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Tag / Feist
Big Boi, Black Thought, Brockhampton, Calvin Harris, Carly Rae Jepsen, Courtney Barnett, CupcakKe, Drake, Feist, Fergie, Frank Ocean, Haim, Jeremih, Julia Michaels, Kendrick Lamar, Kesha, Kurt Vile, Laura Marling, Metro Boomin, Migos, Nicki Minaj, Nnamdi Ogbonnaya, Offset, Power Trip, Randy Newman, SZA, Thundercat, Young Thug
So you've read my Top 20 Albums of 2017 and find yourself wanting more. Here you go, person who doesn't exist! It's my Top 25 Songs of 2017. My all-time favorite songwriter is on here. A segment from a radio show is on here. And Fergie is on here? Yes, Fergie is on here. There's a full playlist below, after I'm done yammering.
25. Fergie ft. Nicki Minaj – "You Already Know"
Over a dynamite interpolation of Rob Base and DJ EZ Rock's "It Takes Two," Fergie catches fire, outrapping her legendary guest against all odds.
24. Laura Marling – "Soothing"
"I banish you with love," croons Laura Marling over one of the grooviest bass lines of the year. Getting dumped never sounded so good.
23. Young Thug – "Do U Love Me"
This preternaturally melodic rapper sings a love letter to himself over a sprightly dancehall beat, teaching us the difference between ego and self-confidence.
22. Randy Newman – "She Chose Me"
If you're lucky enough to know how it feels to have a partner you don't deserve, this stark ballad from our greatest living songwriter hits hard.
21. Courtney Barnett & Kurt Vile – "Continental Breakfast"
Two brilliant slacker/songwriters, singing about their intercontinental friendship over a loose, rolling groove. Should be played in lieu of presidential speeches to the UN from now on.
20. CupcakKe – "Barcodes"
This sex work empowerment anthem is a blast of exuberance from a Chicago rapper on the rise. "Pay the damn price or go home to your wife," CupcakKe demands, backed by the funkiest horns we heard all summer.
19. Bebe Rexha – "I Got You"
A pop song about building trust, with a chorus that feels like falling into somebody's arms.
18. Brockhampton – "Gummy"
We get a few seconds of lush, harp-trilling Disney music before the plug is pulled, the feedback squeals, and rap's most energetic crew takes off.
17. Kreator – "Side By Side"
The loudest anti-fascist music in 2017 was made by Germans. The pealing riffs and pummeling drums of "Side By Side" are almost as explosive as the rallying cries.
16. Offset & Metro Boomin – "Ric Flair Drip"
Metro Boomin beats don't hook us. They mesmerize us. So while Offset unleashes his masterful triplet flow on "Ric Flair Drip," it's the producer's dark, pinging synths that linger on in our memory.
15. Carly Rae Jepsen – "Cut to the Feeling"
On paper, lyrics about breaking through the ceiling, dancing on the roof and playing with the angels are pretty cliché. But when paired with the sonic equivalent of carbonated helium, they're perfect.
14. Nnamdi Ogbonnaya – "Hop Off"
The dive-bomb bass and chirping synths are fun enough on their own. Then one of the most elastic voices in hip hop jumps in, and we reach a whole new plane of party.
13. Thundercat – "Tokyo"
An electro-jazz-yacht-rock bass virtuoso sings about how a great vacation can bring out the kid in us: "Gonna eat so much fish I think I'm gonna be sick / Gonna blow all my cash on anime!"
12. Power Trip – "Executioner's Tax (Swing of the Axe)"
The headbanger of the year, with a riff that chugs like a locomotive from hell, and a chorus that demands to be shouted at top volume, like a bloodthirsty Queen of Hearts.
11. Big Boi – "All Night"
The still-underrated half of Outkast made this year's anthem for the blissfully monogamous. "Hit you with your bonnet on by the nightlamp," he raps, over a big toothy smile of a piano loop.
10. SZA – "Drew Barrymore"
This devastating breakup song was inspired by Drew Barrymore's insecure character Josie Geller in Never Been Kissed. There's no Hollywood ending here. But when the strings swell, so do our hopes for one.
9. Black Thought – "Hot 97 Freestyle 12/14/17"
Sometimes, nothing is flashier than stamina. Like when the voice of The Roots hopped on Funkmaster Flex's radio show and unleashed 10 minutes of fiery, perfectly crafted bars. By the end, he was sweating. And so were we.
8. Feist – "I'm Not Running Away"
I can't shake this tune. Bold declarations of loyalty are held up by little more than Feist's stark, bluesy guitar. She finds a kind of rhythm that drummers can't reach.
7. Drake – "Passionfruit"
Over a swirling dream of a dancehall groove, a narrator mourns a fading long-distance relationship. It's emotional and entrancing – in other words, a signature Drake summer smash.
6. Jeremih – "I Think of You"
Jeremih seriously flirts with MJ status here, making sunset references sexy again over an utterly joyful, marimba-inflected beat.
5. Julia Michaels – "Uh Huh"
This accomplished pop songwriter has apparently saved the best material for herself – especially this starry-eyed acoustic gem that crescendos to an instant high of a chorus.
4. Calvin Harris ft. Frank Ocean & Migos – "Slide"
A smooth-as-ever Frank Ocean sings about moments when "whatever comes, comes through clear" over a breezy disco groove from Calvin Harris. Corona wishes they could bottle this.
3. Haim – "Little of Your Love"
Our finest purveyors of '80s adult contemporary singalongs serve up a chorus so effervescent, it made this especially heavy year feel lighter.
Over the levitating sitar n' bass rumble of the year's best rap song, Kendrick Lamar brags about his ability to reach nirvana in yoga class. As his rapid-fire syllabic mastery carries us away, we get a real idea of what he's talking about.
1. Kesha – "Woman"
The New York Times ran a story last July about the health benefits of cursing – including stress relief and higher pain tolerance. The best song of 2017 definitely backs up these findings. When Kesha sings "I'm a motherfuckin' woman!" punctuated by the profoundly funky Dap Kings horns, the combination of positive vibes and disregard for pop norms is exhilarating. Unlike the way our president talks, "Woman" is not vulgar. It's defiant, and important, and very, very good for us.
Honorable Mentions: 2 Chainz – "Sleep When U Die"; Bob Dylan – "Braggin'"; Nick Hakim – "Cuffed"; Hus Kingpin – "Wave Palooza"; Jonwayne – "TED Talk"; Kamiayah – "Dope Bitch"; Kesha – "Hunt You Down"; King Gizzard & The Lizard Wizard – "Crumbling Castle"; Kendrick Lamar – "Element"; Aimee Mann – "You Never Loved Me"; Migos – "Slippery"; Frank Ocean – "Chanel"; Angel Olsen – "California"; Pallbearer – "Thorns"; Syd – "Got Her Own"; TT the Artist – "Real Bitch Problems"; Tove Lo – "Disco Tits"; Ulver – "Nemoralia"; White Reaper – "Eagle Beach"; Your Old Droog – "Grandma Hips"
DNA.
Little of Your Love
Slide (feat. Frank Ocean & Migos)
Uh Huh
I'm Not Running Away
Hot 97 Freestyle
Executioner's Tax (Swing of the Axe)
Cut To The Feeling
Ric Flair Drip
I Got You
She Chose Me
Do U Love Me
You Already Know (ft Nicki Minaj)
December 30, 2017 December 31, 2017 by sweensryche
The Top 20 Albums of 2017
Albums, Best Of, Music
2 Chainz, Aimee Mann, Brockhampton, CupcakKe, Drake, Feist, Haim, Jonwayne, Kendrick Lamar, Kesha, King Gizzard & The Lizard Wizard, Kreator, Laura Marling, Nick Hakim, Nnamdi Ogbonnaya, Pallbearer, Power Trip, SZA, Thundercat, Ulver
Music is the best. Nothing that happened this year could change that. For every stress-inducing headline, there was a soothing melody. For every messy situation, there were 16 perfectly constructed bars. Every time we wanted to scream, a great metal song provided an outlet. Here are just 20 of the recordings that made life easier for me this year. The next time you can't believe what you're hearing, start listening.
