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wenellyb · 3 years

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My journey in the MCU fandom on Tumblr: Sharing my thoughts on the Falcon and the Winter Soldier, racism in the MCU fandom and the best and the worse of the fandom

I wasn’t going to write this much but here I am… I don’t even know where I’m going with this but since The Falcon and the Winter Soldier just recently came out, I wanted to share some thoughts.

I joined Tumble because of a show I loved but most of you don’t know it “ Hit the Floor”

I stayed on Tumblr for two reasons only, Anthony Mackie and Sebastian Stan.

Before the Captain America:Civil War premiere, a friend sent me the link to the Sebastian and Anthony ET interview, and I was hooked. In just one interview. I discovered Anthony Mackie. The guy was hilarious!!! I just couldn’t get enough and I knew I had to know more about him. How could he improvise so many funny lines on the spot? He was just amazing.

I had pretty much watched all the avengers movie but that was it. I was not involved in the fandom. So I knew Sam Wilson’s face, but I couldn’t even remember his name if my life depended on it. That’s how much the MCU treated him as a side character.

I was like how the f*ck don’t I know this guy?

His talent reminded me of Eddie Murphy, Jim Carrey or Robin Williams, like yes they can make some emotional or serious movies, but when they want to make you laugh, you will laugh. Whether you want it or not. I kept wondering how this guy wasn’t more famous.

And the banter with Sebastian Stan? Wow, you could tell their friendship was strong, the way Sebastian lighted up when Anthony was talking, and keep bouncing off his jokes. It was art. the way Sebastian said “ I love you” at the end of the interview. Pure gold.

I then started to watch some of the interviews and boy was that a mistake!!! I literally couldn’t get enough. So I watched all and I say all their interviews, it was the best. We got some gems:

“Why aren’t you looking at me as much”

“Which way is the beach Seabass”

*Them saying nonsense in Spanish and then Sebastian Saying Papi Chulo*

¨And so many more, ....

I watched other solo Anthony interviews and he was still HILARIOUS, but you could also tell he felt a little bit more at ease with Sebastian around. I won’t pretend I know him or his personality, but Sebastian seems like a little bit more of an introvert and looks like he doesn’t enjoy the interview experience unless Anthony id around him. Just my thoughts

I watched the interviews before I went to see the movie, I even cosplayed as the Winter Soldier to the movie premiere and I was IN!!! When I saw Captain America Civil War, I became a SamBucky shipper, these two were hilarious and I really so the potential for a great realtionship I love enemy to lovers stories.

I also shipped Stucky because, to me, the trope of the movie was Superhero gives up everything to protect his long term friend” Hollywood movies have some codes and if Bucky were a female character, there is no doubt in my mind that the movie would have been marketed as romance.

Stucky really was an easy ship! But then the MCU fandom of Tumblr fandom messed up everything for me. You see I really liked the CACW and I I liked Stucky, I liked Sambucky, and I loved the introduction of t’Challa’s character, but one of things that affected me the most in the movie was that it was the first blockbuster I watched with 3 black main characters, Rhodey, Sam and T’Challa. That, and the fact that they were planning to realease a Black Panther movie in two years, I was super excited, and that’s the main reason I got involved in the MCU fandom so much, when before, I was just a casual watcher.

If this seem weird to you, then you have no idea how we were only getting crumbs before. For me it was soo huge, I even told all my friends, and they were laughing at me. But usually blockbusters, especially superhero movies get one black character and that’s it, usually the best friend or something and never the leads. So, for me it really was a big deal. How sad is that by the way…

I became more involved in the fandom and, at first, I wasn’t focusing on anything special, Sambucky, Stucky, Stackie, the Black Panther, and even Zemo, whose character I really liked.

But soon I noticed that the CACW tags were always flooded, and I mean flooded with the same two white characters: Steve and Bucky. I told myself, ok that’s fine Steve is the lead after all, but it would be good to see the other characters too.

And then I noticed another interesting trend: Evanstan…. Wait what?

Chris Evans, and Sebastian Stan… did I miss something? Listen, obviously I’m sure they must be friends or something, but you’re going to tell me you watch all MCU the actors and you’re going to focus on Steve and Sebastian? I’m sorry what?

Sebastian and Anthony are right there… Or Chris and Anthony, they even have a secret handshake, only the 2 of them do… what more do you want?

Tell me one iconic Evanstan moment… go ahead tell me… See??? There isn’t.

Because of this and because of how badly some Stuckies were treating Sam and Anthony. I became less and less of a stucky shipper . I mainly focused on SamBucky, Stackie and the Black Panther,

And then the Sebastian Stan stans saw how popular Stackie, Sambucky, were becoming and I started to see some problematic stuff in our fandom too.

I don’t want to generalize, but when you go into the Stackie tag, and you see cropped pictures of Sebastian without Anthony, it’s easy to assume that a Sebastian fan did that. And we know damn well you cropped out Anthony because we watched all Stackie interviews and know exactly which interview your picture was taken from. We know that Anthony was sitting right next to Seb.

You post a picture of Sebastian laughing but you crop out the person who was making him laugh??

“but it has nothing to do with race” How do you know that?

“Sebastian had more screen time” More screen time than Anthony in CATWS or CACW? I don’t think so.

“I have been a fan of Sebastian for longer”, that’s fine but don’t go out cropping Anthony, just post gifs of Seb in his usual, sad, and Anthony-less interviews, not the ones where he’s smiling because his best friend is next to him.

Some of you really are the worst. And just so you know, your fave Sebastian is Anthony’s biggest fan, if he saw pictures where you cropped out Anthony, he would block you on the spot.

When I realized that Anthony Mackie would be the next Captain America I was screaming, no actually, I was crying, Sam Wilson will be Captain America, and Anthony would finally get the recognition he deserves.

You would think that the MCU fandom would focus on Captain America or at least one the two leads, instead of just Sebastian? Right? Right? WRONG.

Anthony is handsome, he’s funny, he’s a great actor, he went to freaking Julliard, he’s at the top, I don’t see what else the man can do??? He should already be a superstar, but no, you will side-line him even to he is the lead of the show.

Even when they are the actual leads, you guys would do anything to bring up the White characters even if it means ignoring the Black characters.

I remember I was having a conversation about Black Panther with my friends and I asked one of my white friends who was his favorite character in BP was and he told me Martin Freeman (don’t even remember his name in the movie) Martin Freaking Freeman, there are half a dozen of great characters and your fave is the only white man??? Ok, ok, that’s great.

Don’t give out automatic reply like “It has nothing to do with race, if you haven’t thought about it first”, because there’s a high probability that it is indeed about race. Stop saying it isn’t, sit down and ask yourself, “Am I biased?” “Why am I reblogging only stuff related to the white characters”.

One of these days you guys are going to make me hate Sebastian with the sh*t you are pulling.

I looove the Stackie friendship and the Sambucky dynamic but after seeing the way some of you treat Anthony and Sam’s character, it make me want to focus on Sam’s character and forget about the rest.

I remember they were some posts about how Anthony was problematic, and I just lost it. Apparently, there was an old article that resurfaced were Anthony was making a joke about women making sandwiches or something.

If you were offended by the sandwich joke, that is totally ok, and I can understand that.

But if you were offended by the sandwich joke, and saying Anthony is problematic BUT you still stan Chris Evans, Jeremy Renner, ScarJo or even Sebastian Stan, just know that there is a high probability you’re racist.

They have all said or done problematic stuff, and people only seem to remember stuff related to Anthony, which was probably just a joke by the way.

Chris Evans and Jeremy called Black widow a wh*re, ScarJo took roles that she maybe shouldn’t have and I didn’t forget Sebastian shady Instagram post, when Kaepernick was kneeling. There are so many more things to be said about Jeremy Renner but google is your friend.

Anthony also got hate for hating on Tom Holland? Like what? Do you guys even hear yourselves? Don’t you have any friends you like to tease? If you hate someone, do you go around talking about him every chance you get? It was obviously friendly banter but some people wanted to turn it into something it was not. Sigh.

I really cannot with this fandom

The stackie fandom was small at the beginning and the Sambucky fandom even smaller, but we were there and it was amazing. Sebastian and Anthony received the same amount of love from the fandom and I wish we could go back to those days.

Stop pretending the fandom isn’t racist. Stop saying “it isn’t about race” when you haven’t even thought about.

Saying “it has nothing to do with race” only shows that you haven’t thought about anything but don’t want to be called a racist.

There is racism in this fandom and it will always be there, but if you guys want to do anything about it, you have to acknowledge it first.

You can’t be pulling off stuff like “I don’t see colors”, “ it has nothing to do with race”. Stop, sit down, think about it and then we can have a conversation.

If you’ve made it till the end, I apologize for the typos and grammar mistakes, I wasn’t planning on writing this much.

#tfatws #anthony mackie #Sebastian Stan #stackie #sambucky #Chris Evans #captain america #CACW #fandom racism #I didn't mean to write this much #my posts

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hmel78 · 4 years

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In conversation with Anthony Phillips ...

1967 – the World watched on as San Francisco experienced it’s ‘Summer Of Love’, and listened on as music reached the dizzy heights of psychedelic rock; Classical music seemed to be drowned out by the screams accompanying The Beatles, The Rolling Stones, The Who … Meanwhile, at Charterhouse school - one of Great Britain’s finest ‘public’ educational establishments in the idyllic English county of Surrey - a handful of budding young musicians, were busily trying to prove to their masters that banning guitar practice as a punishment for missed homework, would not stop the musical revolution that had begun to happen within it’s own splendid Gothic walls! Unsurprisingly, there is a noteable list of ‘Old Carthusians’ – including the composer Ralph Vaughan Williams, amongst numerous artists, actors, poets , sportsmen, TV personalities, journalists, politicians, and Bishops! – but we doubt that they could ever have imagined that they would also nurture, and eventually include in that list, the founder members of a band called … ‘Genesis’. Perhaps you have heard of them?

