Monthly Archive for January, 2012

January 2012

January 2012 from almostaghost on 8tracks.

A short handful of new 2012 songs–most are from EPs, mixtapes and singles because there weren’t all that many new albums that I heard and liked enough to want to share a song. But there was still some cool tunes out there this year, and I liked this selection.

- almostaghost

set this town on fire

a mix of 50s/60s-esque garage rock, post-punk, bubblegum, queercore, and riot grrl to melt your face off.

set this town on fire from breathmint on 8tracks.


- breathmint

AlmostAGhost Review: Cate Le Bon – Cyrk (2012)


a gentle gentle shift sent all intents adrift

I wanted to mention Cyrk here, because it is a really cool album, that I keep enjoying more and more with each listen. I read somewhere that “cyrk” is the Polish word for “circus,” so I got to thinking about that in relation to the music. I guess it is a sort of apt title, for a couple of reasons. The songs have a touch of familiarity to them, but lying just underneath are some unique twists. Sort of like a circus perhaps? Cozy and familiar, but with slightly bizarre happenings. For example, “Greta” here:

Cate Le Bon “Greta”

As you can hear, there is nothing blindly original about it, as Le Bon purrs over a light electro pulse. But by the end, the song had mutated into a jazz beat. That may not be a totally unique idea either, but together? I love these odd little songwriting twists that show up throughout Le Bon’s music.

Similarly, much of the time I have no idea what Le Bon is singing about. Her voice is good, and clear, but the way she sings (perhaps her Welsh accent too?) makes much of the lyrics incomprehensible to me–sometimes phrases pop up here (“fold the cloth or cut the cloth” she wonders on “Fold The Cloth”) and there but overall, there’s some distance to that part of her songs. But this distance ends up putting that much more focus on the music’s subtle twists, so it works and I don’t mind.

The other note I had about the circus is the ’60s synth carnival vibe throughout. And I don’t mean that her songs are on some circus gimmick like “Being For The Benefit Of Mr. Kite” or something. It’s much more subtle than that. You can hear it underlying songs like “Puts Me To Work”:

Cate Le Bon “Puts Me To Work”

Anyway, the ’60s vibe runs throughout Cyrk. It is a clever work I think, in how Le Bon finds her way comfortably into a spot combining warmth/familiarity and experimental/distance. It may not make a huge mark on anyone, but it does impress. Like a circus.

- almostaghost

Life In Mixtape Form #37

Life In Mixtape Form #37 from almostaghost on 8tracks.


- almostaghost

AlmostAGhost Review: Spielgusher – Spielgusher (2012)



SpielgusherSpielgusher (2012): Legendary bassist Mike Watt joins with some Japanese musicians (Yuko Araki and Hirotaka Shimizu) to back rock critic Richard Meltzer, who reads his silly pseudo-beat poetry (“red snapper is the lettuce of fish!”) over their brief little jazzy blips. There are 63 (!) tracks on the album, which seems daunting at first, until you see how short they all are. The album feels amateurish to me, though I did dig a few of the musical moments–Watt’s bass in particular. But it is hard to get a sense of the work/creativity when it runs through so many moments so quickly. And frankly, sweet jazz bass is hardly enough to recommend an album.

Spielgusher “Minus Five And Counting”

PS. Instead of writing a select bunch of longish reviews at the end of the year, I am going to try to more regularly post shorter ones all year long. Mint and I always talk about expanding like that, so time to try it out! I’m sure if something comes along that inspires me, it will be longer and more thoughtful, but most will probably be like this one. And hopefully an increase in quantity won’t hurt the quality!

- almostaghost

Life In Mixtape Form #36

Life In Mixtape Form #36 from almostaghost on 8tracks.

Onwards, 8 more days, 8 more songs. These, I must say, are some great songs. 🙂 Also, got tickets to Coachella again this year, so expect a lot of info/thoughts about artists in the line-up out of me for the next couple of months.

- almostaghost

Life In Mixtape Form #35

Life In Mixtape Form #35 from almostaghost on 8tracks.

Thanks to Mint for updating the blog look, looks awesome! Here’s my last 8 songs-of-the-day mix!

- almostaghost

2011 – Wrap-up and Mix

^ first, a mix. It’s not ALL songs from my top 20 albums either. I do like other things too. 🙂

And had a couple of requests for an extended list, so here it is. A few that narrowly missed the top-20 just came out, and if I’d had them longer and given them more of a chance, they could’ve climbed up. Artists, next time, release your albums before November, kthxbye!