20. Nick Hakim – Green Twins
Nick Hakim approaches his brand of earnest R&B like a master restauranteur, valuing the ambiance as much as the meal. On his debut LP, the gifted Brooklynite refuses to just point and say "isn't this catchy?" It's seductive. At first listen, the reverberating piano chords of "Needy Bees" are merely soothing; by listen five, they're inescapably beautiful, supporting every twist and turn of the melody. As a songwriter, Hakim is refreshingly astonished by things like love, and dreams, and pregnancy. He attains poignancy through simple language, including one of the most romantic sentiments of the year: "If there's a god / I wonder what she looks like / I bet she looks like you."
19. Ulver – The Assassination of Julius Caesar
As a legend of the Scandinavian black metal scene, Kristoffer Rygg understands the mechanics of slow-building soundscapes and folkloric songwriting. And on his 11th album fronting the shapeshifting outfit Ulver, Rygg applies these talents within the eyeliner-smudged confines of 1980s goth-pop. It's remarkable how well it works. Over the nine-plus minute expanse of "Rolling Stone," the band rides a throaty synth riff until we're in its thrall. And on "Nemoralia," Rygg goes full Depeche Mode, his voice floating over hauntingly catchy synths, connecting the pagan feast of the goddess Diana to the tragic demise of the princess of the same name. Obsessed with ancient history and aglow with gloomy beauty, this is a master class in how to experiment with genre without losing yourself in the process.
18. CupcakKe – Queen Elizabitch
This Chicago rapper first garnered attention in 2015 with exuberant, X-rated club tracks like "Deep Throat." But her music is as much about tension as it is about release. Her second mixtape, Queen Elizabitch, is full of empowering, sex-positive summer jams – she's got clever genitalia metaphors for days. But these moments are complemented by darker tales pulled from the artist's childhood, when she spent years living in homeless shelters. After hearing her spit fire about having to share clothes with friends or watch rats run over her mother's feet, the calendar-exploding swagger of "33rd" and the horn-fueled sex-work anthem "Barcodes" become more than tracks to dance to. They're states of mind to aspire to.
17. Drake – More Life
Ever the savvy brand manager, Drake decided to follow up his massively successful 2016 by pursuing a little less market saturation. More Life isn't exactly a "playlist," as its cover proclaims. But it is a gorgeously sequenced, decidedly low-stakes affair. The Toronto rapper steps down from his chilly CN Tower perch and ups the Celsius levels with forays into pulsing dancehall, UK grime and Atlanta trap. A lengthy guest list promotes the party atmosphere – Young Thug, Quavo and Skepta are given all the bars they need to steal the show. And whether he's reflecting on pre-fame Applebees runs or picking through the ruins of a relationship, our headliner sounds more comfortable on the mic than he has in years.
16. Aimee Mann – Mental Illness
When it comes to depicting complicated emotions with just a handful of syllables, Aimee Mann is an all-time great. On her ninth album, Mann unpacks feelings of regret, and abandonment, and stubborn hope, in tight stanzas that shimmer with the clarity of a breakthrough in therapy. "It happens so fast / And then it happens forever," she sings, immediately breaking the hearts of anyone who wishes they could have that one crucial moment back. Buoyed by cozy strumming-and-strings arrangements, Mental Illness glows with a truly reassuring thought: someone else out there feels this way.
15. Jonwayne – Rap Album Two
The first line on this L.A. rapper's second album isn't your typical hip hop boast – "You never seen a man so calm in your life." Released after the artist announced a break from touring due to his struggles with alcohol, Rap Album Two makes good on that initial claim in low-key, redemptive fashion. Jonwayne is a steady, comforting force as a rapper, his reflective bars gelling with serene, meditative loops. As he pours his heart out about his demons, and how he fears his art will suffer without them, the quiet understanding in his voice makes it obvious it's not an act. "I need to slow down / But I need a good friend to come and tell me how," he raps. It takes a significant amount of calm to admit that on wax.
14. King Gizzard & The Lizard Wizard – Murder of the Universe
This Australian psychedelic rock septet went on a studio bender in 2017, releasing five full-length albums and showing no signs of letting up. All are worthwhile listens, but Murder of the Universe is the crown jewel – a breathless fusion of propulsive riffs and sci-fi fever dreams that reminds us how fun a concept album can be. As spoken-word narration guides us through tales of human/beast mind-melds, balrog fights and cyborgs who would give anything to understand how it feels to vomit, the Gizzard's relentless dual-drummer attack feels capable of carrying us anywhere – even to the end of it all.
13. SZA – Ctrl
SZA songs are the sonic embodiment of the phrase "hopeless romantic." On her striking debut album, she cuts to the quick of how it feels to get cheated on: "I could be your supermodel if you believe / If you see it in me," she sings to a philandering ex, mourning the self-confidence that could have been. The production is intimate, with little reverb added to contemplative guitar figures and raw, one-take vocals. But there's a reason this record is called Ctrl. SZA is not wallowing here. She's settling scores via slow jam, directly confronting assholes by exposing how they've hurt her. All while refusing to lose faith in love.
12. Brockhampton – Saturation II
This summer, the self-described hip hop boy band Brockhampton filled up two mixtapes with enough personality and adrenaline to distract the grumpiest pessimist. The first was like hearing young wizards beginning to master their power. On the second, they start wielding their magic. Saturation II finds bandleader Kevin Abstract and producer Romil Hemnani zeroing in on a shared vision: rappers getting shit off their chests over party-ready golden-age beats. It's compulsively listenable music, full of instantly memorable choruses and effective, cathartic verses. How they made a record featuring seven rappers feel this light is beyond me. All I know is, I want more.
11. Power Trip – Nightmare Logic
God bless the power chord. Just three notes splitting an octave to create a simple, beautiful symmetry. As the Dallas thrash band Power Trip proved this year, these compact sonic gifts can be utilized to brutal, exhilarating ends. These guys aren't just out to detonate your eardrums on their punishing second LP. Chaos isn't their game. Instead, Nightmare Logic is a relentless succession of irresistible guitar riffs, which were crafted with as much attention to rhythm as volume level. Whether it's the chugging eighth notes of "Executioner's Song" or the circular triplets that kick off "If Not Us Then Who," this shit swings. As frontman Riley Gale cries out against "the slumber of reason" in his strangled yawp, those power chords roil and slither underneath, girding us for whatever nightmare the world's gonna belch up next, reminding us of the power inherent in noise.
10. 2 Chainz – Pretty Girls Like Trap Music
2 Chainz has been a reliable source of fun, wordplay-encrusted bangers since "I'm Different" kicked off his second wind in 2012. But the Atlanta veteran has never made a record like this. Pretty Girls Like Trap Music finds the rapper formerly known as "Tity Boi" slipping wistful drug-game reminiscences in between inspired bursts of fantastical materialism (this time he's got a see-through fridge). His knack for painting pictures is buoyed by a vibrant and versatile slate of beats – the opening "Saturday Night" features a dramatic torch song groove from the always-in-demand Mike Will Made It. "I went to work and I made an abundance / Gucci flip flops with the corns and bunions," 2 Chainz raps over the sinister synth strings and throbbing bass of "Riverdale Rd." All that hard work is paying off.
9. Haim – Something to Tell You
If you didn't already feel grateful for Wilson Phillips, the rise of Haim should correct that problem. On its second album, this trio of California sisters continues to revel in the supermarket pop of yesteryear, harmonizing about big-time emotions over even bigger drums and effervescently processed guitars. The best songs are the singles, which pair catchy choruses with quirky production wrinkles – on "Want You Back," it's a horse's whinny; on "Little of Your Love," it's someone falling asleep at the pitch bender. The sum and total of this commitment to fizzy pop hooks is a significant amount of joy. Even during this very, very difficult year, it made me sing in my car like a fool – helping me hold on for one more day.