Peter Gabriel, Michael Rutherford, Tony Banks, Christopher Stewart, and … Anthony Phillips. Despite his departure from the band in 1970, Ant has never strayed from his musical path. His solo discography boasts in excess of 30 albums; in addition to that he enjoys an incredibly busy, and successful career as a TV and ‘library’ composer; and has been involved with a number of musical projects including collaborations with fellow ‘Genesis’ band mates Mike Rutherford, Phil Collins, and Peter Gabriel - but it hasn’t all been plain sailing … Helen Robinson, caught up with him to find out more : HR - So where did your musical journey begin?

AP - I was pretty much self taught at school. I studied music later, but in the beginning I was self taught. I briefly had guitar lessons from a chap who was very impressive. My mum used to buy me the Beatles sheet music, and kindly send it down to me at ‘Charterhouse’ – and this chap would just look at them and read from the piano score, with guitar ‘shapes’ written in fret numbers as opposed to tablature – and he would play the chords and the melody on this beautiful classical guitar. I just wanted to be able to strum the chords to the songs and sing along really, and I think at the time he was a bit disappointed that I wasn’t prepared to go the classical route … Anyway I didn’t. Then formed a band at school – doing Rolling Stones, Beatles, Kinks, Animals, The Shadows - Hank was a big influence - and that took me up to starting to write my own stuff; A lot of it with Mike Rutherford. I met Mike when I was 13 – the other Genesis guys were quite a bit older so we didn’t get together with them for a couple of years. The school band – The Anon - was people more my age. I was the babe of Genesis!

HR - Indeed – and with that in mind, how much input did they allow you to have on the debut album – “From Genesis To Revelation”?

AP - The first album I didn’t do an enormous amount of writing – it was very much dominated by Peter Gabriel and Tony Banks. The second album – “Trespass” - was much more of a ‘group’ album. In fact, myself and Mike were responsible for the basis of 3 or 4 of the tracks on “Trespass”. “Visions of Angels” was my piano track originally. Songs like “Looking For Someone” were Peter Gabriel songs that the rest of us developed the instrumentals around. I had a reasonable amount of stuff on “Genesis To Revelation”, but Mike had very little – we came much more into play on ‘Trespass’.

HR - You’d left the band by the time their 3rd album was released. Did they take any of your ideas forward into “Nursery Cryme”? AP - Actually, I was responsible for mucking about with a few ideas that ended up on the album, way before I left - Mike had this weird tuning of F# which we played about on. That song became “The Musical Box” later – so, yes, a couple of ideas made it.

HR - Do you ever listen back to the first two albums, and hear things that you would change?

AP - I don’t often listen, no - and I haven’t listened to them enough to have any really strong thoughts. I think if you don’t listen for a while then it’s quite pleasant. If you have a period away from these things, you tend to forget what you thought was wrong, so then it’s not so bad – but I must say that when you listen repeatedly, then you start to think “oh dear”, I could have done that differently. We all felt that the business of putting strings on “Genesis To Revelation” - which necessitated reducing the backing track to mono -was a bit of a disaster. Whilst our playing wasn’t the best, the album had a rough, raw power to it which, that process of adding these high wheeling strings to, made it lose something, and anodyne, perhaps. I know that our producer was trying to give it a more commercial edge, which I understand, but I don’t think it really came off - and it was at some cost too!

HR - Would you re-record or re-mix any of it again now, in your own way?

AP - No I don’t think so. I think it is of its time really. The other thing of course is that it’s physically impossible now. That reduction process, means that things were erased, so we can’t get back to the original stages even if we wanted to. That’s all changed now, mercifully, with computers . You can get back to any stage these days – providing you remember to save it!

HR – Ah, yes! The wonders of modern technology. And … NOT saving things! [laughs]

AP - Yes – we’ve all done it!!! It’s all so easily done. We take too much for granted with technology. You can become over reliant on it, and lazy! I do fall into that trap myself sometimes actually – musically. I don’t think enough about original sounds I just tend to buy virtual instruments. T hey are wonderful, but if you think back to albums like [The Beach Boys], “Pet Sounds” and [The Beatles] “Sgt Pepper”, those sounds were created, they weren’t just there at the push of a button!

HR - I know you’re quite experimental with your solo work … Once you’d left Genesis , how easy was it to move into a more classical sound with your compositions?

AP - I found it difficult! I could play by ear, but learning to read music at the age of 18 was incredibly hard to grasp. It was a different discipline of course, of not looking at the guitar or the piano, whilst reading music. My motivation in doing it, was because I wanted the ability to orchestrate ; Not having had that set of skills in Genesis , we couldn’t really have any input into the orchestral approach because we simply didn’t really understand it. Tony Banks did more than the rest of us, although he wasn’t orchestrally trained, but he could read music. So I wanted the power to orchestrate. It wasn’t simply about being able to read music, or being able to play piano pieces – It was definitely to understand notation, so that I could write orchestral pieces. I had a ‘Road to Damascus’, if you like, after I left Genesis, and listened to all sorts of composers. “The Karelia Suite”, by Sibelius, was my epiphany. I suddenly thought “this doesn’t sound like classical music!”. I must have listened to the wrong things, or maybe my ears weren’t ready to listen as a child, so I had a lot of catching up to do. There was a huge ‘pop’ / ‘Classical’ divide as I was growing up in the 60s – it was rancorous between the establishment and the young tear-aways, and hippies. It was a wonderful voyage of discovery though, but frustrating at the same time – technically - I loved doing Bach ‘Chorales’ and things like that, but some of the exercises I had to do, I found quite dull.

HR - Having honed your skills then, did you find that it made a difference to the music that you wanted to write? Did you find yourself wanting to bridge the gap between pop and classical – through a ‘progressive’ angle?

AP - Hmmm, Bridge the gap is interesting. It didn’t make a great deal of difference to me in terms of the progressive wing of my writing – I think I would have grown into that anyway.

With Genesis - There were some moments which were quasi classical, but I don’t think they bridged the gap really, no. Tony Banks was very familiar with the classical repertoire, so you could argue that his chord sequences were classically influenced. What studying did for me, was give me the ability to do - with the more markedly classical wing of things (although you may argue that it’s a fine line to distinguish which bits are prog, and which are classical!) – was cope with them better.

On “The Geese And The Ghost” for instance, having studied orchestration, and knowing how to write the parts, I didn’t have to get an arranger in. I could think for myself and make my own judgments on which instrument to add where. Plus – arrangers inevitably, like anyone else, tend to have their own styles which then reflect on the piece, which might be good, but it might not be necessarily what you want. So it really did help me in that respect.

HR - Genesis certainly didn’t carry any of that vibe forward, into their commercial phase …

AP - No! Well, the post Gabriel group gradually became more and more commercial didn’t they. Phil Collins and Peter Gabriel were quite different animals really - Obviously Peter did some successful commercial things afterwards. To be fair to them [Genesis], it would have been very difficult to carry on that way – especially post punk, and disco eras. There was almost a unilateral, multilateral, Palace revolution, that everyone had to start doing that! It became very unfashionable to be ‘prog’ and have such complicated long and drawn out pieces of music.

My timing was peccable - I’m not sure there is such a word, but I like it anyway! - coming back into the business, because I walked straight into the teeth of punk! Whilst I had nothing against it, in the sense that if I had been 10 years younger I would have been doing the same thing –what I did object to, was being asked to go into reverse gear, and start doing simple pop stuff, because I’d out grown it.

So I think it actually, for the purposes of the market, became very difficult for groups to stay true to their former selves and continue to produce classically based music. I don’t think it was a conscious direction on behalf of a lot of groups to start to simplify their music, they just were not given much choice. It didn’t do England a great deal of credit the way that everyone cashed in on that - there was so much clichéd nonsense around and people were saying “this music hasn’t got any balls!”. In a lot of European countries and the States, different styles were able to co-exist much better, than here in the UK. It was the fault of the record companies rather than a lot of the punk musicians really - they were just happy doing their own thing, but there was a lot of unpleasantness at that time. There were a lot of people who were heroes one day, and then being knifed in the back the day after by the people who had been adulating them! Which wasn’t anything to be terribly proud about …

HR - Not at all! But, something to be proud about is this lovely re-issue of your debut solo album “The Geese And The Ghost”!

AP - Yes! Absolutely! It’s just come out again, and in surround sound too, which is the first time I have had a surround sound album, and they have done a fantastic job with it! Particularly the instrumentals – it really does make a difference to have that experience of surround sound. And they’re releasing limited editions on Vinyl too, which is fabulous because that is when the artwork really comes into it’s own. Vinyl seems to be having a bit of a revival, which is great! MP3s are OK, but the sound is pretty impoverished really one you’ve narrowed the bandwidth of the sound. It sounds like a different album really, with that treatment! HR - When you started work on “The Geese And The Ghost” originally - Did you write it from a fresh perspective or was it something that you had brought forward from Genesis?

AP - It was actually written from a period as far back as 1969 / 1970. Things that Mike [Rutherford] and I had played around with then. There were some additions and refinements made between 1973 / 1974. Recording began in 1974, although the main body of it was done in 1975 – which is actually 40 years ago, isn’t that terrible?! And then, because they were now unfashionable times, we really struggled to get it released - so it didn’t come out until early 1977, by which time some of that material was over 7 years old!

HR - When you were selecting musicians to work with, what influenced your decision to ask Phil Collins and not Peter Gabriel?

AP - Well, Mike and I wrote together, and Peter and Tony [Banks] wrote together - when we came together as a group, that modified a little, but that initial pairing pretty much stayed the same way. So, because Mike and I had all this unreleased music – which was frustrating –at the earliest opportunity ; at a time where solo albums looked like a possibility - we wanted to use this material. We had done a single with Phil in 1973 which ironically was written about the previous Genesis drummer, Jonathan Silver, who was on the first album. I had written this with Mike – a very uncharacteristic kid of loose country song called “The Silver Song” and Phil came down and sang the demo and did such a great job of it. You see, Peter was married, so whenever we had any time off - he went home to spend it with Jill ; whereas Phil was foot loose and fancy free and had tons of energy. The single never got released for various reasons, but when it came to “The Geese And The Ghost” he was the obvious choice because the three of us had worked together before. HR - I’m glad you mentioned Jonathan Silver there – with regards to him, and John Mayhew – were they just hired guns for the early Genesis albums or did they have creative input?

