at some length in my review about the circumstances of its creation, and while I think it absolutely holds up without having to know any of that I do think all the context just makes Tacoma Park more fascinating. And they've had a pretty banner year, between this and collecting their pandemic-era loosies and the new 40-minute single "What About a Collage?" If I remember correctly this was another promo pile special, like Ghost Marrow, and I don't even remember what got me to sift it out and give it a listen. For some reason, I love even that.

#2023 review #music #tacoma park #dusted

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doomandgloomfromthetomb · 1 year

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Tacoma Park

With echoes of John Fahey in its name, you might at first expect Tacoma Park to be a fingerstyle acoustic guitar project. And hey, this self-titled album starts off kinda like that — but wow, does it go in a lot of different directions as it progresses. And pretty much all of them are great, whether exploring burbling analog synth zones or floating into majestic psych-rock jams. The duo (made up of Ben Felton and John Harrison) are fully committed to eclecticism, which is something to get behind. And even though some of it leans towards experimental / improv-y, Tacoma Park has a keen sense of melody and dynamics. The tunes here welcome you in and keep you coming back for more.

#tacoma park #bandcamp monday

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orofeaiel · 6 months

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American Wigeons

#artists on tumblr #original photographers #original photography #pacific northwest #nature #nikon #washington #pnw #orofeaiel #american wigeons #birds #birding #bird photography #birds of north america #tacoma #point defiance park #ducks #pond

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johnwinchestersotherson · 3 months

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🍤 sitcom shrimp holy trinity 🍤

#baby's first gifset!!!#🍤🍤🍤#parks and rec #the good place #tacoma fd #tgp #eleanor shellstrop #ron swanson #eddie penisi #terry mcconky #shrimp #sitcom #mine

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deletingmyself · 1 day

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(by Josh Hild)| Washington, US

#upl0ad5 #landscape #vertical #Josh Hild #Point Defiance Park #Tacoma #Washington #United States #nature #aesthetic

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thatyotalife · 16 days

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©toyo.da714 playing in the snow at Yosemite

#toyota #toyota tacoma #tacoma #toyota trucks #winter fun #yosemite national park

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coochiequeens · 1 year

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Within one week two women in two different countries were attacked by men and the gender cult.

A woman who was assaulted by a trans-identified male during a demonstration in Tacoma, Washington, was instructed by his legal representative to refer to him with feminine pronouns during court proceedings.

April Morrow was left injured after a trans-identified male “crushed” her hand in a bid to stop her from recording video on her phone during a women’s rights rally in October 26, 2022. Morrow is a women’s rights campaigner and the founder of Sovereign Women Speak, a grassroots organization that aims to “build resistance to a culture which conflates gender and sex,” and had attended the rally in support of women who wanted to voice their opposition to gender ideology.

The event was one of several that had been organized as part of a US tour featuring British women’s rights campaigner Kellie-Jay Keen. Keen is known for having founded Standing for Women to raise awareness of issues surrounding sex self-identification policies.

Morrow and other women had gathered at Tacoma’s Tollefsen Plaza for a peaceful demonstration, but were quickly met with violent behavior from trans activists who showed up to counterprotest.

While the female demonstrators held signs which listed slogans such as “Woman: Adult Human Female” and “Girls’ Privacy is Not Yours to Give Away,” counter protesters arrived prepared with brass knuckles, face masks to obscure their identity, and aggressive signage. Some were students from the local high school, Tacoma School of the Arts, which was located nearby.

The trans activist group quickly outnumbered and surrounded the women in the plaza, removing signs that had been posted by the women’s rights collective in the vicinity. As tensions escalated, some of the trans rights activists were recorded attempting to spit on the women’s rights activists……..

She was then assaulted by Elijah Lane, 27, who attempted to wrestle her phone from her hand. The assault was captured on video during the event’s live-streamed broadcast, and Morrow can be heard screaming over the protesters’ chants…..