8. Nnamdi Ogbonnaya – Drool
In 2014, while pursuing a degree in electrical engineering and playing drums in several bands, Nnamdi Ogbonnaya wrote this on his Chicago apartment wall: "You're not normal, so why are you trying to be?" Three years later, the restless artist turned his focus to rapping and made a record that is thrillingly, definingly weird. Drool weaves together squelching synths, programmed drums and rat-a-tat sing-raps like distorted DNA strands, with Ogbonnaya exploring his full vocal register in the process. It's not as intimidating as that sounds. "Hop Off" marries thrumming bass with chirping organ runs, and when the rapper enters the fray, we get within a stone's throw of the radio. It's purposefully off-kilter, yet easy to enjoy – a sign we're dealing with a serious talent. We should follow him closely, even if he doesn't necessarily want us to.
7. Kreator – Gods of Violence
The legendary German thrash band Kreator released its 14th album one week after Inauguration Day. It was a bomb to my headphones, and a balm to my nervous system. "Resistance must rise when freedom has died," screamed Millie Petrozza in a voice as violent and alive as it was in '85. Gods of Violence is full of visceral rallying cries like this. It stares fascists in the face, catalogs their sins, and tells them to beware the power of the people, over jet-fuel drums and riffs full of manic, Pixie-stick energy. It's a goddamn reckoning. And by the time we make it to the penultimate track, "Side By Side," Petrozza has decided that catharsis isn't enough. So he makes an oath: "As we crush homophobia / We'll never let the shame turn our vision to ice / And I'll remain by your side."
6. Feist – Pleasure
A decade after a song called "1, 2, 3, 4" made her a star, Leslie Feist is thinking even simpler. Her fourth album, Pleasure, finds new depths within her moonlit folk aesthetic. It's been six years in the making, and it feels like it's been in a slow cooker for that entire time. Each arrangement has been boiled down to its essential elements, finding its rhythm in the marrow. The fortunes of "I'm Not Running Away" rest completely on a swaying blues guitar riff, and it's as exciting as a high wire act. "Any Party" relies on a chorus of non-singers to deliver its grand romantic refrain. "Century" breaks down time itself into its smallest components. And through it all, Feist's voice is strong and clear, never straining to get its point across. It's the sound of an artist in complete control.
5. Thundercat – Drunk
Through his session playing alone, bassist Stephen "Thundercat" Bruner has made his mark. Erykah Badu's New Amerykah and Kendrick Lamar's To Pimp a Butterfly are just a few of the modern classics that have entrusted their low ends to him. But as the cover to his third solo album depicts, the potential of this artist is only beginning to emerge. Drunk is the work of a versatile, funny, kaleidoscopically imaginative songwriter. The music is rooted in his fluid, beautiful bass lines, and it's one hell of a gumbo: fiery jazz, chittering electronica and straight-faced yacht rock. In a voice that shifts into falsetto with ease, the artist sings about mundane late night rituals and fun Japanese vacations with the same awestruck, childlike energy. As a result, Drunk makes you feel the opposite of wasted.
4. Laura Marling – Semper Femina
Happily ever after is great and all. But if we felt nothing but fairytale bliss, we wouldn't get to appreciate art that traffics in shades of grey. Like Laura Marling's stunning sixth album, for example. Each of the nine tracks on Semper Femina takes its own distinct sonic path as it searches for meaning in an unfulfilling relationship. "Soothing" rides a mournfully funky bass line. "The Valley" basks in pastoral acoustics. "Nothing Not Nearly" brings in stabs of fuzzbox guitar. And it's all tied together by Marling's empathetic pen. As she deals with love, and loss, and love that doesn't go away even though it's lost, she maintains a passion for the whole flawed phenomenon of human coupling that's as impressive as the impeccably produced surroundings. On the final chorus, Marling makes her mission statement clear, just in case we weren't paying attention: "Nothing matters more than love."
3. Pallbearer – Heartless
It's appropriate that Pallbearer uses Roman numerals instead of typical track numbers on its staggering third album. The Arkansas quartet has written an honest-to-god symphony – a grand, interconnected composition that takes its time to unfurl, demanding to be seen as a whole. Heartless draws a direct line from the cavernous power chords of doom metal to the immersive atmospherics of Pink Floyd's "Shine On You Crazy Diamond." In between long, seamless suites of guitar music, which bellows and soothes as it seeks our emotional core, singer Brett Campbell belts gorgeous vocals about the end of the world. It's like hearing tectonic plates moving, conspiring our demise in ancient, beautiful ways.
2. Kesha – Rainbow
"I'm waiting for my spaceship to come back to me / And I don't really care if you believe me," sings Kesha on her ambitious, assured comeback album. Released in a year when "I believe the women" began to be said out loud, in public, Rainbow is both a zeitgeist-capturing statement of what it means to be a survivor and a canny, genre-bending '10s pop album par excellence. Kesha deftly augments the pulsing dance-pop we've come to expect with elements of arena rock, modern country, piano balladry and twee folk. She belts out sweeping anthems of empowerment, threatens a would-be cheater with a wink and a smile, and looks to the skies for hope, revealing an impressive vocal range for the first time on tape. Rainbow sounds better than anything Kesha ever recorded with her longtime producer Dr. Luke, who the artist sued in 2014 for sexual assault. She lost that lawsuit in all-too-familiar fashion. But no court can stop this album, this free-spirited outpouring of emotion, from inspiring others to believe – in UFOs, in basic human decency, and in themselves.
1. Kendrick Lamar – DAMN
In March 2015, Kendrick Lamar released a song called "How Much a Dollar Cost," about ignoring a panhandler who turns out to be God. Throughout the sprawling crisis of faith that was his To Pimp a Butterfly album, this was one of the most overt pleas to trust in humanity. Then, a year and a half later, Election Day came to prove him wrong. Lamar didn't make any public statements after Donald Trump's victory. I can't imagine how it's affected him. But this spring, with the release of his laser-focused fourth album, it became clear that the effect on his art has been extraordinary. Determined instead of conflicted, realistic instead of religious, DAMN outlines a vital artist's transformed approach to navigating a fucked-up world: Have faith in yourself. It's a "back to basics" record both psychologically and sonically, where the artist has stripped away everything he can't count on in the world and started over from there. That's why DAMN is, to me, the best album of 2017. It's titanically satisfying music that's driven by the kind of visceral, personal feeling that will never stop being relevant. "Ain't nobody praying for me," the rapper shares, over and over again, throughout this album. The first time he says it, it's a plea. Eventually it becomes a mantra. By the end, it's a declaration of independence. We may not be praying for you, Kendrick. But to our great benefit, we're listening.
Honorable Mentions: 21 Savage, Offset & Metro Boomin – Without Warning; Courtney Barnett & Kurt Vile – Lotta Sea Lice; Beachheads – Beachheads; Big K.R.I.T. – 4eva Is a Mighty Long Time; Bjork – Utopia; Bob Dylan – Triplicate; Hus Kingpin – 16 Waves; Kamaiyah – Before I Wake; Migos – Culture; The Mountain Goats – Goths; Randy Newman – Dark Matter; Angel Olsen – Phases; Syd – Fin; Waxahatchee – Out in the Storm; Young Thug – Beautiful Thugger Girls
May 26, 2017 May 26, 2017 by sweensryche
2017 Songs of the Summer
Music, Songs, Summer
Beachheads, Bob Dylan, Calvin Harris, CupcakKe, Daft Punk, Drake, Feist, Frank Ocean, Haim, Jeremih, Kendrick Lamar, Migos, Power Trip, Songs, Songs of the Summer, The Black Crowes, Thundercat
Call me a cheeseball, but I've always been excited at the prospect of new summer music. One of the best things you can say about a song is that it sounds perfect blasting out of a car window, air conditioning be damned.
I remember exactly how it felt to discover my first song of the summer, in May 1992, when one of Buffalo's 17 classic rock stations debuted the new Black Crowes single "Remedy" just as my mom was pulling into the driveway. I ran inside to catch the rest of it. To this day, when those incredible backup singers come in on the chorus to bolster Rich Robinson's shaggy blues riff, I get chills. I will forever associate that moment with feelings of warmth and possibility.