AP - No, they weren’t hired guns as such, but by the same token they didn’t have a huge input, but we did group compositions on all the tracks on those first 2 albums – so whilst they weren’t writing huge swaythes of chord sequences, they were putting in little bits here and there. Jon Silver was full of energy and ideas about arranging and how things were connected. HR - We never really get to know the dynamics of the early stuff, which is why I was curious. It has always seemed to me, that Phil Collins became Genesis … or is that an unfair judgment?

AP - Well he had the big commercial success and I don’t think it would have been easy to keep him unless he had the lion share of the writing credits, although I think they’ve shared the credits pretty well … I think it’s sad to see him fall so far from all of that these days, with the press in particular, but he was colossally successful, and I think the group would have been looking the gift horse in the mouth if they hadn’t run with Phil.

The media can be so cruel. I remember a duel review of “The Geese And The Ghost” being handed to me from the states. One called it a “mellow rock classic”, the other said it was “music to wash dishes to” … and sadly you seem only to remember the bad ones!

And do you know, that it was the album that very nearly never came out?!! It sat on a shelf whilst punk roared away, and I’d given up on it to be honest. It was 15 months between finishing it and it being picked up to be released. For the first 3 or 4 months I was quite hopeful; by new year 1976 I was beginning to lose hope, and by the summer I was definitely starting to think about other things, and applying to go to music college full time.

It was a pretty soul destroying time – I’d spent a lot of time and energy on it; a lot of angst , and thought, apart from hard work, had gone into it … And then right at the 11th hour, while I was going for auditions to music college for the following year - suddenly it was picked up by an American record company. It was never actually released on a formal English record company label - it was released by the Genesis management company with whom I was with at the time – ‘Hit And Run’ – so like I say it’s the album that nearly never was!

HR - If it hadn’t been picked up then, do you think you’d have given it another shot down the line?

AP - No … I don’t actually. I think I would have gone to music college, and ... Good point! What would I have done at the end of it? I think I would have carried on composing, definitely, but I’m not quite sure where I would have come out at the other end, because the progressive scene had long gone, when I finished college in 1979– [laughs] Yes - in a parallel world what would I have done? I have absolutely no idea! I would probably have ended up as a music teacher.

HR - Did you teach, at some point?

AP - Yes … yes I did funnily enough. Whilst I was studying, I taught classical guitar - which helped me a lot. I had always played acoustic guitar, but didn’t play proper finger style - my right hand was quite basic, so I studied classical guitar as well as piano when I left Genesis, and teaching then helped me to pass the Classical Guitar teachers exams (as opposed to the performers diploma). I taught at a couple of different schools. One was Pepper Harrow ; which was like a progressive borstal for kids who were very bright, but who’d fallen foul of authority - not so badly that had to be interned, as it were. A great number of them had come from some pretty horrific backgrounds, but a number of them have gone on to do great things. Some of them were brilliant musicians! I remember wondering what I was letting myself in for initially, but it’s something that I look back on with a great deal of affection. They weren’t just guitar lessons – they were much more - the music was a vital part of these guys rehabilitation.

HR - Sounds like you’d have made a fantastic teacher, had all else failed! Given that “The Geese And The Ghost” almost didn’t happen – did that fill you with confidence to carry on to do the next album straight away, or had it discouraged you a little?

AP - Oh I’ve had more than my fair share of discouragement over the years! The album that came directly afterwards was “Wise After The Event” and I was immediately told that it had to be an album of songs – the writing was on the wall for these straggly instrumental albums - and it was time to crank up the electric guitar into a heavier rock genre, or don’t bother turning up, kind of thing.

“Sides” was originally going to be called “Balls”, which was cocking-a-snook at people for saying that my music didn’t have enough balls! At the time it seemed to me to be so ludicrous to have this blanket approach across all music - so that’s why we had the cover with the table football table on it - But the powers that be, over-ruled “Balls” and we had to change it to “Sides” ; because it did have one side that was more overtly commercial than the other, which is a little more instrumental.

I was lucky at that point, because the “Private Parts and Pieces” idea just came out of the blue really. I had been recording and stockpiling quite a lot throughout the year when nothing was happening with “The Geese And The Ghost”, and I asked if it might be possible, as a foil to this more rock orientated stuff, to be able to release an album of piano pieces, guitar pieces – sort of home recordings, which made up in their atmosphere and mood, what they lacked in technical perfection - and they said yes!

The first X of “Sides” was released as “Private Parts And Pieces” - as a freebie. It wasn’t actually “Private Parts and Pieces I” because it was a one off, but that numbering thing became sort of a generic term for my albums which were more homespun and simple – you know, small scale, as opposed to the more magnum opuses.

Not that I was able to do a Magnum Opus for quite a while! There was the “Invisible Men” album, which had a certain amount of record company backing, but that was again released around the time of the ‘New Romantics’ – more bad timing! I’d just bought my first house, and was under huge financial pressure with about 18 lodgers to pay the mortgage! So there was big pressure on to have hit singles and get paid, and so I didn’t do another full scale album for about another 6 years. I was lucky to still have this ‘outlet’, with the small scale releases, to continue to get some music out there during the 80s - when the climate was very much against the more classical stuff - at least I did continue to get piano, guitar, synth - slightly more imaginative stuff - out there, but all very much on a small scale.

Thinking about it, it was actually a full 7 years gap before I had the opportunity to do another large scale album at the end of the 80s. It was a frustrating time that too, I can tell you. I had rather a chequered career for a while. I was doing a lot of songwriting, and aiming it at other artists. We would keep getting close, but then, the management would lose the artist, or the album was canned. They weren’t collaborations or anything, but we had some placements in the works for Sheena Easton, Roger Daltry and people like that, but they never worked out. We had a song covered by Bucks Fizz – who promptly had a coach crash! So I had a run of bad luck with that really. It was an interesting time – I was trying allsorts of different things whilst my own music wasn’t making much money, and whilst trying to pay for the new house. It didn’t quite come to being a cat burglar, or an assassin, but I did give it some serious thought!

HR - Your celebrity friends could have hired you to assassinate the music press …

AP - [laughs] Yes …

HR - Is there anyone in particular, that you would like to collaborate with? AP - I thought you were going to say Assassinate! I don’t know these days … about collaborations … Mike and I were always a good team but we have gone in different directions now. I’m not sure that he’s interested in doing complicated instrumental stuff any longer. He did ask me if I wanted to be involved with the Mike and Mechanics albums, but I knew that I couldn’t see the whole project through with the touring and everything, which is what he needed. And it’s not necessarily my bag if I’m honest, although I very much respect what he’s achieved. I think maybe we’ve gone too far down different roads now to make anything work. Steve Hackett and I have talked about writing together a few times, but it’s always risky when someone is your friend. Working relationships do change things, and I’m not sure I’d want to risk my friendship with Steve!

With my TV library music, I do collaborate with quite a lot of people then anyway, so I’m not one of these musicians who doesn’t want to work with anybody else.

HR - When are you at your happiest then? When you’re working on solo stuff and you’re completely in control of it (and I’m not insinuating that you’re a control freak!) …

AP - Ha, NO! Actually, a great friend of mine calls my studio the spaceship! And I’m completely happy in there when I’m just mucking about with all the wonderful synth sounds, creating tapestries of colour with sound – Love it!

And also playing guitar, which increasingly seems to happen late at night in front of the TV. Just picking up a guitar – 12 String or Classical – when these ideas enter my head at absurd times of the day. On the recordings you can invariably hear Alan Hansen and Match Of The Day commentary in the background! And I do actually present demos to my library producer, with TV programmes going on in the background.

HR - What sort of boundaries are in place with your Library writing? Can you remain true to your ‘album’ style, or are you tied to a brief?

AP - I have a lot more freedom these days to create some varied pieces – guitar, synth – it’s very varied, and that’s what I love about it, but it’s hugely competitive, and the recession spawned a lot of ‘under-cutting’ - the market is flooded, and the rates of pay have dropped! I feel very fortunate to have done well at a time when it was less competitive, and to have continued to do it. It’s incumbent on me to keep writing as much as possible - I can’t afford to take my foot off the peddle. So when things come up, I don’t ever really have a blank page because of the stockpile of guitar, piano , synth, and orchestral library pieces already down – I have all of this material ready to go, rather than start from scratch. Some of them are slightly rough and would need to be redone, but the mood is there, and if someone came to me tomorrow asking for such and such, I would hope that I have something that would suit. Unless they asked for a bagpipe concerto. I haven’t got one of those. It’s unlikely to happen, but you never know …

HR - So when we end this conversation, you’re going to go and write one …

AP - [laughs]They’re not a pretty sound when people turn them off you know! What they don’t tell you is that when they’re warming up and cooling down they sound like a sick cow! It is a racket! We had a funny incident on the road with Genesis actually. Peter Gabriel was a little bit accident prone, and slightly absent minded on stage, and used to play the accordion in Stagnation, a bit – in quite an unconventional way, not like jolly French stuff with the onions and the beret - but he would put it down during a very quiet section and if he didn’t put it down properly, it would make this kind of squealing noise going off into the distance, and suddenly we would sound like a John Cage outfit! People would look up completely startled! Another thing he would do – he was a good flute player but struggled with an A flat in “The Knife” which was our closing song – and Tony Banks had to remind him before we went on, that you had to tweek the flute to tune it by a semi-tone. Occasionally Tony would forget to tell him, and Peter wouldn’t remember; The lights would dim, and we’d be ready for this lovely moody bit, and BANG! He would come in a semi tone out! That was pretty tense I can tell you! I love all of those instruments …

HR - What’s your favorite instrument?

AP - Ooooh Tricky. I think pushed to answer that, I’d have to say 12 string guitar 1st, followed very closely by piano, Classical guitar 3rd, and underwater sousaphone 4th …

HR - And, may I say you play all 4 brilliantly!