1. Gillian Welch – The Harrow & The Harvest
2. The Antlers – Burst Apart
3. Radiohead – The King Of Limbs
4. The Kills – Blood Pressures
5. Kate Bush – 50 Words For Snow
6. The War On Drugs – Slave Ambient
7. Lia Ices – Grown Unknown
8. Bon Iver – Bon Iver, Bon Iver
9. The Black Keys – El Camino
10. Shabazz Palaces – Black Up
11. Fleet Foxes – Helplessness Blues
12. Lykke Li – Wounded Rhymes
13. St. Vincent – Strange Mercy
14. Thurston Moore – Demolished Thoughts
15. Eleanor Friedberger – Last Summer
16. Cut Copy – Zonoscope
17. Disappears – Guider
18. Youth Lagoon – The Year Of Hibernation
19. Vetiver – The Errant Charm
20. Bjork – Biophilia
21. Death Cab For Cutie – Codes And Keys
22. Sophie Zelmani – Soul
23. Little Dragon – Ritual Union
24. Gudrid Handottir – Beyond The Grey
25. My Morning Jacket – Circuital
26. Radical Face – The Family Tree: The Roots
27. Iron & Wine – Kiss Each Other Clean
28. Tom Waits – Bad As Me
29. Feist – Metals
30. Laura Marling – A Creature I Don’t Know
31. Anna Ternheim – The Night Visitor
32. Clap Your Hands Say Yeah – Hysterical
33. M83 – Hurry Up, We’re Dreaming
34. R.E.M. – Collapse Into Now
35. Rachel Goodrich – Rachel Goodrich
36. Bell X1 – Bloodless Coup
37. Dum Dum Girls – Only In Dreams
38. Wilco – The Whole Love
39. Wire – Red Barked Tree
40. Marketa Irglova – Anar
41. Marissa Nadler – Marissa Nadler
42. Jay-Z & Kanye West – Watch The Throne
43. Stephen Malkmus and the Jicks – Mirror Traffic
44. Ghostpoet – Peanut Butter Blues & Melancholy Jam
45. Release The Sunbird – Come Back To Us
46. CANT – Dreams Come True
47. Babette Hayward – You Might Be Somebody
48. The Roots – Undun
49. Wild Flag – Wild Flag
50. Paul Simon – So Beautiful Or So What
51. Thea Gilmore – John Wesley Harding
52. PJ Harvey – Let England Shake
53. Blood Orange – Coastal Grooves
54. The Black Belles – The Black Belles
55. Alela Diane – Alela Diane & Wild Divine
56. Snoop Dogg – Doggumentary
57. Washed Out – Within And Without
58. Ringo DeathStarr – Colour Trip
59. Pterodactyl Plains – In The Air
60. Florence + The Machine – Ceremonials

that’s enough; all 60 of these I do like! You can listen to my 20 favorites on my Spotify playlist. Add me on there!

Thanks for reading. Thanks for following along. Thanks for talking about music, making recommendations, and sharing stuff with me. On to 2012!

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #1. Gillian Welch – The Harrow & The Harvest

Gillian Welch - The Harrow & The Harvest

that's the way the cornbread crumbles

So 2011 was kind of an odd musical year for me. A lot of my ALL-TIME favorite artists released new music, even relatively reclusive ones like Tom Waits (7 years since last album), Kate Bush (6), Radiohead (4), PJ Harvey (4), and Gillian Welch (8). I mean, getting one album from one of them would be enough, but all of them?! It was exciting!

When I’m rating and reviewing, I try my best to not compare an artist’s new album to their older work. I don’t always succeed at that, but it’s my goal, and I think makes my reviews more readable. It is one of my rules I follow when writing these things. But sometimes, with some of my favorites–who I know so well and have been following for so long–it is tough rule to follow. How can I not, even subliminally, compare to Kid A?

And when it came down to it, as much as I liked so so so many albums this year, there were not many where I liked an artist’s 2011 album more than my preferred favorites of their older work. I mean, I love the new Kate Bush and Radiohead albums–but more than their classics? In all honesty, probably not. That’s not a knock, or a claim they’re slipping, just tastes. And while I love taking a patient view of a career over time, frankly, the excitement before a release kept ending too soon.

Except for Gillian Welch. Gillian Welch! And David Rawlings! Their new album, The Harrow & The Harvest, is every bit the classic, and THE masterpiece by anyone in 2011. The authenticity of her old-time songwriting has been completely absorbed, as she turned inward to produce an intimate and harrowing record about the aftermath of blues, sin, heartbreak temptation. Dark, yes, but stunning nonetheless.