25 years later, figuring out the "Song of the Summer" has become its own cottage industry. We make our predictions in May and declare the winner in September. And for the most part, the criteria is the opposite of most pop culture analysis – mainstream acceptance is a must. In 2013, Daft Punk's "Get Lucky" won the season not just because of its pristine, inescapable disco hook, but because the Internet was obsessed with it as well. It's easy to be cynical about arbitrary "awards" like this – it is the the essence of music blog clickbait, after all – but it's important to talk about music we can generally agree on as a culture once in a while. The more I hear that our country is hopelessly divided, the more I want to prove that wrong. Searching for, and honoring, these shared musical moments every year is one tiny way to do it.
Plus, I really really like to make lists of songs. So here are the ones I'll be running into the house to tape off the radio this summer.
HUMBLE.
02 Executioner's Tax (Swing of the Axe)
Braggin'
03 Your Highness
03 Passionfruit
Jeremih – "I Think of You"
Jeremih flirts with MJ status, yearning for a mistletoe moment in July over an utterly joyful, marimba-inflected beat.
Thundercat – "Tokyo"
Haim – "Want You Back"
This California trio finds a sweet spot between Fleetwood Mac and Wilson Phillips. Hope they luxuriate in it for a while.
Bebe Rexha – "I Got You"
Kendrick Lamar – "HUMBLE."
The best rapper alive, tearing a monster Mike Will Made It beat to shreds. Bring on the Summer of the Low-Register Piano.
Power Trip – "Executioner's Tax (Swing of the Axe)"
The headbanger of the summer, with a riff that chugs like a locomotive from hell, and a chorus that demands to be shouted at top volume, like a bloodthirsty Queen of Hearts.
Bob Dylan – "Braggin'"
The more Dylan digs into the Great American Songbook, the happier I get. This sprightly shuffle off his excellent Triplicate album is a pure pleasure, full of folksy, spot-on commentary on what passes for leadership these days: "When you should be busy plowin' and a-plantin' / You stand there a-rantin' / Get no harvest tootin' your horn."
Calvin Harris (ft. Frank Ocean & Migos) – "Slide"
A smooth-as-ever Frank sings about moments when "whatever comes, comes through clear" over a breezy disco groove from Calvin Harris. Positive vibes abound.
Beachheads – "Your Highness"
Shimmering, harmony-laden power-pop that sweeps you up like a hang glider.
CupcakKe – "Barcodes"
This sex work empowerment anthem is a blast of exuberance from a Chicago rapper on the rise. "Pay the damn price or go home to your wife," CupcakKe demands, backed by the funkiest horns you'll hear all summer.
Drake – "Passionfruit"
Over a swirling dream of a dancehall groove, a narrator mourns a fading long-distance relationship. Emotional and entrancing, it has all the makings of signature Drake summer smash.
Feist – "I'm Not Running Away"
Sparse, introspective blues songs don't usually make me want to bat a beach ball around. But I can't shake this tune. Its mix of slinky guitars and bold declarations are as thoroughly bad-ass as the Power Trip song on this list. I'd suggest throwing it on while a bonfire is burning.
September 3, 2012 September 3, 2012 by sweensryche
Hot Fun in the Summertime: My Top 5 Shows of the Season
Best Of, Concerts, Music, Summer
Concerts, Drake, Feist, Girl Talk, Iron Maiden, Music, Summer, The Beach Boys
"Man, didn't summer just fly by?" 'Tis the season for remarks like this, which people invariably pull out when confronted by somebody they don't like very much, because better to feign friendliness and move on than have to deal with the fallout of saying "I don't like you very much."
Anyways, didn't summer just fly by? I haven't posted since way back in those halcyon days of June 2012, when the summer was young and full of possibilities, there was a policeman on every corner, and American families cared about a little something called morals. Also the summer concert season was just getting underway in Western New York. My dance card was pretty darn full with reviews throughout, only two of which predictably turned out to be duds (sorry, Rascal Flatts and Def Leppard, but you've earned those reputations). This meant I had to miss some good shows in order to restore my proper sleep patterns – Sleigh Bells and Tune-Yards most regrettably – but as you'll see in my top 5 list below, this was a wonderfully eclectic time to go check out major concerts in Buffalo.
5. The Beach Boys, June 29 at Darien Lake Performing Arts Center
Speaking of romanticizing a past that was never as idyllic and simple as we'd like to think it was, the surviving members of The Beach Boys got back together for a 50th anniversary tour this summer. And, much like the new LP that accompanied it, That's Why God Made The Radio, this show was flawed, but still better than it had any right to be. Backed by a battalion of musicians and vocalists, Brian Wilson, Mike Love, Al Jardine, Bruce Johnston and David Marks made some of the most beautiful and ambitious compositions in pop history sound organic and true. Wilson's voice was a little shaky, and his stage presence was catatonic, but that's par for the course – hearing him sing the full-throated plea of "Please Let Me Wonder" was a gift, ditto the impeccably executed suites of "Heroes and Villains." My only complaint echoes the sentiments of many a Beach Boys fan – Mike Love is a creepy cornball. Way too much of this show was dedicated to the elemental surf-rock ditties that place The Ballcapped One front and center; I understand the need to include "Surfin U.S.A." and "Surfin' Safari," but did we seriously need "Hawaii," "Catch a Wave," "Be True to Your School" and the like? 50 years on, the contrast between these tunes and Wilson's ballads of the same period is striking. The heartbreaking high of seeing him sing "In My Room" was enough to carry me through the stuff I'd rather just pretend didn't happen (There was no encore performance of "Kokomo." There was no encore performance of "Kokomo." There was no encore performance of "Kokomo" …).
4. Feist, July 15 at Buffalo Place Rocks the Harbor
Last year, Nitsuh Abebe wrote a great piece for New York magazine called "Indie Grown-Ups," which posited that artists like Wilco and Feist are our generation's Sting – a once-unique voice that softened to the point where his music can be piped in at your dentist's office. I agree with his point for the most part, and as someone who unabashedly loves Ten Summoner's Tales, I don't find it all that insulting either. But while Feist does have some of the trappings of middle-of-the-road adult contemporary, her most recent album Metals, and her thunderous set this past June that leaned heavily on its songs, proved that she's more dangerous than you'd think (unlike Wilco, who completely deserves the AC tag after the comfortable groove they've been in for the last five years). Seeing these songs performed live was a revelation – I already liked the album's more visceral, sinister rhythms, but in concert they bowled me over like an unexpected storm. "How Come You Never Go There" swung hard. "Comfort Me" stomped and swooned. And "A Commotion" was a percussive blast the likes of which you most definitely did not hear at Sting's Artpark show a few weeks earlier. Feist's trio of backup singers unleashed powerful harmonies, dressed in what looked like sackcloth and dancing with ritualistic, glassy-eyed abandon. In my review, I compared them to the witches from "Macbeth." Which might sound silly in the light of day. But in the shadow of the storm, anything seemed possible.
3. Girl Talk, August 23 at the Outer Harbor Concert Series
When you hear an eclectic mix of music, presented with carefully thought-out segues and an uncanny sense of timing, you know you're listening to a great DJ. And on the Buffalo radio dial, it's nigh-on impossible to find that kind of listening experience, what with pre-formatted playlists and strict genre-based guidelines (unless you're close enough to pick up WBNY 91.3, Buffalo State's student-run station). Which I think is the main reason why Girl Talk's perpetual sweat machine of a set a few weeks back was just as comforting as it was propulsive. The one-man show of Gregg Michael Gillis – a wiry little guy with more energy than Usain Bolt – officially kicked off the latest new concert series on the waterfront with a non-stop stream of mindblowing mash-ups, cherry-picking riffs and choruses from 50 years of Billboard charts and re-purposing them in intoxicating new ways. He's clearly a DJ who cares deeply for everything he's sampling, a man who wants to show us just how good it sounds when Elton John and Biggie Smalls share the same space, reveling in the unpredictability that has become the mortal sin of corporate radio. In the moment, of course, all I knew was that Gillis was making me happy, churning out an irresistible party by the water by using the same fanboy passion that had the teenaged me making mixtapes for anyone who would pretend to listen to them. This kind of thing probably won't infiltrate the mainstream as much as it should – the second Outer Harbor concert was a radio station festival headlined by Evanescence, that apparently attracted way more people than GT – but for one glorious night at least, it felt like anybody could play anything they wanted.