AP - Aww thanks …

HR - I’ll look forward to your underwater sousaphone symphony at some point, amidst the forthcoming re-releases! Were you looking at reworking your back catalog, or was it something that you were approached to do?

AP - They approached me! [Cherry Red / Esoteric Records]. Not to put too finer point on it but I make the majority of my living from my TV music, and the album work has always been a very nice foil to that, but it’s not been my bread and butter, as it were. I’m probably one of the only artists who has ever said to a record company – “are you really sure you want to do this?” And they did, so I was a bit surprised really! I gathered they were in the business of picking up back catalogs– and I hate the world ‘cult’ – but of people who have ‘cult’ followings, and it felt like entirely the right thing to do. It feels a safe place to be, and with a decent company who have their act together; after having had so many years of uncertainty with this stuff.

HR - How much influence did you have over the way that the 2014 anthology “Harvest Of The Heart”, was put together?

AP - Not a lot actually, but entirely by choice. I wrote a little bit for the blurb on the boxset, but as far as choosing what songs to include – I couldn’t make the decision. It was too difficult – I mean, I dither anyway, at the best of times! And I’m not in any way trying to imply with arrogance that this is all so wonderful, but it was just too hard for me to decide. I’m not a good judge of what other people would have wanted, and to be frank I don’t like listening to a lot of it anyway, once I have done it, otherwise I start to pick it all apart and convince myself that I could have done better … So I was very happy to leave it up to Jonathan Dann, who runs my website ; and Mark Powell (Boss of Cherry Red), who went through all of it. He deserves a medal for that!

HR - I know it’s unfair to ask an artist what their favourite piece of their own music is, but – do you have one?

AP - The albums I’m most proud of , would be “The Geese And The Ghost”, and an album called “Slow Dance” ; which was the first album that I did when I came back after that 7 year hiatus in the wilderness, as it were …

HR - Was that [Slow Dance] released under your own steam outside of record label jurisdiction?

AP - It was actually! I did that off my own bat, and once again ended up having a bad time of it! We’d done an album called “Tarka”, and there was a bit of an upturn in the 80s with the ‘new age’ boom. I’d been doing what was effectively ‘new age’ for a while, but suddenly people realised that, after about 5 years! So I borrowed some money from my management company to crank up my gear, in order to enable me to do a larger scale record. This was in lieu of a small advance from the record company, who then went bust! So the rights to my songs were impounded, under US laws, and my catalogs were frozen (as assets) in the states for a number of years and I couldn’t get them back - so it was a pretty chaotic period in terms of America, but also I had to finish what I had started here! So I pressed on with this album, very much in debt, because I’d bought the gear, but then hadn’t got the advance to pay it off! Looking back I’m not sure how I kept going really because the record was very complicated … But I did have an ulterior motive which was to try and secure a publishing deal with the then’ Virgin Publishing’ under Richard Branson. I don’t to this day think he realises what he let go of when he sold it on to EMI – it was such a wonderful company to be a part of. Ultimately, I got a deal, which got me out of the mire; I finished what became “Slow Dance” and then Virgin came in and released ALL of my albums onto CD for the first time, so I was very fortunate then. I owed a lot to that record in the end. But it was a real blood, sweat, and tears album, and it wasn’t just mentally painful to listen to afterwards – it was literally physically painful too ; I would writhe around and cringe listening to it because I spent too long on it, and it sounded awful to me. It tried to do too much. It’s quite filmic, and unabashedly lyrical - It’s very orchestral at times and some of it is artificial; the sounds at that stage weren’t particularly brilliant and in hindsight it would have benefitted from more real orchestra. I think I could listen to it now … There is a two year rule – don’t listen for something you did for two years, and you’ll forget what was wrong with it!

HR - Would you re-record it, now?

AP - Well – it’s one of the things that will come up for discussion, funnily enough, because we are planning to release some more in surround sound, but it has to be practical to do because it’s a very expensive process, and Cherry Red are very fair, but they know we possibly won’t sell a million copies. I would like to do “Slow Dance” yes. I think any of the orchestral albums would really benefit from being in Surround Sound. The bigger it is, the more there is going on, and the more you can throw around the room. The re-release schedule is a bit torturous actually. Up next is “Private Parts and Pieces” with a bonus CD of material from the time, and … I don’t want to give too much else away really, but we will be doing more … maybe “Tarka”, eventually.

HR - Would you like to get any of your compositions to a point where an orchestra could perform it live? AP - Oh You bet! I’d love it!! There was a performance of “Tarka” in Australia, but it was with a scratch orchestra, so a rather mixed affair. It’s quite hard [Tarka] although it’s not an incredibly difficult score, but it needs some very good players to do it justice. These things are just so incredibly expensive to put together though, aren’t they?

HR - Yes, they are! Do you ever perform?

AP - I don’t … no. My experience with Genesis made me very tentative about performing, but to be honest - the thing that I enjoy most is composing. I’m a terrible practicer! The process of playing something over and over again, just bores me to tears!

HR - How about conducting then? AP - Gosh no, I’m not a good enough conductor – I did study it for a while, briefly, but I’d be much better on a bus! I know the moves, and the beats, but it’s that business of making the left hand totally independent of what’s going on with the right hand – that’s really difficult. It’s an extraordinary art! And when I go to see an orchestra, the conductor always seems to be so far ahead, that I can’t ever put it together!! When I was first studying I used to get the orchestra seats behind the Albert Hall proms, which are the ones behind the Orchestra where you’re looking directly at the conductor – and some of the conductors seemed to be so far ahead of the orchestra, that we used to joke that the conductor would be in the dressing room toweling down, whilst the orchestra were still finishing off! I don’t understand it!! It’s one thing that I do regret in life actually – I would have loved to have been in the middle of a big phat orchestra when something like the “Rites Of Spring” [Stravinsky] or “The Planets” [Holst] is being played. That must be amazing! Even to just play the triangle or something! I’d love to do that …

HR - There’s always time! What about your life outside of music? Do you ever divert from your musical routes?

AP - [laughs] It would seem not to the untrained eye eh? I have a lot of friends and probably spend too much time socialising, and eating out, so I burn the candle at both ends too often. I spend a lot of time with my nieces and nephews, and God-children – I don’t have kids of my own but keeping up with all of them makes life pretty full! It is a difficult balance to keep because I really can’t afford to fall behind with work stuff and that involves an endless amount of mind boggling admin with the album career, and for composing for the library - I have to keep up with all the new technology in the studio, and the new sounds – endless changes! I love sports ; all sorts of sports … I’m a big film man - love films. Probably my favourite music is in film scores these days. My big musical heroes are film composers – amongst many, my favourites are Ennio Morricone : particularly ”Cinema Paradiso” and the wonderful ”Gabriel’s Oboe” from ’The Mission; John Williams, ”Schindlers List”; George Fenton , ”Shadowlands”; Thomas Newman , ”Shawshank Redemption”; Hans Zimmer, James Newton Howard, Alan Silvestri and many others … so, yes! How do I actually find time to work? That is the question ... Not too long after we’d had this chat, Ant got the opportunity to work on a re-release of “Slow Dance” ; here’s the verdict ... HR : So the ultimate question is, forced to listen to it again, have you grown fonder of Slow Dance during the re-mastering, for this re-release?AP : My own view in general, which I appreciate may be very different to that of other musicians, is that when you come back to an album not having heard it for ages, it has novelty value and you think ‘that’s not bad at all’….! That’s why i prescribe the ‘two year rule’. Don’t listen to a piece, album, whatever, for a while and you will forget what it was that you are aspiring to that made you feel dissatisfied with its original outcome !Alas, repeated listens gradually bring back the issues that worried you at the time ! And the more time spent on an album (in my case Slow Dance, Geese were particular long campaigns) the worse it is. QBG and I flew through PP3 in the lovely summer of 1981 and it all remained fresh and therefore untarnished in one’s memory. This naturally makes us completely unobjective when it comes to judging our work ! Slow Dance was such a painstaking haul that when I finished it I found it excruciating to listen to.You have a mystical image of how a piece should sound and capturing this remains tantalisingly elusive ! Perhaps this very frustration is what drives you on to try and do better …?So yes, at first pleasantly surprised, with a few reservation, then gradually I began to feel ‘could have done that better - in many instances !But there are sections that I am still quite proud of and I know it is a piece that has been a moving experience for number of people……. HR : When last we spoke, You were enjoying the opportunity to take your recordings into the surround sound arena - has this one surpassed your expectations?AP : The Surround was a tough one : the toughest of all the re-releases thus far….Perhaps not harmonically but certainly in terms of the arrangement, the album was in parts very intricate and both the balance and flow hung by a thread. Any slight change and the wheels would come off. And they did ! It presented an almost insurmountable challenge to Simon Heyworth and Andy Miles, as there were effects on outboard gear (now either absent or defunct !) that weren’t recorded to tape and therefore had to be somehow ‘reconstructed’. On the other hand instrumental albums such as this and particularly 1984 ( a feast for the guys with all the weird, tricky sounds lending themselves well to sonic spatial manipulation !) do benefit from the size and ambience that 5.1 affords. So my considered view is that the more ambient, floaty parts benefit greatly whilst other sections slightly less so….But what does the musician / composer’s view count…..? It is only the audience’s opinions that ultimately counts ! I am happy that we try to give anyone repurchasing these albums enough extra material to make it feel worth it !

#genesis #modern classical #anthony phillips #ant #cherryred #cherryredrecords #esoteric #prog rock #prog #classical #composer

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interesting-blog-name · 4 years

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SLIGHTLY NEW ALBUMS I LIKED (Little Simz - GREY Area; Monsune - Tradition; Backxwash - God Has Nothing to Do With This Leave Him Out of It)

More loose reviews that I write and instantly want to get out of my Word document and into Tumblr without much of an overlaying theme between the albums or any planning as to which ones I’ll be releasing at which point, but it is what it is. This time I’ll be compiling some recent-ish albums I’ve enjoyed, two of which I’ve come to know from TheNeedleDrop (I try not to watch reviews before writing down my opinion btw), and one EP from an artist I like. Here it is.