“I just found out the man who assaulted me is claiming he is a woman,” Morrow wrote. “I just left the courtroom shaking and holding back tears of fury. The prosecuting attorney referred to Elijah Lane as a ‘she’ and said ‘she’ has requested we use ‘her’ pronouns.”

See rest of article

A British women’s rights campaigner was forced to cut her New Zealand tour short after being met with extreme aggression at her first stop in Auckland. Kellie-Jay Keen, also known by her moniker Posie Parker, had to be escorted out of the Albert Park area by police before her event was even able to kick off.

Keen was set to host a pro-women’s rights rally with the intention of allowing women to voice their concerns about gender ideology. But the decision to cancel her New Zealand tour was made after a mob of trans activists broke through the barriers at her event in Auckland and directed aggression towards the women gathering to speak on their rights.

During the altercation, Keen and her security staff were assaulted by trans activists. Reports have also been made that an elderly woman attending the event in support of Keen was also subject to physical abuse, but those claims are as-of-yet unconfirmed.

see rest of article

#Male violence #USA #washington #tacoma #april morrow was assaulted by a man #Sovereign Women Speak #Standing for Women #Elijah Lane is a man #Elijah Lane assaulted a woman #New Zealand #Albert Park #the trans cult and censorship #Let Women Speak

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wamnak · 1 year

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#just a tree #spotted today #wright park Tacoma #Tacoma

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unofficial-sean · 8 months

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My goose adventure, today, began with a familiar orange bill. This is the very same farm goose who was with the creche I saw earlier in the summer. Only, she was all alone beneath this pier, today. It broke my heart. She must have been ejected or something. She's all alone in this world. I just wanna pick her up and hug her.

I did eventually find the creche in Tanner Park. They had one sentry on duty, and he did his job very well while the other feasted.

Illustrated nicely here.

He even yawned for me!!

A freshly fledged goose wanders onto the sidewalk to poop and preen.

Her parents wander over to guide her back to the grass, or perhaps to watch over her.

The sun came out!

Many of the geese decided it was time for a rest. Unfortunately afterwards, some people walked by with a full-grown german shepherd, and set them all on high alert. No rest for these geese until the sentries give the all-clear. I decided that I should likewise leave, it seems their life is stressful enough, though they did get comfortable enough to get close to me.

#judge jack tanner park #tacoma #ruston #branta canadensis #canada goose #canadian goose #canada geese #canadian geese #photography

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faterunes · 4 months

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i havent touched a roller coaster since 2019 im going mental

#txt #need to go to the park in tacoma once it gets warmer

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dustedmagazine · 10 months

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Dusted Mid-Year 2023, Part Two

Yo La Tengo

And we’re back with the second half of the alphabet—from Kookei to Yves Tumor. If you missed it, check out part one here. We’ll have the writers’ lists tomorrow.

Kookei — The Incredible Hulk (H$G Studios)

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Who picked it? Ray Garraty

Did we review it? No

Tim Clarke’s take:

Detroit rapper Kookei has a truly bizarre rapping style. He delivers almost everything in a hushed whisper, as if he’s right there inside your earbuds, sibilance sizzling, braggadocio booming. Though Kookei rarely wavers from this vocal approach, the production across The Incredible Hulk varies wildly in consistency and quality. Trap beats, synth stabs and rudimentary piano loops dominate the backing tracks, with cuts such as “Jackie Chan” sounding much more rich and polished, while others such as “Cousin Skeeter” and “Headshot Gang 2” bleed into the red, making for some wince-worthy distortion. Admittedly this stuff is no doubt supposed to be heard loud while high as a kite, so I can’t say I’ve been able to fully appreciate its intended effect.