2. Iron Maiden, July 16 at Darien Lake Performing Arts Center
When I told the guy sitting next to me that this was my first time seeing Iron Maiden, he looked confused. Noticing the grey in my hair and the fact that I wasn't wearing anything with the Maiden logo on it, he nodded, smiled awkwardly, and turned his head back toward the stage, politely giving me the brush like I was a homeless man singing for pennies. Although I like this band very much, my lack of devotion to it stood out like a nun at a satanist convention. Never in my life have I witnessed a fan base show such lockstep love for its heroes than at this concert, where I was possibly the only person who wasn't draped in Iron Maiden merchandise, some of it bought that night, much more of it procured over the course of decades of concert-going. Brilliant branding has something to do with it, of course – the band's mascot, Eddie, continues to be placed in one new, cartoonishly violent scenario after another, resulting in an endless stream of merchandise for fans to crave. But if Iron Maiden wasn't such a toweringly awesome band, Eddie would have no soul, and not in the cool way. And after 30-some years, these guys still shred like no other, making my Maiden voyage an epic, blisteringly loud, blissfully nostalgic experience. They focused exclusively on classic material, playing most of the 1988 "Seventh Son of a Seventh Son" concept album alongside "The Trooper," "The Prisoner," "The Number of the Beast" and other crazy-ass crowd-pleasers. Singer Bruce Dickinson wailed like a tortured opera singer and scampered around the stage non-stop, and guitarists Adrian Smith, Dave Murray and Janick Gers soloed like men possessed, the bright smiles on their faces an incongruous delight. Metal is a hip, underground thing these days, leaving Iron Maiden as one of the few true monsters of rock still delivering the goods to adoring stadium crowds. And during this show, it was obvious that their passion hasn't ebbed one bit. If that doesn't make you grateful enough to buy a t-shirt, then I don't know what will.
1. Drake, June 8, Darien Lake Performing Arts Center
After filing my review after Drake's stunning performance this June, I got turned around a bit on my way to the always-horrible Darien Lake parking lot. During my search for another exit, I just happened to run into the artist as he exited a backstage trailer en route to his tour bus. Unaware that I was watching him, Drake was bursting with post-show adrenaline, pumping his fists and grinning from ear to ear. It was encouraging to see this for a few reasons:
1. As a fan of Drake's lush, nakedly emotional approach to rap, this private, unabashed display of childlike joy made me believe that he's not trying to play us, that the feelings he espouses on record are his actual feelings.
2. This was a big star, getting as swept up in his music's energy as his fans. I'm sure the boatloads of cash don't hurt, but this sure looked like a guy who loves performing as much as anything else on earth.
I know, I know. I'm reading into this 10-second encounter way too much. But I can't help myself. After seeing his set, a pristinely executed offering of ruminative R&B grooves and top-flight Dirty South beats, shot into the stratosphere by the emcee's steady flow and infectious energy, I was thinking about Drake as an Important Artist, somebody who could feasibly keep mainstream hip-hop honest for years to come. Then I saw him celebrating like a kid who just got a bike for his birthday – not your typical, too cool for school Important Artist behavior. "Hey, great set," I shared. Drake stopped in his tracks like I'd actually said something he hadn't heard a billion times. "Thanks, man," he responded, with complete sincerity. At that moment, I couldn't have been more of a fan.
December 2, 2011 January 5, 2012 by sweensryche
2011, Best Of, Beyonce, Big K.R.I.T., Bill Callahan, Coldplay, Drake, Feist, James Blake, Jay-Z, Kanye West, Kurt Vile, Lil B, Mastodon, Music, Nick Lowe, Pistol Annies, PJ Harvey, Radiohead, Shugo Tokumaru, The Cars, The Weeknd, Tom Waits, TV On The Radio
Please read my words about these music records that I listened to and thought were good.
20. TV On The Radio – Nine Types Of Light
After a pair of masterfully ambitious rock productions made them critical darlings, these hyper-creative Brooklynites shipped their operation to California at the turn of the decade. And while it's easy to give too much credit to the city where a recording was made, Nine Types Of Light sure does sound like TVOTR's "L.A. album." Overtly catchy melodies are the order of the day, with bright, relatively sparse production backing up Tunde Adebimpe's newfound romanticism. As a result, we get some of the most unexpected, and memorable, love songs of the year. "You're the only one I'll ever love" isn't exactly a tattoo-worthy lyric, but coming from a guy who used to sing about werewolf coupling, its sincerity is shocking.
19. Nick Lowe – The Old Magic
Rock musicians typically don't know how to age. The first time they see a shock of grey in their styled-to-look-mussed-up hair, they either double down on their denial and make music that proves they "still got it," or go off the "reinvent myself" deep end. Which just adds to the pure pleasure of listening to Nick Lowe in the 21st century. With The Old Magic, the 62-year-old pub rock/new wave legend gives us his third straight offering of gently smirking tunes about loving, losing, and getting older all the while. It's beautifully written material from an artist who's comfortable in his own wrinkled skin, and a production that keeps its genre jumping to a minimum – relying mostly on soft vocal jazz arrangements and sprightly Buddy Holly shuffles to support Lowe's curious, cooing voice. Because when you've got metaphors for failed love that are as wonderful as "Stoplight Roses," you don't need much else.
18. Coldplay – Mylo Xyloto
If you already hated Coldplay, their fifth album wasn't gonna change your mind. But as somebody who has always been a sucker for the band's sweeping choruses and earnest "love is nice" aesthetic, Mylo Xyloto had me digging in my heels as a fan. For the first time since its melancholy debut, Coldplay has a defined goal here – marry their arena-baiting elements with those of modern pop and R&B. And with the help of uber-producer Brian Eno, they get the concoction just right, foregoing the usual piano balladry for shimmering synthesizers and throwing a bigger spotlight on Jonny Buckland's dynamic guitar playing. "Princess of China," a duet with Rihanna, is a microcosm of this mini-evolution, aiming for Billboard charts, festival stages and crowded dance floors, without ignoring its polarizing, sensitive-guy roots.
17. Pistol Annies – Hell On Heels
Here's what Carrie Underwood couldn't quite pull off with that car-upholstery-vandalism song. Hell On Heels is the debut album from Pistol Annies, a country supergroup comprised of Miranda Lambert, Ashley Monroe and Angaleena Presley. Like Underwood's hit, this is chart-baiting female empowerment country, but the comparisons end there. Yes, these ladies are sick of male bullshit, but they go deeper than petty revenge fantasies (although those crop up here and there, most entertainingly on the killer title track). With little more than guitar, fiddle and pedal steel to guide them, the Annies sing about shotgun weddings, pill addicted tour hounds, embarrassing family squabbles and various trailers of tears. The vocals are as plain and true as the tunes; all three members have the kind of friendly, Dolly Parton drawl that lends a sickly sweetness to lines like "I've been thinking about setting my house on fire."
16. Feist – Metals
It appears that Leslie Feist got just as tired of that iPod commercial as we did. Her third record is titled appropriately, if only because it's an emotional palette of dark and darker greys. How decidedly un-twee are we talking? "What does sadness see?/The mirror has a mirror in its teeth/That's what sadness sees," the vocalist shares over the sullen acoustic chords of "Comfort Me." Then, right when you're starting to wonder if this is poignant or insufferable, a big "la-la-la" chorus kicks in, and you're won over, whether you felt like moping around or not. This is what's so compelling about Metals – there are hooks-a-plenty here, but they're weighted down so elegantly, you'll find yourself at the bottom of a lake, feeling strangely at home.