Little Simz – GREY Area

Little Simz, the 26-year-old British rapper, is an artist I’ve loved the first time I heard her, when I listened to Selfish for the first time and saw her cover of Feel Good Inc. in triple-j’s Like A Version. Today, May 30th, I was planning on listening to White Chalk by PJ Harvey, but from what I read, it’s a pretty depressing album, and I’m not in the mood for that right now, so I picked GREY Area from my future listening list.

It’s really nice to hear a rap album like this once in a while. The instrumentation is organic and well thought out, her flow is amazing, and her lyrics have so much substance and personality to them, ranging from the happier, more reminiscent tone in 101 FM to the much more aggressive tracks Offence, Boss, Venom and Pressure, she’s always giving her take on life, telling the experience of what it’s like being a black person with big dreams in England, seeing friends die while she tries to go somewhere in life through music.

The main tone she picks for her self-narrative is an unapologetic view of the world around her; she tells the listener: “’til now I ain’t ever been the selfish type, ‘till now I ain’t ever told nobody no, don’t get it twisted. This shit ain’t happen overnight” in the biggest song off here, Selfish, featuring the most calming and lavish pianos and violins in this album, and an amazing feature by Cleo Sol on the hook. Pressure features an amazing batch of verses all about. Same thing with the intro, Offence, with its bold, empowering chorus; although the track comes off more playful with its cartoonish sound effects nearing the end than the raw message of the track mentioned previously. A great, high-spirited track to start off the album.

What isn’t as high-spirited is the next track, Boss, or, to be fair, almost all the other tracks in the album. Boss is a big fuck you to anyone you might dedicate the song to: the hook has Simz’s most aggressive delivery in the whole record, and the entire message is about getting over those who hurt you and coming up. The second verse is something else.

Wounds, featuring Jamaican singer Chronixx, deals mostly with the gun/crime problem ever-so-present in marginalized communities all around the world, and she tells the story from the perspective of both herself and as a companion of the “gun man”, repeatedly mentioned in the song (“When a gun man only knows self-hate, them bullets show no love”). I’m not super crazy for Chronixx’s hook, or the much slower tempo of the track, but it fits well with the groovy instrumental. Venom, on the other hand, is a super exciting, menacing song. She goes all out over the violins playing in the background, but unfortunately, the track burns twice as bright to last half as long.

To lighten the mood a bit, 101 FM brings the most electronic instrumental, with cheerful, banging 808s and synths, and lyrics about her come up as a rapper, probably the verses where her British accent and slang dominate the most, giving them a more personal feel somewhat. Pressure doesn’t feature the most compelling instrumental or hooks in here – the Little Dragon refrain is mixed very poorly and the vocalist just doesn’t do a great job -, but the verses compensate for that, especially the first one, probably one of the most heartfelt and important ones in this album. Therapy talks about Simz’s struggles with finding comfort in therapy. The instrumental is average for the project, but still slaps, so that’s nice.

Sherbet Sunset is an ode to a broken relationship, and a theme that could be handled so poorly by other artists is handled masterfully by Little Simz. In three verses, she displays so many sides to what I assume is one relationship, so many emotions and thoughts that she shares, it really feels like she’s transcribing something of a focused, bright mind rush over the track, and it amazes me how she can reveal her feelings so well on a track like this, progressing from the regret of not seeing how it’d go wrong, to the anxiety that comes from spending all that time for seemingly nothing, to coming to terms with it in the last verse (although not quite). It’s a stunning song now that I listen to it again.

To close it all off, we have Flowers, mainly a tribute to various artists from the 27 club, with mentions of Jimi Hendrix and Amy Winehouse in the verses, trying to relate to their struggles with drug addiction and quick fame. It’s incredibly powerful and a great finisher.

I don’t dislike one track in GREY Area. It’s well conceived, a great statement, it really feels like she gives her all to make every track memorable, and even though her delivery is mostly monotone throughout the whole album, that also works to her favor, as she has a very unique and recognizable voice. So the lyrics are extremely well written, and the only reason I don’t give more examples of that is because I got a whole lot of school shit to do, the instrumental work is clean and precise, and I don’t have a whole lot to complain about. Check this shit out if you haven’t.

FAVORITE TRACKS: 101 FM, Venom, Selfish, Offence, Boss, Pressure

LEAST FAVORITE TRACK: lol nah

8.7/10

“Why you wanna all dress lies as truth? Have you ever seen what silence do? I don’t wanna see no violent troops putting out fires that haven’t been started”

Monsune – Tradition

Damn I did not expect to like this as much as I did.

Monsune is a Chinese-Canadian singer who has recently been gaining some popularity from his amazing song OUTTA MY MIND, which features a funky bassline and high-pitched guitar playing that some have compared to Childish Gambino, specifically his album “Awaken, My Love!”. I decided to check out this short EP by him to see if he had anything more to offer, and it’s safe to say, he does.

The first track off Tradition already shows what this guy can do with his production. It starts off with the same vibe off of his previously mentioned biggest track, but on steroids: a prominent bassline, pitch-altered backing vocals, sunny guitars, and drowned out drums. His voice is also reaching higher notes in this song than in OUTTA MY MIND, but then in the middle of the song it all slows down for a very welcome beat change that shifts the song from this summer anthem to a very chill R&B tune. It’s amazing stuff, although I don’t understand why he chose to put some very noticeable autotune in this part.

CLOUD is my least favorite from the EP, but it’s still a very solid song, it’s just not amazing. The bass is still very strong, and the bridge later on in the song is addictive as shit. After that track comes OUTTA MY MIND, and then his style completely switches in MOUNTAIN, which starts off with some solo guitar and his low, beautiful singing. It’s actually really moving for some reason lol. It then picks up in the hook, the drums kick in along with what I assume is a keyboard, and his voice reaches the top of his range for the backing vocals, it’s a very well-made song.

JADE finishes Tradition off extremely beautifully, with a smooth acoustic guitar intro over a nice-ass bass, some ethereal, trippy scenes of Monsune floating over the ocean and appearing out of thin air in front of you (probably not you, the listener). And then all of a sudden this madman screams off the top of his lungs in the middle of the track and I fucking love it.

The flaws this EP has are mostly related to the mixing, which I think can be a little too harsh in some sections such as the big breakdowns in JADE and MOUNTAIN. Plus, I know lyrics aren’t a focus on a project like this, but it would be nice to get something more than love songs in the future perhaps. Still, loving this EP, so glad I checked Monsune out. You should too.

WORST TO BEST: CLOUDS, 1998, JADE, OUTTA MY MIND, MOUNTAIN

8/10

“Don’t you wanna come down? Cause I’m so bored of walking on the same old sky”

Backxwash – God Has Nothing to Do With This Leave Him Out of It

God Has Nothing to Do With This Leave Him Out of It is an album by American rapper Backxwash, who received a new wave of attention after Anthony Fantano reviewed this album in his channel and gave it a decent 8. I haven’t watched the review yet, but I was interested in checking it out because of the high score, and especially since when I looked it up on Spotify, the songs only had around 8000 views.

Dark subject themes and the whole dark trap aesthetic are the core of this album. I, personally, have always been a fan of aggressive, heavy rap music, from more underground names like gizmo and Fukkit, to the more mainstream variant of these sounds, like XXXTENTACION. This album, however, operates in somewhat of a separate lane.

Many of the dark, edgy rap I used to listen to religiously back in the day was borderline mindless. Shit about ripping someone open, hollow flexing, except separated from mainstream rap only because the rapper in question is screaming their brains out when talking about designer clothes, instead of mumbling like your average Lil Baby, and, of course, personal problems, depression, being mad about whatever it was. Unlike its other contemporaries, however, it seems Backxwash has much more thought and elaboration into what she wants to yell about. Instead of hiding behind bass-boosted rather formulaic instrumentals, she takes the more scenic route, with still very dark, but more intricate gothic beats, sampling various religious speeches and implementing them into songs about black magic and overall unhappiness. The Black Sabbath sample that opens up this album should be enough for any listener to immediately understand what they’re about to get into, as the title track brings heavy percussion and some of the most graphic lyrics in the album, which it already doesn’t lack. Lines about downing pills and vodka, contemplating suicide, and blank vocalizations of anger (“I want war with these bitches, I want corpses and weapons”).

The track that resembles an average edgy Soundcloud rap song the most is Black Magic right after, with its own interpretation of the “ay” flow, shouted with a tone reminiscent of someone like Craig Xen. The big difference comes with the much grander production, especially the growling guitars that get introduced halfway, reminding the listener of Backxwash’s skill as a producer. From what I could tell, she was responsible for the production of the tracks in here, and considering there are no vocal guests except for Malldate’s quick appearance in Into The Void, I’m assuming the features listed in the tracklist are all producer credits as well, the feature in this track being Ada Rook, providing the amazing guitar work for this song.

Spells is mixed for me. I don’t enjoy the attempted singing in the chorus, and it falls completely flat to my ears; the beat is hard as ever, but the lyrics feel slightly disconnected with each other. At one point, she’s talking about going to Hell to her mom, at the other she mentions doors opening and closing in an office and how there’s no one in some corridor, and it doesn’t go anywhere from that, with lines such as “heart is so dead with tissue” not exactly evoking any sort of emotion or imagery.

Black Sheep is the most effective song out of the first four; it seems to filter all the positive aspects of the other tracks and package them into one quick serving. The beat is chaotic and in a constant state of unrest, the lyrics are centered and aimed at various of Backxwash’s problems in life, such as her father, people who want to bring her down and put her “in line on the X and O’s”, and overall venting. After that comes a brief interlude, the first of two that don’t have much use in the album except as pallet cleansers. It’s followed by Into The Void, a track that mentions her paranoia of being harassed and possibly killed when walking around in the streets and the deli. It’s haunting, and definitely the best song in here; it is laser-focused in the exact way I wished the previous tracks would be. Her vocal delivery is extremely expressive, and she tells the story in a way that gives the listener a brief, but at the same time immense glimpse of the reality that trans people face and have to go through, in a morbid fashion.