Kali Malone — Does Spring Hide its Joy (Ideologic Organ)

Does Spring Hide Its Joy by Kali Malone (featuring Stephen O’Malley & Lucy Railton)

Who nominated it? Jason Bivins

Did we review it? No

Andrew Forell’s take:

At three hours in duration, Swedish composer Kali Malone’s latest long form composition seems a daunting proposition. Based on Malone’s tuned sine wave generators, Stephen O’Malley’s guitar and Lucy Railton’s cello, Does Spring Hide Its Joy is an extraordinarily rewarding experience. Within the elemental drones, Malone conjures tectonic movement both sweeping and incremental. Microtonal changes feel enormous, the glacial pace focuses the ear on every imperceptible progression, every movement of bow across string and the shimmering harmonic interaction between the instruments. Recorded in early 2020, Does Spring Hide Its Joy reflects those early days of the pandemic when time seemed at a standstill and lethargy, dread and inertia slithered their way in. Three years on, this music resonates with the ongoing effects of those upheavals. All the terrible beauty is here and if you have the time to concentrate, Kali Malone and her collaborators provide a cavernous space in which to process. Very highly recommended and thank you to Jason for the impetus to listen.

Natural Information Society — Since Time is Gravity (Eremite)

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Who Picked it? Bill Meyer

Did we review it? Yes, Christian Carey said, “Whether the new collaborators will remain, or other players will join Abrams, Since Time is Gravity demonstrates that Natural Information Society is a durable creative enterprise.”

Bryon Hayes’ take:

Most of us at Dusted love Natural Information Society, and with good reason: Joshua Abrams and his ever-evolving ensemble know how to concoct a hypnotic brew. As such, it’s no surprise that this record made it to the top of someone’s list this year. If you were lucky enough to catch the latest incarnation of the group – swollen in ranks and named Natural Information Society Community Ensemble with Ari Brown – play live in 2022, you’d have an idea of what’s in store for you on Since Time is Gravity. Even though they might not have been playing this particular material, the large ensemble interplay featured here was definitely on display in the live setting, as was Ari Brown’s crafty soloing. It’s prudent to note that the songs are shorter in comparison to the marathon that was Descension (Out of Our Constrictions), but this is great because as a listener you get to follow the group along a variety of pathways. It will be interesting to see where Abrams takes Natural Information Society next, but you can be sure of one thing: we at Dusted will love it.

Pile — All Fiction (Exploding in Sound)

All Fiction by Pile

Who picked it? Patrick Masterson

Did we review it? Yes, Patrick said, “All Fiction furthers that thinking, another reason this feels less like a leap and more like a carefully considered step toward further Piledom — the band’s flowing, peripatetic nature makes writing about individual songs less important than considering the whole.”

Ray Garraty’s take:

All Fiction is anemic enough to ask yourself: do they eat enough? Rick Maguire’s voice here sounds like he could use more nutrients and proteins in his diet. He kind of wakes up on some tracks, like “Poisons,” yet core of the album is that sad, melancholic material disillusioned middle-aged men write. It’s Radiohead-ish, it’s rock-ish and it’s… just flat? If it’s really what fiction is these days, I better stick with nonfiction.

The Reds, Pinks and Purples — The Town That Cursed Your Name (Slumberland Records)

The Town That Cursed Your Name by The Reds, Pinks & Purples

Who recommended it? Christian Carey

Did we review it? Yes; Jennifer Kelly wrote, “Glenn Donaldson puts a louder, fuzzier attack behind his gossamer-wistful songs this time, amping up the volume for a set of darker, more desolate tunes.”