15. Mastodon – The Hunter
The conceptual insanity of Mastodon's first three records – a water, earth and sky cycle with story lines that I dare you to try and follow – was a big part of their appeal. No metal band has provided better fodder for nerd arguments ("Who's more powerful, Cysquatch or Megalodon?"). But The Hunter finds the band in a different place. They've moved on from the soul-searching grandiosity of Crack The Skye, content to hunker down and just make thunderous rock music. They're still on their zoology jones, singing about owls and octopi, snakes and swamp creatures, but The Hunter's purpose is quintessentially human – to get the party started. When the post-apocalyptic aliens arrive to analyze our civilization, this record will explain why things that made us feel good were described as "kick-ass."
14. Drake – Take Care
Drake's 2010 debut Thank Me Later was remarkable for its mix of monster rap hooks and confessional booth R&B. For his follow-up, the 25-year-old has put all his eggs in the latter basket, revealing himself as the antithesis of "throw your hands in the air, and wave 'em like you just don't care." Take Care is a long, sumptuous gaze in the mirror, with the artist rapping and singing in equal measure over soft beds of synths. It's a perilous road for any pop star to take, but Drake manages to come off honest, acknowledging his ego and the tax bracket that boosts it, while struggling to find a meaningful relationship with anybody beyond his trusted crew. "We live in a generation of not being in love," he theorizes on "Doing It Wrong," a gorgeous bit of quiet storm R&B. Then all the melodrama gets punctuated by a lyrical harmonica solo from Stevie Wonder, and Take Care's beautiful contradiction is driven home – this is self-centered music that treats its listeners with class.
13. Radiohead – The King Of Limbs
The King of Limbs is a short piece of work by Radiohead standards, which was seen as a disappointment by some. I see it as a sign of the band's maturity. This is a magnificently dense recording, a world of lurching synths and frantic polyrhythms that unfold like a strange, binary orchid – but only after multiple listens. If it went on for an hour, it would wear down the most devout listener, much like the second half of Hail to the Thief. Plus, the band rewards us by ending the record with a pair of immediately accessible tunes – the gorgeously eerie piano ballad "Give Up the Ghost" and the lite electronica boogie of "Separator." The only problem I have with TKOL is that it doesn't feel like a momentous occasion, the band having painted cold, beautiful landscapes like this before. It's an ingeniously layered production of eight well-written songs, something that could only disappoint a Radiohead fan.
12. Beyoncé – 4
Were it not for an uncharacteristically awkward guest appearance from Kanye West, 4 would be the perfect Beyoncé record, a fantastically sung, finely tuned exploration of love's ups and downs. Her vocals have never been better, relying less on Mariah acrobatics and more on emotional shading, turning treacle like "Best Thing I Never Had" into a quality pop ballad. All the singles are excellent, from the Sam Cooke-riffing ballad "1+1" to the hyper-charged family values jam "Countdown." And the deep cuts present varied interpretations of popular R&B, from the unrequited belting of "I Care" to the breezy, '80s Whitney groove of "Love On Top." All of them work except for "Party," a half-finished-sounding summer jam that relies way too much on Kanye's worst couplet ever: "You a bad girl and your friend's bad too/We got the swag sauce, we're drippin' Swagu." Luckily, the rest of 4 is so indelible, you can just hum one of its choruses and pretend that you didn't just hear an endorsement for the most disgusting thing in the grocery store.
11. The Cars – Move Like This
When a game-changing classic rock band decides to get back together these days, it's to make bank on a tour, where they play their most famous record front to back and avoid new material like the plague. So when The Cars reunited in 2010, it was refreshing, and more than a bit ballsy, that they jumped right into the studio. Of course, it's easier to respect a choice when the results are so great. Move Like This opens with "Blue Tip," which picks up where the band left off, fusing synthesizer earworms with rock guitars and Ocasek sing-speak to create an off-kilter pop chestnut. "It's Late" and "Sad Song" show that they haven't forgotten the "Drive" ballad formula either. You could call it a time capsule, but these lovingly crafted synth-pop songs just happen to fit snugly in today's '80s-obsessed musical landscape. Move Like This should make us reassess our rock dinosaurs – shouldn't they still have the urge to create? Isn't that the least we should expect from them? Which means the next time Roger Waters or The Police ask you to drop $150 to see them trot out the oldies, it's OK to say, "No, I deserve more from you guys."
10. The Weeknd – House Of Balloons
Band names are by no means crucial to an artist's success (Radiohead's a pretty awful one when you think about it). But Canadian singer Abel Tesfaye has come up with a moniker that adds even more depth to the codeine-addled bump n' grind R&B that's his stock in trade. On his debut mixtape as The Weeknd, Tesfaye paints explicit pictures of twisted Friday and Saturday nights, with hazy melodies and underwater drum machines to remind us that every bout of wee-hour debauchery has its aftermath. "You wanna be high for this," Tesfaye assures us on the opening cut. Don't trust him, though. House Of Balloons is enough of an altered state on its own. A party album for the id with arrangements that swoon like the morning after, this is a gateway drug to one of the most compelling new artists of 2011.
9. Lil B – I'm Gay (I'm Happy)
Upon hearing that Lil B was releasing an album called I'm Gay, you had to wonder if he was setting himself up for the same backlash that Sasha Baron Cohen experienced with Bruno. Would this attempt at exposing homophobia be seen as kind of homophobic itself? One listen to the record puts those concerns to rest. A concept album it's not – the title isn't mentioned lyrically. But it does fit Lil B's "love everything, make cheddar" philosophy, which he elucidates in simple, straightforward couplets (e.g. "Karma is real/And you gotta love it"). There's plenty of materialism here, but it's tinged with a sense of gratitude. Not to mention songs like "Open Thunder Eternal Slumber," which pleads for fair pay for plumbers. The sample choices line up perfectly with this P.M. Dawn-meets-Cash Money aesthetic – interpolated soul ballads keep things grounded, and the Spirited Away-sampling cut "Gon Be Okay" beautifully overdoses on positivity. As an antidote to hate-fueled rap, I'm Gay (I'm Happy) doesn't just do its title justice – it transcends it.
8. Shugo Tokumaru – Port Entropy
It was a banner year for Beach Boys lovers, thanks to the revelatory Smile Sessions box set and a Brian Wilson album of Disney covers (although I admit I haven't been brave enough to listen to the latter. Sounds like it could be OK, but I fear a tire fire). Then there was Shugo Tokumaru's Port Entropy, a ingenious and eccentric slab of sunshine pop that's a direct descendant of Wilson's and Van Dyke Parks' most famous creations. Melodies runneth over here, from the children's choir mantra of "Tracking Elevator" to the psychedelic chorus of "Lahaha," but Port Entropy would be just a nice record if it weren't for its arrangements. Each cut has its own distinct personality, with the Japanese multi-instrumentalist digging through his toy trunk for a seemingly endless mix of interesting combinations. "Lahaha" is a magnificently twisted concoction of glockenspiel and flute; "Linne" a piano and trumpet ballad; "Malerina" a pizzicato reggae jam. So if The Smile Sessions has you thinking that they just don't make records like they used to, Port Entropy is here to prove you wrong. You crusty old coot.
7. Big K.R.I.T. – Return Of 4Eva
When rappers try to give themselves their own colorful mythology, they're playing with fire. For every Wu-Tang, there are a dozen Nastradamuses. Which makes Big K.R.I.T.'s debut mixtape all the more remarkable. With a name that stands for "King Remembered In Time" and an album title that he describes as a "movement" on its opening track, the Mississippi artist sets the bar sky high before he even gets his first 16 bars off. But Return Of 4Eva's dreamy, Organized Noize-esque production and measured, introspective lyrics deserve such luxurious boasts. Whether he's baiting naysayers on "Dreaming," reminiscing about career struggles on the gorgeous "American Rapstar," or describing the frightening allure of drug dealing on "Lions & Lambs," there's a hard-earned knowledge in K.R.I.T.'s voice that makes them all different paragraphs from the same essay. By the time you get to the record's heartbreaking tour de force, "Another Naive Individual Glorifying Greed and Encouraging Racism," the movement's got you whole.