Adolescence is very short and eases the pace a bit after the intense emotions of the last. It’s a message to her younger brother that quickly descents into a confession of her inner struggle, mentioning possible overdoses and being too old for the 27 Club and fearing going to therapy. What’s great about this song is the fact that, even in such a short amount of time and with a less explosive instrumental, Backxwash manages to evoke her emotions so well; this is definitely what she does best in this record, and it overcomes the times where her delivery is flawed and her words are slurred and hard to understand. After this comes Amen, and holy fuck is this an angry song. Criticizing the hell out of the church, Backxwash comes at greedy pastors and their irresponsible spending when the churchgoers who support him are in need. My big problem with this song is the fact that the hook, as impassionate as it is, doesn’t do much for the subject, and the verse is way too short to have any impact with its theme. Lines like “these politicians politicking” don’t help much either.

The very distorted second interlude, Heaven’s Interlude, takes us to the last track, Redemption, the least intense song in here, which is appropriate as a sendoff. She expresses her frustrations towards her dad’s frustrations towards her being trans, and while the entire sentiment of the song is great and well formulated, I can’t find a way around the lines “Fuck these fucking boomers, fuck these fucking losers. Fuck theses motherfucking fuckers in their fucking two truck. Fuck these fuck(sic)abusers, and fuck these fucking rumors.”, they just emanate Limp Bizkit energy.

God Has Nothing to Do With This Leave Him Out of It is a very passionate, real, well produced and well-conceived album; it bears themes that are immensely important to be brought to the music scene, and by mixing that message with its explosive and polished production, it amplifies it a ton. However, as powerful as her deliveries are, I believe Backxwash can go much further with her songwriting and song structuring in the future, as well as her intonation, because that was really all that was keeping this album from being legendary. If she can do more of this in songs that are longer and super focused around whichever topic she decides, she can make something legendary. And thank God she got reviewed by Fantano, I hope she can take this opportunity and make something huge out of this.

FAVORITE TRACKS: Into The Void, Black Sheep, God Has Nothing to Do With This Leave Him Out of It, Adolescence, Black Magic

LEAST FAVORITE TRACK: Spells

7.7/10

“Chosen one, sad bitch, lowest scum. Coldest, huh, black sheep talk to ‘em. If the situation changed I would have said the same shit, exactly the same.”

#little simz #grey area #monsune #tradition #backxwash #god has nothing to do with this leave him out of it #album #review #albume review #ep #ep review #rap #uk rap #dark rap #indie pop

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podcastcoach · 4 years

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What Podcasters Can Learn From Eddie Van Halen

This week rock guitar God Eddie Van Halen died after a long battle with throat cancer. As a guitar who was 13 when Van Halen's first album was released, and whose band provided the soundtrack to my adolescent years this hit me hard. With this in mind, I wanted to talk about things podcasters can learn from Eddie Van Halen.

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Van Halen Took Years to Build Their Audience

The band was formed in 1972. Some of the top songs in 1972 were Saturday in the park in Chicago, Brandy (You're a fine girl), I'll take you there (the staple singers). Not exactly a thriving time of high energy, guitar-oriented hard rock. They played clubs for years.

In 1976 (four years later) Gene Simmons of Kiss financed a demo tape, and arranged a performance in front of Kiss's management and was told that "they had no chance of making it" and that they wouldn't take them. Gene then removed himself from further involvement.

A year later when they were playing the famed "Starwood: club Ted Templeman of Warner Brother saw the band and they were offered a contract.

Good Planning Leads to Less Editing

As they had been playing clubs for years, the band was well-rehearsed and ready to go. Their first album was recorded in three weeks with almost no overdubs.

You Don't Need to Spend a Ton of Cash

There are two popular guitars in rock music. A Stratocaster has a thin sound and used by blues players and it had a whammy bar. A Les Paul has a thicker, chunkier sound. Eddie took the guts of a Less Paul and put them into the Stratocaster (called the Frankencaster). He made the guitar himself using a guitar body that cost fifty dollars and a guitar neck that cost eighty. He ended up with a thicker, chunkier guitar tone that had a whammy bar. The guitar that cost $130 to make has a replica that now goes for thousands of dollars.

He stated that because he was poor he had to find ways to make the noises on the guitar.

He Learned Through Trial And Error

In the process of creating his own guitar, Eddie states, "I ruined a bunch of stuff." The bottom line he never stopped experimenting. In the song intruder, you hear Eddie creating bizarre sounds on his guitar. It turns out that some of those sounds were Eddie Swiping a Schlitz beer can up and down the neck. In the song poundcake, Eddie uses an electric drill. The bizarre noise on Automic Punk is Eddie running the side of his hands up and down the strings. He was always looking for ways to make different noises (like an elephant) with his guitar. The strange wooshing noise in the middle of the song Panama is Eddie's Lamborgini.

He had an endless curiosity and was constantly experimenting.

He Never Learned How To Read Music

He would watch his teacher's fingers and then play whatever he just saw. His parents forced him to play the piano and won contests when he was ages 9-11. After using the Beatles and the Dave Clark Five he picked up the guitar. Because he never learned guitars lessons "by the book" he believes he wouldn't play the way he does if he had done "Traditional" guitar studies.

Inventions Around Van Halen

I mentioned how he created his own guitar. He holds a patent for a device that allows you to stand and hold the guitar flat. He perfected a style of playing called "tapping" where he play notes with both hands. This lead to the invention of guitar tablature as people couldn't figure out how to put down on paper what he was doing on the fretboard.

Enjoy Your Soup

How did Van Halen get their sound? Drummer Alex Van Halen prefers straight forward rock. Eddie liked progressive rock, and David Lee Roth like disco at the time. Eddie referred to this as ingredients in your soup.

I like singer Gary Cherone from the band Extreme. He joined Van Halen and recorded Van Halen III. On that album bassist Michael Anthony has stated that Eddie told him what and how to play, Gary stated that Eddie was playing bass and drums, making it more or less an Eddie Van Halen Solo album. One point here is this album came out in 1998, and was not sober until 2008. This was the first album to not go platinum (it did achieve Gold status). I was also the longest studio album.

Embrace Who You Are

When they were in the clubs, they were playing covers. As Eddie put it, no matter how hard I tried I couldn't play what was on the record. I could only be me. Consequently, when you hear a Van Halen record, it sounds like a Van Halen record.

Go To Where Your Audience is and Promote Nonstop

When they couldn't get a record deal they started throwing their own parties and concerts. They toured for 11 months straight to promote their first album including 23 shows in 25 days in the UK. When he got home Warner Brothers alerted the band that they owed the record label three million dollars and a new album. They wouldn't take no for an answer. They stuffed flyers in lockers of high schools. If you liked them or not, you were at least going to know about the band. Slowly they built an audience of 3-5000 people which attracted the attention of Warner Brothers.

He Was Always Nervous Going On Stage

In the early days, he asked his Dad how he dealy with stage fright. His father gave him alcohol and cigarettes (and would later die from Alcohol-related issues). After Eddie got sober, his son was in the band and Eddie said, "If my sixteen-year-old son can be out there kicking butt, then I guess I better get out there."

You Don't Have To Release Everything

Eddie built himself a studio and was always recording, experimenting, but it is assumed that there is quite a bit of music that was not released.

Have Fun

One of the things you can hear in a Van Halen record is fun. Watch Eddie play guitar and you will see one thing that never changes. He smiles. Why? Because he came to this country from Holland with his parents who brought a piano and what amounted to $50. He didn't speak the language and got bullied as he was considered a minority.

Money Changes Everything

In the book Runnin' wit the Devil" he states that the Van Halen brothers (along with David Lee Roth) gave Michael Anthony an ultimatum right around the time the “1984” album came out. In a nutshell, they did not believe Michael’s contributions to the band’s music entitled him to an equal 1/4 split of the profits, so they drew-up a contract that stipulated that he would no longer share in any royalties from Van Halen recordings from the “1984” album on, and I believe it also limited what he would receive from the previous records, touring, and merchandise sales as well. In effect, while Michael would technically still be in the band, he would essentially become a paid employee from that point on.

Most die-hard fans found this offensive. We want to believe you all get along and are best buddies.

Put Your Family First

In 2006 Eddie Van Halen replaced Michael Anthony with his son Wolfgang. He knew this was not going to be a popular choice, but he put his family first. What father wouldn't want to play with his son?

Communication is the Lubrication

Eddie Van Halen wasn't on social media. The website as I write this now does not even have a notice that Eddie has died. For years his audience had no idea what he was up to. Michael Anthony found out he had been replaced via the Internet. He could have kept that connection stronger by keeping people in the loop.

Why? Eddie was a nice guy, but an introvert. He just wanted to make music. Upon his cancer diagnosis, he retreated even further.

Profit From Your Podcast Is Available

Thanks to Letitia Evans who was the first to write a review of my new book Profit from your podcast: Proven Strategies to Turn Listeners into a Livelihood. She said, "Dave is one of the best in the podcasting space! This book does a great job of sharing the pieces that need to come together for podcasters to serve their listeners well without shortchanging their livelihoods. Any podcaster that wants to start right and continue well will benefit from this book.

Mentioned in This Episode

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Samson Q2u

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captainignatiuspigheart · 4 years

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BIrthday, Booze and Bumbling

Sure, it’s Friday – or is it? Who the hell knows. I can’t tell the difference, and worst of all I’m writing this (at last) on day one of our four day bank holiday weekend. Thank goodness my workmates told me, otherwise I’d have been working all day. So, with five days separating me from last week, what can I actually recall… I’m in luck, because I’ve started to keep a list. Genius plan, which I undermine as I fail to write stuff down. That feels a lot like our present state of lockdown – it all constantly slips away… I’m still feeling the massive contrast between the hysteria of 24 hour news and this just feeling like normal life. I’m also utterly thrilled to be spending so much time with my beautiful cats.