The album starts with a couple of beautiful, matter-of-fact blues songs. “On the day I came to Scarlet Town / You promised I’d be your bride / You left me here to rot away / Like holly on the mountainside,” she reflects, matter-of-factly, on “Scarlet Town.” “Some girls are bright as the morning, and some girls are blessed with a dark turn of mind.”

A series of three songs (“The Way It Will Be” / “The Way It Goes” / “The Way The Whole Thing Ends”) also turn on this bluesy existentialism. “The way you made it, that’s the way it will be,” she whispers sadly and a bit confused. “Did you miss my gentle touch? Did I hurt you very much? That’s the way it goes,” she sings, flipping the script a bit. The sadness is everywhere, and this existence is explored, over and over again, as inevitable.

But at the same time, she fully embraces it; heartbroken or otherwise, she wouldn’t have it another way. And there lies the power of these songs. “I try to be a good girl / it’s only what I want that makes me weak / I had no desire to be a child of sin / Then you went and pressed your whiskers to my cheek,” she sings on the incredible “Tennessee.” “I’ve tried drinking rye and gamblin’ / dancing with damnation is a ball / But of all the little ways I’ve found to hurt myself / Well you might be my favorite one of all.”

Musically, Gillian Welch and David Rawlings (one of my favorite guitarists ever) kind of fall into their own little pocket between country, folk, bluegrass and blues. Rarely are the songs more than two voices and two acoustic guitars, maybe a banjo or harmonica if needed. A couple of songs here have a little upbeat bluegrassness to them, but most are calmer and more laidback. The two of them blend together, vocally, guitarly, everything, into one. This album displays that chemistry better than any of their others, easy. In the past, they have expanded their sound a little bit, but here they’ve got it down to just the essentials, nothing extra needed. This kind of intimate recording/performance, combined with the sadness and blues of the lyrics, make the whole thing feel like a journey on a psychological landscape.

I have no idea why it took Welch and Rawlings eight years to get to this album, but the sound they settled on here is the perfect distillation of what they do better than anyone: intimate, affecting, real, beautiful, stunning.

Gillian Welch “Tennessee”

Gillian Welch “Silver Dagger”

- almostaghost

AlmostAGhost’s Best Albums Of 2011 – #2. The Antlers – Burst Apart

Burst Apart

If I don't take you somewhere else / You're gonna make this insincere

I was having trouble weaving this into some sort of coherent narrative, so I’ll just make a list:

1. Burst Apart is an album of songs about destructive love and disturbing dreams. It is creepy, strange and hilarious.

2. The Antlers have turned into quite an adept band, able to follow these songs where they need to go. From quiet reflection to dramatic moodiness to hypnotic to intense, they kind of do it all here. This is the first album like that for them, and they can go anywhere now.

3. The album opens with the line “You want to climb up the stairs / I want to push you back down,” which totally sets the tone of the whole album. The Antlers “I Don’t Want Love”

4. Burst Apart was a big grower for me, as it slowly rose all the way up my rankings to #2 here. Every time I listened, I liked it more and more and I just kept bumping it up.

5. In many instances, these were the catchiest songs I heard all year.

6. Catchy, yes. But slightly odd and off-putting too. (See, #3.) Other lines: “Every time we speak / You are spitting in my mouth” and “I’m a bad amputee with no phantom memory” and “they want to conquer you, abandon you / I want to burden you, belong to you.” I mean, it is not like he crosses a line into disturbing, but the metaphors are just enough off-center to make you uncomfortable. And it’s GREAT.

7. The Antlers reference teeth falling out in a couple of songs. In psychoanalysis dream interpretation, “Teeth in dreams represent your power, your psychical energy, in other words, your strength. When you see your own teeth falling out in a dream this means that you are losing your power. This is a very serious warning. You are in great danger! You are losing your power to act and do something to change reality. You are losing your capability to accomplish something. Why? Because you are making costly mistakes.” Those costly mistakes seem to me to be exactly what this album is about. The Antlers “Every Night My Teeth Are Falling Out”

8. That falsetto!

9. The drama in the songs is also exciting. The nervous drums on “Parentheses” provide a base, on which the singer joins, and then the bass. It all feels so natural, as well as expertly done. You get a similar feel on most songs: a sense of ease but also perfection, the sense that these songs are what they must be.

- almostaghost