6. Kurt Vile – Smoke Ring For My Halo
Even though the '90s are far behind us, in 2011, the term "slacker" still dredges up visions of flannel and limp bangs. But before the record companies and film studios started telling us how cool slackers were, slackers were actually kind of cool. The way Bob Dylan lazily dropped those "Subterranean Homesick Blues" cue cards, it seemed like the guy could've given a shit, and didn't we love him all the more for it? It's this image that comes to mind when I listen to Kurt Vile's deceptively ramshackle Smoke Ring For My Halo. The man delivers every lyric of these stoner folk songs in a gentle mumble – from the sarcastic "Society Is My Friend" to the romantic "Baby's Arms." But instead of coming off like some half-assed bedroom album, SRFMH creates a compelling headspace. Vile's slacker vocal stylings are likely a put-on; the guy could probably hit all the notes if he wanted to. But I say bring on the posturing – there's something captivating about this singer who sounds like he doesn't care if anybody hears him, who just wants to get some things off his chest and then go to bed. Something strangely and indisputably cool.
5. PJ Harvey – Let England Shake
There was good reason to anticipate the release of PJ Harvey's eighth album this year, a conceptual work about her homeland and the wars it fought during its centuries as a world superpower. Harvey's last notable work was 2000's Stories From The City, Stories From The Sea, another album about a specific place, New York City. But if you pardon the pun, Let England Shake blows Stories out of the water. This isn't a collection of protest songs, or an allegory for specific conflicts in the modern world. It's a record that gets right into the trenches, and the heads, of British troops throughout history. The language is harrowing, with descriptions of body parts hanging from trees sitting alongside strident patriotic cries, streaking them with regret. And while the music is understandably subdued, with Harvey's signature dark chord changes leading the way, there's also beauty to be appreciated, with the singer's voice rising above the somber acoustics and digital ephemera of "England," telling us about "the country that I love." By the time you get to the gut-wrenching Gallipoli singalong "The Colour of the Earth," the history lesson's over. But the feeling lingers.
4. Tom Waits – Bad As Me
Yes, Tom Waits is avant garde. His voice is a hyper-expressive growl. His fusion of raw Chicago blues and garbage can-bashing performance art is jaw-droppingly creative. Now that we're getting close to the 30-year anniversary of Swordfishtrombones, the record that changed it all, it's awfully easy to forget that before he became the bizarre, trend-bucking artiste, Waits was a loungey singer/songwriter, releasing piano-heavy, Edward Hopper paintings of records throughout the '70s. Bad As Me, his 19th record, keeps the bar high in terms of legacy-worthy freakiness – especially the whacked-out boogie of "Get Lost," which is Waits as psycho Elvis impersonator – but it also reminds us of the sensitive hotel bar crooner of old. "Kiss Me" is a crackling, "let's spice up the marriage" time capsule of a ballad, a quiet, achingly sexy left turn after the screwy, anti-soulmate blues of the title track. And then there's "New Year's Eve," which closes things with a gorgeous, drunken bout of nostalgia. When Waits breaks into "Auld Lang Syne," you're reminded of another old standard he knocked out of the park in 1976, "Waltzing Matilda." Right then and there, it's the best of both worlds.
3. Jay-Z & Kanye West – Watch the Throne
In a year marked by politicians explaining why the rich should get richer, we got an album from two of the most talented beneficiaries of the Bush tax cuts. And when you consider that on Watch The Throne, Jay-Z & Kanye West reach some spine-tingling heights on the backs of some crazy-expensive samples, this makes for a quintessentially American success story in 2011. Sure, it's probably unfair that West might be the only producer out there with the clout to license "Try A Little Tenderness," but there's no use whining about it, because he also happens to be the best person for the job. The resulting cut, "Otis," is a magnificent swash of braggadocio that boldly reframes Redding's theme – in the place of a tender lover making life "easier to bear," we now have obscene wealth. Both MCs egg each other on, resulting in some propulsive egomania (e.g. "Welcome to Havana/Smoking cubanos with Castro in cabanas"). It's the precise formula we hoped for with this pairing – huge, luxurious productions, and a palpable sense of one-upsmanship on the microphone. The best example of it might be the RZA co-production "New Day," which finds Jay and 'Ye pleading with their hypothetical future children over a haunting beat that runs Nina Simone through AutoTune (!!!). It's not a track by track masterpiece a la My Beautiful Dark Twisted Fantasy, but on Watch The Throne, these superstars spread the wealth so generously, trickle-down economics almost starts to make sense.
2. Bill Callahan – Apocalypse
If PJ Harvey made the war movie of the year, then Bill Callahan made the western. On Apocalypse, his third solo effort under his own name instead of Smog, the singer-songwriter tells tales of cowboys sympathizing with their cattle, marriages dissolving in the dust of the prairie, and panoramic vistas that enchant the minds of men. But a traditional country album it's not – meditative folk is Callahan's bag, with arrangements that act as delicate foundations for his beautiful, mournful baritone. It's circular, entrancing stuff, a cowboy Astral Weeks, an attempt to document how small our country can make us feel, and how proud. "It takes a strong/Breaks a strong mind," Callahan sings about the American wilderness. "And anything less makes me feel like I'm wasting my time." He could be singing about his own record.
1. James Blake – James Blake
The cover of James Blake's debut album is a nice bit of synesthesia – a portrait of the artist soaked in icy blue undertones, his face blurred to the point where he's looking at you from two different places at once. It's the perfect visual interpretation of Blake's voice on this record, a silky, soul-inflected alien in a purely electronic world. On "The Wilhelm Scream," it's rich and full, dancing lightly over atmospheric synths; on "Lindesfarne I," it's distorted and chilling, comparing hope to kestrels through washes of pitch correction. Blake pines for happiness throughout, over distant, subterranean electronics that belie his optimism. It's a Sade album for a Terminator future, where a singer clearly has soul, and the machines try to strip it from him every step of the way.
Honorable Mentions: Bon Iver – Bon Iver; Heidecker & Wood – Starting From Nowhere; Lykke Li – Wounded Rhymes; My Morning Jacket – Circuital; Wilco, The Whole Love; Wolves In The Throne Room – Celestial Lineage; Eddie Vedder – Ukulele Songs


All proceeds go toward the Youth Mission Trip to Honduras in July.
LAKE WYLIE The Journey at Lake Wylie, 5415 S.C. 557, will hold Journey Fest 2014 7 a.m.-1:30 p.m. June 28.
Lunch will be available, as well as a bake sale, yard sale, silent auction, events and games for children, and special attractions.
Yard sale and vendor spaces cost $10. Tables are available on a first-come, first-served basis while supply lasts, or furnish your own.
Email journeyfest1@yahoo.com for more details and sign-up forms.
CLOVER The Will of God Ministries, 206 Hampshire Lane, presents Praise Party In The Park on June 28 at Roosevelt Park.
There will be free food, music and fellowship. The church is planning a series of these free events at local parks in Lake Wylie, York, Rock Hill and Gastonia. For more information, call 803-222-0330.
The campers will enjoy art, music, snack and playtime. The cost is $125. Email acpreschool@comporium.net for registration information or call 803-325-8655.
Church to hold Financial Peace U.
STEELE CREEK Christ the King Church will be hold Financial Peace University class beginning Sept. 7.
The class is designed to help participants to get out of debt, build wealth and give like never before.
Visit CtKCharlotte.org/FPU to learn more about the class and to register.
Call 704-587-0073 for more information.
LAKE WYLIE The Divine Healing Ministry Chapter of the International Order of St. Luke holds a healing service at 3 p.m. the fourth Saturday of the month at Good Samaritan United Methodist Church, 5220 Crowders Cove Road.
LAKE WYLIE The Community Cafe offers free weekly lunches 11:30 a.m. - 2 p.m. Tuesdays at Lake Wylie Christian Assembly.
The Cafe at Lake Wylie Lutheran Church in Fort Mill serves lunch 11:30 a.m. - 2 p.m.
Donations are accepted. For information, call 330-289-1243.
LAKE WYLIE The Waffle House-Lake Wylie and Knights of Columbus of All Saints Council No. 14475 are raising money for Operation HOPE (Helping Other People Everyday), a statewide campaign to help people with intellectual disabilities.