Jonathan Shaw’s take:

It seems to me that Pitchfork gets something right about the Reds, Pinks and Purples: Jude Noel’s review of The Town That Cursed Your Name notes, amid a breathlessly positive assessment, that the band’s records “simply pick up where the last left off, like a series of Moleskines filled end to end.” That may be so, and the consistency of Glenn Donaldson’s songcraft likely provides a good deal of the band’s appeal—but do you really want to spend time reading a batch of someone else’s Moleskines? The Whole Foods grocery lists and the snatches of wood-shopped poetry and the paragraphs of winsome repining? If so, check out “Almost Changed,” the ninth track on The Town That Cursed Your Name, which doesn’t quite brood and doesn’t quite whine and doesn’t really seem interested in making anything change in the first place. To be fair, it’s very, very hard to find fault with this record’s compositions, the rhymes and the musicianship, which are like a May breeze, a Monet pastel or a warm cup of ginger tea—or all three at once, in someone’s comfy suburban sunroom. If that’s your situation, maybe you don’t want (or need) much of anything to change. Must be nice. Here and there, The Town That Cursed Your Name stirs from its state of cloudless repose to threaten some fuss. “What Is a Friend?” picks up the pace and thrums and hums with something like urgency. Then Donaldson sings: “Dodged your call from the jail / No birthday card in the mail, I always fail / Maybe you lost the plot / You could have offered an opening slot, it’s food for thought.” The inside-baseball, indie-rock vernacular and the literate metaphors dominate the record’s lyrical register. They are always clever and inevitably build an emotional tone best described as precious mopery. The music of the Reds, Pinks and Purples is pretty and precise, and it winces when the world gets ugly. Unfortunately, it’s an ugly world.

Cécile McLorin Salvant—Melusine (Nonesuch)

Mélusine by Cecile McLorin Salvant

Who nominated it? Jason Bivins

Did we review it? No

Bill Meyer’s take:

Cécile McLorin Salvant isn’t exactly beyond my ken. If, like me, you spend time reading and writing for jazz publications, her name and striking taste in eyewear are inescapable. However, having caught her some years back at the Chicago Jazz Festival, I was under the impression that she was a skilled but hardly innovative jazz singer, so I haven’t been trying to keep up. On a formal level, Melusine wipes the floor with that misconception. The material, which consists of original songs sung mostly in French and much older ones sourced from Francophone-adjacent cultures, is certainly not standard. Subtle production touches situate this recording in the 21st century without lapsing into pop pandering. And her singing, which is both technically unassailable and emotionally communicative, transcends any linguistic barriers. There’s a lot to appreciate here; thanks for the tip, Jason.

Tacoma Park — Tacoma Park (self released)

Tacoma Park by Tacoma Park

Who picked it? Ian Mathers

Did we review it? Yes, Ian wrote, “Tacoma Park manages the always-difficult feat of simultaneously reading as the heady product of multiple creative minds in deep conversation and yet fluid and confident enough in its own voice that the result still registers as singular.”

Tim Clarke’s take:

This self-titled duo recording by John Harrison and Ben Felton documents a fruitful pandemic collaboration, overflowing with possibility. With each track built around a handful of rhythmic and melodic ideas, the music is given plenty of air to breathe, plenty of time to evolve. Fingerpicked acoustic guitar and arpeggiated synths dominate the palette, then there’s some drums here and there, both live kit and electronic. At 68 minutes, Tacoma Park is a long record that meanders a fair bit, but it feels like it reaches an apex of sorts with “Circles As A Path As A Valley,” a nearly eight-minute exercise in cathartic layering. Beyond that point, drum-machine-driven tracks such as “We Lost Our Place, We Started Over” and “I Left My Wallet in the 90s” (great title) feel like starting points for another project entirely, or a postscript pointing towards recordings to come.

Tørrfall — Tørrfall (Den Pene Inngang)

Tørrfall by Tørrfall

Who picked it? Ian Mathers

Did we review it? Yes. Ian wrote, “If there’s intoxication here, it’s the post-panic euphoria of a body running out of air; and if this is water music, it’s for currents deep enough they’ve forgotten what the waves are, if they ever knew.”

