And I have reviewed it.
Posted by Dylan Hicks at March 29, 2005 3:45 PM
Posted by Dylan Hicks at March 23, 2005 5:22 PM
Here's a survey of the recorded music I've been enjoying during 2005. All rankings are subject to change until Jan. 1, 2006.
Albums
(This list is made up of the albums I've been coming back to over the year, even after I've fulfilled my professional obligations to them. I have complaints with most of these, since I usually find something to complain about, but all have improved the quality of my '05 life on some small or mid-sized level.)
Honorable and Somewhat Honorable Mentions
(In order of preference. I've gotten various degrees of enjoyment out of all of these, here and there. None are wholeheartedly recommended, but all contain some very good music. Entries near the top might sneak into the above list of '05 favorites.)
I'm inclined to endorse (mildy, enthusiastically, it depends), but should spend more time with:
Singles
Honorable Mentions
Collections/Reissues
Notable album cuts:
Thievery Corporation, "The Heart's a Lonely Hunter" and a few others from the rarely out-of-this-world The Cosmic Game
Brazilian Girls, "Pussy" and a few others from the enjoyable enough but problematic Brazilian Girls
Mark Geary, "Beautiful," from the othewise not terribly haunting Ghosts
Urban Sun, "Shine Like the Stars" from Guilty of Dreaming
Fisher, "Biggest Fan," "Beautiful Life," and a few others from The Lovely Years
Sole, "Sin Carne" and a few others from Live from Rome
Doris Henson, "A Dark Time for the Light Side of the Earth," from the probably-not-worth-your-money Give Me All Your Money
The Mountain Goats, "Song for Dennis Brown," "Dance Music," and a few others from the not-quite-my-bag Sunset Tree
Omarion, "Never Gonna Let You go (She's a Keepa)" and a few others from O
2004 Albums I didn�t hear or fully appreciate until 2005
(A few late 2004 releases are included in categories above, mostly stuff that didn't arrive in my mailbox until January '05.)
Posted by Dylan Hicks at March 20, 2005 7:58 PM
Posted by Dylan Hicks at March 18, 2005 12:46 PM
Various Artists
World Psychedelic Classics 3: Love�s a Real Thing: The Funky, Fuzzy Sounds of West Africa
(Luaka Bop)
The �fuzzy� in the subtitle refers to distorted guitars and bell-bottomed bass, and also to the (sometimes) murky sound quality, and also to the Ping Pong of influences heard on all of these early �70s dance sides. West Africa is where the slaves of the Americas came from, and it's thus the cultural fountainhead of most New World pop. Hearing how musicians from Mali, Senegal, Nigeria, and all over the polyglot region studied and refracted James Brown or Santana or Cuban jazz or �Hang on Sloopy� is one of the great pleasures of modern music. In other words, the Bo Diddley beat heard on Sorry Bamba�s �Porry,� a slab of desert salsa from Mali, might sound so good because its returning to its old stomping grounds.
While not all of these rare-till-now records are classics, everything is seriously funky with post-colonial optimism and disappointment. A few tunes are in English, and they don�t miss the chance to sing across the waters. �America, do you ever think this world is yours?� asks William Onyeabor on the slinky �Better Change Your Mind.� He follows up the question with a sly �eh?� that says, Of course you do, but billions of people, including the members of this smokin� little band of mine, know you�re wrong.
Posted by Dylan Hicks at March 11, 2005 5:20 PM
Dalek
Absence
Ipecoc
Abrasive, humorless, and nearly horrific, Absence is black-power metal, though the New Jersey-based trio that made it can be properly filed in the hip-hop racks. Antarctic beauty surfaces fleetingly, but the album is most characterized by sheets of whooshing noise that sound something like My Bloody Valentine�s Kevin Shields playing a poorly maintained industrial floor sweeper. Over the din, MC Dalek �swallows razor blades to keep [his] vocal chords sharpened� (from �Distorted Prose�) and rhymes about racist war pigs with a timbre and ideology similar to largely forgotten rapper Paris.
Like a cash-strapped action movie that keeps using the same explosion shot, Absence can be tedious, but it begins and ends with arresting force. It will either amplify or mute your anxiety, possibly both. This is not dystopian music, because the world it envisions is this world, as perceived by the permanent underclass and prisoners on whose behalf it shouts at the devil.Posted by Dylan Hicks at March 11, 2005 5:19 PM
Posted by Dylan Hicks at March 4, 2005 2:14 PM
Posted by Dylan Hicks at March 3, 2005 3:55 PM
Posted by Dylan Hicks at March 1, 2005 12:40 PM