On the first Monday of each month, Waffle House will donate 20 percent of its proceeds to Operation HOPE. For more information, call 803-746-5464.


NORTH MIAMI, Fla. (Dec. 18, 2018) – The Johnson & Wales (Fla.) men's basketball team (0-12) will play its final contest of the 2018 calendar year, hosting the Mitchell College (5-3) Mariners on Wednesday, December 19. Game time from the Wildcat Center is set for 7:00 p.m.
Admission: $5 general admission, JWU students, staff, and faculty (w/ valid JWU ID) and children 12-and-under are free.
Last time out: Trailing 71-69 with 2:48 left in the game, the Johnson & Wales (Fla.) men's basketball team (0-12) were unable to regain the lead as Sterling (Kan.) closed out the game on a 10-0 run, defeating the Wildcats, 81-69, on Monday evening. In a contest which saw six lead changes and had the score tied six different times, JWU could not overcome a second half in which the Warriors shot 60.0 percent from the floor (15-of-25) and were 13-of-15 from the free-throw line. After a hot start in the first half (JWU shot 54.8 percent from the floor), the Wildcats made 10-of-25 from the field and was 4-of-10 from the free-throw line in the final 20 minutes. JWU was led by freshman Tristan Stephens, who posted 18 points on 8-of-13 shooting. Fellow freshman Dwayne Adams added 17 points on 5-of-14 shooting while dishing out a team-high four assists. Sophomore Jordan Martin, who made the first start of his JWU career, poured in 13 points on 6-of-11 shooting from the floor. Junior Dylan McHugh rounded out the leading scorers with 11 points on 4-of-6 shooting, including three treys. Junior Willem Vermylen led the Wildcats with seven boards and registered three blocked shots.
Up next: The Wildcats will return to Sun Conference action hosting Keiser on January 5, 2019. Game time is scheduled for 4:00 p.m.


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Fun_People Archive - 5 Jan - And a Merry Feast of Sol Invictus!
And a Merry Feast of Sol Invictus!
Subject: And a Merry Feast of Sol Invictus!
we "toast" with the words "was-heil" -- here's to ya).
her mother Demeter, and pass the reindeer pee!


This powdery pink thong has sides measuring 4 cm. Colourful charms decorating the back of your bum and an eye-catching pattern of mystical creatures refer to Mirabai's inspiring creative spirit. The upper part of the hips and buttocks are covered. Choose these bottoms to transform your bum into a cheeky eyecatcher.


For wealthy Romans, family life unfolded in spacious luxurious houses whose rooms were arranged around open-air spaces.
Sleeping chamber whose only piece of furniture usually consisted of a bed made of wood or masonry.
Collection of small fragments (e.g., stone, marble, terra-cotta) held together by mortar; it depicts a motif, and sometimes even very elaborate scenes.
Small comfortable room featuring a stone or marble bench with a crescent-shaped opening, connected to a waste channel with running water.
Room where meals were prepared.
Dining area containing three beds arranged in a U shape that Romans would stretch out on while eating.
Plot of land used to grow vegetables and decorated with flowers, shrubs, fountains and so forth.
Colonnade surrounding the inner court.
On the street side, the Roman house often included commercial spaces that were rented out to artisans and tradesmen.
Basin in the central part of the atrium to receive rainwater.
The main room in the house; its central part was exposed to the open air to collect rainwater and let sunlight in.
Entrance to the house that acted as the passage from public life to private life.
Large mural painting that decorated the walls of houses during antiquity.
Aperture built into the atrium roof to let rainwater pour into the impluvium.
Hall separating the peristyle from the atrium.
Framework of beams that supports the roof of the building and provides stability.


Infosys Australia founder and second-in-charge Ananda Rao has started a Melbourne company targeting global opportunities for information management and solutions.
Ananda Rao, executive director and second-in-command at Infosys Australia, said he was leaving Infosys on 31 October to head up his new information management provider Benchmark Group Holdings.
Rao founded the Australian arm of Indian service provider Infosys in 1999.
He said he had noticed there were few companies that could manage all of the information available in different file formats for large organisations.
"It will be anything from audio files, internet files, structured data, unstructured data. It doesn't really matter, the kind of information. We will also allow you to change your information and format it in a way you can use right away," Rao said.
Rao said he decided to leave Infosys and form Benchmark Group to take advantage of that opportunity. He was one of a number of investors bankrolling the new company, but added that the amount of investment and other details were still being negotiated.
Benchmark Group Holdings would also comprise various information solutions businesses. The first, Value Chain Integration, was slated to launch in early 2006, Rao said.
A press statement released by Rao said Value Chain Integration would use the collective knowledge of various "well-known IT heavyweights".
Rao said in an interview that Australia was a good place to start such a company. While companies existed that could manage part of a company's information, few could manage the lot.
"Infosys, IBM [and others], they're all about the creation of the information," he said.
Rao said Benchmark Group would work with service providers, such as content aggregators and mobile applications providers.
"We'll become the glue when it comes to content acquisition [for example]," he added. "It will also be useful for governments globally."
Australia had many good IT architects and other skilled IT people. Also, it was a relatively safe environment to incubate such an operation, which could then expand globally, Rao said.
Benchmark Group was eyeing office openings in the UK, US and China by April 2006 and a public listing in five years, he said.
The company has six staff, five of whom are based in Melbourne, including Rao. Another was due to come on board soon and Benchmark Group expected to field 40 by the end of its first year, Rao said.
Rao was speaking by phone from Bangalore in India, where he was closing a deal to acquire some intellectual property for the group, he said.


text:
Alabaster sees interest in city manager position
Published 10:36 am Monday, September 26, 2016
By Neal Wagner
Alabaster has received several applications for its city manager position. The position has been vacant since former city manager George Henry stepped down on Aug. 1. (File)
By NEAL WAGNER / Managing Editor
ALABASTER – Alabaster leaders have received more than a dozen applications for the city's vacant city manager position so far, and are planning to begin interviewing candidates in the next few weeks.
During a Sept. 22 City Council work session, Alabaster Mayor Marty Handlon said the city had received 13 applications to date for the position, and said several more candidates had expressed interest in the spot.
The city posted the vacancy on Sept. 13 after the council approved a new job description for the position. The person selected as the city's new manager will replace former city manager George Henry, whose last day with the city was on Aug. 1.
According to the job description approved by the council on Sept. 12, the new city manager will "serve as the chief administrative officer and coordinate day-to-day administrative operations of the city. The city manager works under the guidance and direction of the elected mayor and City Council. This position directs and supervises assigned department heads and personnel in the Administration Department." The city manager will also serve as the city clerk.
According to the job description, the city's IT manager, planning and zoning coordinator, administrative assistant to the mayor and all department heads except the police and fire chiefs, human resources director and treasurer report directly to the city manager.
The city manager is a council-appointed position, and is either appointed or reappointed every four years. Alabaster's 2016-2020 City Council, which will include incumbents Scott Brakefield, Sophie Martin, Russell Bedsole and Stacy Rakestraw and newcomers Rick Ellis, Greg Farrell and Kerri Pate, will take office during the first meeting in November.
Handlon said the job will remain posted until it is filled, but said the city is suggesting all interested candidates have their applications to the city by Oct. 7.
"We'd like to set up the interviews as soon after the 7th as we can," Handlon said.
Alabaster Human Resources Director Candace Connell said several of the applications are from out-of-state candidates.
City Council members said they would like Handlon and Connell to complete the initial screening of the candidates before recommending the top candidates for interviews with the entire council.
Handlon said Alabaster is looking to have its new city manager seated by the first council meeting in November.
Helena's Sivley, Logan sign with colleges
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Alabama Symphony Orchestra performs at Thompson High School
Former doctor indicted on child porn charges

redpajama_set_name: RedPajamaCommonCrawl


As you already know, Our most awaited winter day kid's camp is almost here. Camp is on Saturday, February 23rd 2019 from 10:00 AM to 4:00 PM!
Registration is open and deadline for registration is Sunday, February 10th 2019. If you are planning on sending your child, please register as soon as possible, this helps us plan accordingly.