Still, we had my other half’s birthday, and I feel we made the most of it. Our usual birthday activities are something along the line’s of 1) get up very late, 2) take ages to eat breakfast and get dressed, 3) open presents while watching cartoons (this year we enjoyed Disney+’s Chip ’n’ Dale: Rescue Rangers, which feels like it’s suffered the passage of time better than Duck Tales), 4) go to the cinema, 5) eat out somewhere, and 6) crash out on the sofa. On that scale we at least managed all but 4 and 5. So that’s not bad. The whole pandemic and not being able to choose to go out only really hit home when we wanted to complete our usual rituals. Nemmind. I snagged a piece of rather nice original Peter Firmin Bagpuss art, so part 3 of the day was pretty good. We celebrated with a few more folks in a large and very chaotic Zoom party. Weird, for sure, but nice to see peeps.

Obviously all independent businesses are struggling right now, and worse, some people are finding it hard to acquire enough booze to get through the melding days. No fear of that here in Beeston! I was over the moon to see our local independent brewer Totally Brewed (who have homes at the lovely micropub Totally Tapped in Beeston and The Overdraught at the top of Canning Circus) arranged for Friday home deliveries!

Easter LEGO!

He’s so handsome

Ultimate tuddle

Delivered to my door!

Doing: podcasting (live-ish) with We Are What We Overcome

On Sunday we the We Are What We Overcome podcast gang got together to attempt a Zoom to Facebook Live thingamajig. It worked so well in practice, but totally failed to work as expected. Not to worry. We recorded it anyway, and popped the video up on Monday afternoon. We decided to have a little check-in, like we usually do at the start of our episodes, but for longer as this is a strange time, and we all have different feelings about it. I think it’s quite a nice chat – you can watch/listen to it below. Rather nicely, it’s all four us, including Neil who’s usually behind the sound recording desk (or whatever it is that he does to magically trap our speech). At some point we’ll pop the audio out on the podcast feed, but there are a few in the bank already to be rolled out on schedule first. Even better news, we’re gonna try the Facebook Live thang again this Sunday, and every fortnight for the near future, or at least as long as we’re in lockdown. Future ones will show up on our Facebook page here, and I’ll stick a link on the WAWWO page of this website too.

Watching: Altered Carbon season two

I really enjoyed Richard Morgan’s Altered Carbon and its sequels – splendid fast-paced noirpunk with loads of action and murder/spy stuff. The central premise that your identity is contained in a stack at the top of your spine and can be swapped between bodies (the so charming “sleeves”) is fantastic, and the results of your body no longer being a part of who you are is ingenious and spun out well in the books. It translated pretty well into season one of the Netflix show, albeit with a lot of gratuitous nudity as we found ourselves in a pretty traditional cyberpunk setting of rain and holograms of hookers everywhere. I enjoyed it, but until I saw the ‘last time on Altered Carbon‘ I could not have told you what happened.

I fucking love Anthony Mackie, he’s immensely charming, fun, and credible in action, drama and comedy (having re-watched Captain America: the Winter Soldier just this afternoon, he is confirmed in my mind as a splendid human). But there’s something wrong with season two – it’s just drifted into the quest for Takeshi Kovacs to find his long-lost love, and while that’s in the books, it doesn’t feel like the driving force of the story. The noir detective element is here, but it feels lost and forced. Added to that are the continued tribulations of his AI hotelier pal, Poe (yep, Edgar Allan), who is very appealing as he finds another AI who he clearly kind of fancies as his grasp on the world deteriorates, but it doesn’t matter. The AI subplot is completely irrelevant and its lack of importance kept punching me in the face. Alas, this season has lost me and I kept drifting away while watching. Maybe I’ll have a rewatch after this nonsense time is over, and perhaps I’ll focus better.

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Reading: Cage of Souls by Adrian Tchaikovsky

I cannot help reading Adrian’s books – it’s a kind of addiction. This one had languished for a while on my Kindle TBR because I’d incorrectly associated the cover with fantasy, and I’ve been in a science fiction mood for a while. Reading definitely feels tougher than usual, and it takes something extra (or just really fast) to captivate my attention. Here we have far-future post-every-apocalypse with Shadrapur, the last human city on (presumably) Earth. Humanity stumbles on, pretending that the end is not very close, echoing the civilisations that have fallen along the way. I’m a sucker for post-apocalyptic stuff (not so much the usual zombies). This has much more of JG Ballard’s The Crystal World and a bit of Brian Aldiss Hothouse vibe, with the natural world running riot, overwhelming our vain attempts at order and showing every chance of becoming something else. Cage of Souls takes us through the life of one of these last men, Stefan Advani, and how it is that he ended up in a ghastly prison cast out in the middle of nature. This is a big fat book, and for a while it was slow going, though that’s rarely an issue with Tchaikovsky’s glowing prose and this most alluring world of the end-times, but as the depth of the world and its strange inhabitants unfolded I was happily engaged. The Count of Monte Cristo feel is strong, with our unjustly imprisoned academic turned accidental rebel, dealing with an appallingly dangerous prison that the guys in Oz could only hope for, with monsters seizing inmates through the bars of the lowest levels and an absolute monster in charge of the prison. The novel really opens up when we explore the misadventures that preceded Stefani’s arrival, and (spoiler), what happens afterwards. It’s a delight of a book, full of surprises, possible callbacks to novels I adore, an unreliable narrator and a weird, weird world to engulf them.

Reading: The Girl Beneath the Sea by Andrew Mayne

After a big book I needed a short book, and this was waiting for me on my Kindle. A short, quick detective thriller with a slightly different setup (though with hefty shades of Clive Cussler’s Dirk Pitt stories), of Sloan McPherson – 50% diver with a family dedicated to shady treasure hunting, and 50% auxiliary cop in the Florida quays. There’s nothing exceptional about the plotting – Sloan gets a body dumped into the canal while she’s diving, and quickly finds herself implicated in a conspiracy linked to her dodgy criminal uncle and the aforementioned shady family. It had everything I needed, from snappy dialogue and snarky characters to gunfights and underwater shenanigans. Very satisfying, and I may well dig up the next in the Underwater Investigations series.

Watching: Virtual Improv Comedy Workshops with MissImp

Time blurs, and I discover that the workshop I wrote about last week was actually from the week before! Who’d’a’ thunk it. But that’s cool, it means there are two workshops for you to catch up on. First up the splendid Ki Shah and Russ Payne on Physicality, Objects & Movement. This is a genuinely charming two-hander and I think you’ll be smiling all the way through. Second up is LA improviser Jay Sukow on Solo Improv. I confess I’ve not yet watched this one, which puts me at least two behind as well… Both vids are below – enjoy!

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Next Week

Sabrina the Teenage Witch season 3, The Hanging Tree by Ben Aaronovitch, LEGO Ideas Dinosaurs and probably The Collapsing Empire by John Scalzi (if I finish it this weekend). I should do an MCU quick review thing at some point too.

Last Week: Cage of Souls, Altered Carbon, The Girl Beneath the Sea, We Are What We Overcome podcast, MissImp Virtual Drop-Ins - TV, book reviews, things, improv, beer and birthdays. #TV #books @aptshadow @missimp_notts #podcast https://wp.me/pbprdx-8CB BIrthday, Booze and Bumbling Sure, it’s Friday – or is it? Who the hell knows. I can’t tell the difference, and worst of all I’m writing this (at last) on day one of our four day bank holiday weekend.

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jaketheaudiophile · 5 years

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Best Albums of 2018.

This is the thing I look forward to most every year. I probably start internally ranking albums after purchasing them and have a conversation with friends and fellow musicians about their favorite releases starting in September.

I personally thought 2018 was a very good year for music, and already have some stuff I’m excited about in 2019. Let’s just jump right in.

HONORABLE MENTION

TTNG: “Animals Acoustic” released October 5 via Sargent House

It doesn’t feel right to consider this a “true” new album since it’s only an acoustic reworking of TTNG / This Town Needs Guns’ seminal debut album. However, this is more than just a re-release; there’s unique, varied instrumentation added cleverly to every song, including strings, pianos and The Kraken Quartet on percussion. It also never gets old hearing Stu Smith sing again or hearing Tim Collis recreate his wizardry on an acoustic guitar. It feels like a brand new thing, which is impressive considering the source material is a decade old.

#15.

The Decemberists: “I’ll Be Your Girl” released March 16 via Capitol / Rough Trade

Props to my buddy Branden for recommending this, but in general Decemberists albums are an automatic purchase for me. I wasn’t crazy about their last few releases (particularly the collaborative Offa Rex LP) so I wasn’t completely up to date on their current activities, but this is another solid entry into a pretty stellar catalogue of music. The lead single “Severed” is a bit of a curveball, but it shouldn’t scare off old fans. In a strange way, this album is a reinvention of sorts but also a harkening back to the songwriting and cleverness that made these alt-rockers famous (”Everything is Awful”, “Once in My Life”). Perfect for old and new fans.

#14.

The Wonder Years: “Sister Cities” released April 6 via Hopeless Records

I can’t quite put my finger on it, but this is probably my least favorite Wonder Years album. It should have worked perfectly on paper: The old pop-punkers expand their sound and influences and graduate to a new level of maturity and success. And in a way, this is exactly that. However, the last half of the album, particularly the closing track, “The Ocean Grew Hands to Hold Me” just feels uninspired and lazy. There’s something to be said for purposeful dynamic choices, and that was something these Philly rockers nailed on previous releases. Still, TWY are master craftsmen, and there are a few great songs and moments throughout this record (”Pyramids of Salt” in particular), but this feels more like a transitionary phase than a masterpiece.

#13.

Mouse on the Keys: “tres” released May 23 via Topshelf Records

Japanese jazz aficionados Mouse on the Keys were a relatively new band for me this year, and their latest record certainly lives up to hype that I’ve seen them receiving. Bringing in a strong, varied collection of guest musicians works out splendidly at times (such as vocalist Dominique Fils-Aime, who absolutely kills it on “Stars”, and CHON wunderkind Mario Camarena’s solo on “Time”) and falls slightly flat at others (unfortunately, La Dispute’s Jordan Dreyer’s spoken word contributions to “Shapeless Man”). When left to their own devices, however, the skills and performances of these three dudes are admirable (”One Hundred Twenty”). The album feels a bit more of a collection of ideas than a full record, but is still worth checking out for any technical music or jazz fans.