Patrick Masterson’s take:

In a way, I’m tor[r]n. Tørrfall’s “psychedelic water music” can at times feel languid and flowing as water is, so I see where both the band and Ian are coming from — but what I hear more over these four songs that all clock in between nine and 13 minutes is an alien drone, something elemental but not necessarily earthen. The key to that otherworldliness is Nils Erga’s synthesizer work and wordless vocals: Hovering like a UFO over the rubbery, at times counterintuitive basslines of Kristoffer Riis and Thore Warland’s rainshower percussion, Erga graces these tracks with an omnipresent ethereality that suggests terrain not entirely our own. The music can’t help but follow: Not quite jazz, not quite krautrock, not quite drone, not quite house or techno, Tørrfall skirts the fringes of each to make an entrancing, immersive sonic universe (calling it a mere world feels insufficient) all its own that, headphones or speakers, the louder you play it, the more unsettling it gets. I can’t imagine how these guys must translate live.

Wound Man — Human Outline (Iron Lung)

Human Outline by Wound Man

Who nominated it? Jonathan Shaw

Did we review it? Yes, Jonathan wrote, “The whole record is a barely contained bundle of nerves, electric, hardened, threatening to come completely undone. For those of us walking around in twenty-first-century cities full of anger, suffering and insanity, Human Outline feels infuriatingly apt, mad and full of madness. It’s a terrific record.”

Jennifer Kelly’s take:

In his review, Jon spends a fair amount of time considering which metal subgenre Wound Man belongs to, a subject that I can contribute exactly nothing to. I can say, however, that Wound Man grips and ravages, at slow speeds and fast ones. I like the blistered assaults of “Leashed,” mad forward surges of rabid energy that hurtle forward at mouth-foaming speed, then pull back abruptly, as if on a choke chain. “Punisher” does exactly what the title implies, disintegrating guitar tone into buzzing aggression with sheer force of speed and volume. These cuts are over before they get started—the title track, for instance, is 40 seconds long—but you’ll feel the impact in your gut and ear canal long afterwards.

Yo La Tengo — This Stupid World (Matador)

This Stupid World by Yo La Tengo

Who picked it? Bryon Hayes

Did we review it? Yes. Tim Clarke said of the closing track that it’s "a searingly emotional purge and soothing balm all rolled in one.”

Ian’s take:

These assignments really are actually selected randomly (there are slips of paper and everything!) but it so happens that not only was I already enjoying This Stupid World but that Bryon and I wound up representing Dusted’s Canadian wing at the Toronto stop of YLT’s tour for this record. We had tickets before I got selected to cover it here, even! As a moderate fan of the band (love some classic albums of theirs, have been sorta half-paying-attention to the new stuff for a while now), this is actually the first time I’ve really sat down and engaged with a new Yo La Tengo record in years. That means I can’t really compare it to the last couple, but it feels like I picked a good time to check back in. That closing track, “Miles Away,” might be my favorite song of theirs plus or minus a “Night Falls on Hoboken” (perhaps unsurprisingly, there’s some overlap in vibes there), but overall this is a packed and consistently great 48 minutes. The skronky ones go for it, the gentle ones do in fact soothe, and the deadpan yo-yo tricks on James McNew showcase “Tonight’s Episode” tickled me. To still make records as good as Painful, nearly 30 years after they made Painful? That’s a significant achievement.

Yves Tumor — Praise a Lord Who Chews But Which Does Not Consume; (Or Simply, Hot Between Worlds) (Warp)

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Who nominated it? Patrick Masterton

Did we review it? No

Andrew Forell’s take:

Having been peripherally aware of Yves Tumor I was excited to hear Praise a Lord..., and when it hits it’s very good with Tumor coming on like a latter-day Prince. Their combination of alternative guitars, courtesy of producer Alan Moulder and swaggering RnB is compelling. “God is a Circle,” “Lovely Sewer” and “Operator” have a real edge and a sense of transgressive danger, but other tracks are weighed down by the everything-including-the-kitchen-sink operatics that plague Kevin Barnes’ most indulgent moments with of Montreal. Having said that, this is a really enjoyable, immaculate sounding record and you can’t help but be won over by Tumor’s charismatic performance and their willingness to take risks.

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