#12.

mewithoutYou: “Untitled” released October 5 via Run For Cover Records

This album is a textbook example of what could have easily been a classic, or even an album of the year contender. However, it seems like these Philly indie rock mainstays lost all momentum halfway through and ended not with a bang, but with a whimper. The last two songs on this album are basically useless and meandering. It also seems like the band tried to get in the headspace of their earliest material, maybe pulling some influence on a few album anniversary tours, which is a welcome return to form (”9:27A.m., 7/29″). With that in mind, why are Aaron Weiss’ vocals so low in the mix or drowning in effects to make them unrecognizable? His poetic lyrics are what make so many fans keep coming back, so the choice to completely smother them is an odd one. The highs of this album are here, but they are too dragged down by the uninspired lows to make this a completely stellar record. I hold these guys to a pretty high standard, though, so maybe I’m more critical than most here.

#11.

Between The Buried and Me: “Automata I” and “Automata II” released March 9 and July 13 via Sumerian Records

It doesn’t feel right to separate these albums as its considered one long story and they really do work in tandem. Personally, I like Automata I a smidge more, but they are both pretty damn good. I is a more traditional metal (with the exception of the the epic Dream Theater-esque closer “Blot”) and II allows the band to sow their wild oats a bit, worshipping at the altars of Queen and Danny Elfman at times. Regardless, this is a mammoth achievement for these metal titans, who seemingly never seem to run out of ideas for brilliant, varied albums. Some songs are a bit overlong, and the few purely filler tracks may be a tad unnecessary, but it’s still a rewarding listen.

#10.

Horrendous: “Idol” released September 28 via Season of Mist

Perhaps the only disappointing part of this technical death metal release is the fact that it’s only 40 minutes long. Most bands in this genre would be content to tease out a riff or interlude and create a 12-minute song, but not these guys. Not that there are a lack of ideas; they’re just packed in so tightly and laser-focused to make every track feel adventurous, varied and finely tuned. Combined with one of the most unique vocalists I’ve ever heard (the most apt comparison is “Wolfman transforming from Wolfman back into man”), the listener is left with an album that truly leaves them wanting more. Also, kudos for the creepy Clive Barker-esque cover art.

#9.

Mom Jeans.: “Puppy Love” released July 3 on Counter Intuitive Records

Mom Jeans. scratch an itch I’ve always had for quality emo music and nicely fill a void You Blew It! left when they broke up last year. There’s certainly not a ton of brand new ideas on display in their music, but its earnestness and heart make up for it. I’m willing to overlook a few cliche moments (the acoustic album closing cut, the more-or-less straight up rip off of Weezer’s “The Sweater Song” on “Glamorous”) and instead be grateful that tracks like “Sponsor Me Tape” and “Pickle Bart” took up permanent residency in my head for most of the year. Keep doing what you’re doing.

#8.

Delta Sleep: “Ghost City” released August 10 via Big Scary Monsters

Longtime friends may remember that Delta Sleep’s 2015 effort “Twin Galaxies” was my favorite album of that year. The bar was set pretty high for the follow-up, and for the most part, they delivered. The production is top-notch, the arrangements are all over the place but locked in and expertly performed, and the band cements their status as one of the best in the genre. Unfortunately, there are just a bit too many filler tracks and interlude cuts to really make it stand out, and they tend to make me either skip songs or not want to jump back into the album. This is particularly odd as I didn’t mind this much on their last record or previous EPs, but I feel like they need to ditch this particular crutch in the future. Again, I’m most critical of the bands and groups I adore the most, so maybe I’m nitpicking. This is a really fun record (“After Dark” and “El Pastor”) and is certainly worth your time.

#7.

Tangled Hair: “We Do What We Can” released March 16 via Big Scary Monsters

Without overhyping it, this was easily one of my most anticipated releases for 2018, and something I was hoping for for several years. I quite enjoyed the two EPs this British math rock trio had previously released, and was a huge fan of Colour, a legendary group two of Tangled Hair were a part of. This album did live up to these hopes and dreams, but sadly the last third was lacking that extra “oomph” to make this a perfect record. That said, the drum work of James Trood is well varied and creative (”Keep Doing What You’re Doing”, “Yeah, It Does Look Like a Spider”) and while not full of over-the-top tapping riffs, the songs and riffs have a fun technicality to them (”Nao is my Driver”, “Catalina”). Tangled Hair have a way of crafting songs that don’t beat you over the head with their musicianship but incentivize the listener to pick them apart and then be amazed. This is why I’m a fan, and why I adore this record. Hopefully a US tour is their next big step.

#6.

Antarctigo Vespucci: “Love in the Time of E-Mail” released October 26 via Polyvinyl

For those unfamiliar (which included myself until I heard “Freakin’ U Out” through Anthony Fantano), Antartigo Vespucci is a project made up of Chris Farren (Fake Problems) and Jeff Rosenstock. I have never been a huge fan (mainly out of ignorance) of either’s previous work, but that seems to be at my detriment because I really, really love this record. It’s minimalistic, straightforward and effective. Most songs aren’t longer than 2 minutes and are chock full of hooks and fun instrumentation (”Kimmy”, “Breathless on DVD”) that keep you coming back. The word that resonates and fits most for this record is “sharp”. The songwriting, production and attitude is such. It’s a truly fun little release that came out of nowhere for me.

#5.

Tiny Moving Parts: “Swell” released January 26 via Triple Crown Records

I’m quite impressed with the consistency of these Minnesota rockers. They seem to crank out a quality record every 18 months or so, and their latest offering is no exception. It’s airtight and jam packed with energy and emotion, not to mention the occasional insane guitar tapping lick (”Feel Alive”, “Caution”). Perhaps not as polished as 2016′s “Celebrate” but still damn good. Damn damn good good (”Applause”, “Wishbone”). Anything these guys put out seems to be a lock to be in my Top 5 every time until proven otherwise.

#4.

Justin Courtney Pierre: “In The Drink” released October 12 via Epitaph Records

Like most people, I was incredibly sad to learn Motion City Soundtrack decided to call it quits a few years ago. Frontman Justin Pierre decided to at least make the transition easier by releasing his debut solo album, and it’s full of so many of the things that fans of MCS came to adore. It’s not quite as diverse or well produced as their material, but still contains Pierre’s trademark honest lyricism and songwriting chops. Also present are a few of the members of longtime Pierre side-project Farewell Continental, which makes this feel closer to one of their albums, particularly with the presence of guitar feedback and female vocals. I wasn’t really expecting this to blow away anything Motion City has put out, but it holds its own quite nicely without overstaying its welcome only being 28 minutes long. I’m just so happy Justin is continuing to put out music.

#3.

Vein: “Errorzone” released June 22 via Closed Casket Activities

It’s so fitting that this band is named after a vital part of the human body. They feel essential and basic, but not in a boring way, and aren’t too flashy or breaking any molds. I guess the theme of most of my favorite music of 2018 is “Well, it’s not reinventing the wheel, but it’s still awesome!”. This bleak and brutal hardcore record sums that up quite nicely. Taking influence from Glassjaw, Deftones and every knuckle-dragging breakdown factory playing on the side stages of every Warped tour and sharpening the edges with razor blades, this album’s raw energy and brazenness makes it feel bombastic and energizing. This is also the band I’m most excited to see what happens in the future, as this is their debut full length, and I imagine giving them room to grow and mature will lead to some outstanding things in the future. The traditional hardcore moments are awesome (”Old Data in a New Machine”, “Demise Automation”), but the occasional breaths of melody (”Errorzone”) and clever electronic samples (”End Eternal”) are surprising. Far and away my favorite heavy music record of 2018.

#2.

Lifted Bells: “Minor Tantrums” released March 30 on Run For Cover Records

Bob Nanna must be one of the coolest people ever. The longtime Braid and Hey Mercedes frontman seems to have his fingerprints all over great bands and projects, and this Chicago indie rock collective is certainly no exception. Each song feels like a symphony of spastic drums, distorted bass and Matthew Frank’s (he of Loose Lips Sink Ships and Their / They’re / There fame) insanely varied and skilled guitar lines (”Inevitable Devil”). Every song feels completely unique and different, making it a pretty perfect rock record (”Follow Me”, “Choir Sings The Cure”). Nothing feels unnecessary and it’s infinitely re-listenable. Pretty good for a first full length, huh?

#1.

Monobody: “Raytracing” released November 1 via Sooper Records

I’ve been playing music in some capacity for 25 years and generally try to go to as many concerts and buy as many records as I can afford. With all that said, I have a hard time fully grasping what this Chicago jazz collective have pulled off on this gargantuan release. Seemingly going in every musical direction at once while somehow being accessible and downright fun to listen to, it’s kind of hard to describe exactly how it all works out, but it does. I can’t really recommend it to casual music fans, but if you’re willing to take the plunge into something dense and different that is truly at its best as a whole album and not individual songs, this will reward you. I can’t put any other full-length record above it, so it is without a doublt my favorite LP of 2018.

...except...

So, about that word “full-length”...

...welp...

ACTUAL FAVORITE RELEASE OF 2018:

Invalids: “Fulfillment EP” released March 28 via Choke Artist

I’ve never been in this situation before. I can’t in good consciousness say that I liked any music that came out this year more than this EP, so it feels wrong giving it any other spot. Invalids is a math rock project that was essentially just guitarist / vocalist Pete Davis until recently. For this EP and a few recent tours, he joined forces with 3 amazing musicians who could keep up with his absurdly technical yet melodic songwriting. I hesitate to use the word “perfect”, but I cannot find a flaw on this EP. Earlier records were perhaps impressively performed but lacking in memorable songs, or meandering or bloated. This EP instead sees Davis and company trimming the fat but still keeping things varied, clever and jaw-dropping. Yeah, it’s a technicality calling this “album of the year”, but it’s a glorious album and one I’m willing to make an exception for. Thank you, Invalids.

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