Wednesday, December 29, 2010
The Most Enduring Band Of My Generation
It’s been said that Pearl Jam is the new Grateful Dead. Now, forgetting that it was me who said that, and with no disrespect to any remaining Dead Heads, I think that idea is just about as precise and inspiring as another one of my profound statements, that professional hockey is barbaric, bloody, primal and absolutely beautiful. But putting aside my anger issues for a moment and focussing on the amazingly redemptive power of Vedder et al, allow me to recount my first introduction to them in December of 1991. I was a freshman in college and home on winter break. I found myself watching MTV one day, this was back when they actually played music videos – a crazy thought in itself. Sandwiched between Ozzy’s “Mama I’m Coming Home” and Arc Angels “Living In A Dream” was a new band called Pearl Jam playing a live single “Alive”. This song wept of passion, exuberance, lamentation and persistence. It was immediately a delicate mix of enduring sadness and anthemic grandeur. It not only proclaimed a resolute “fuck you”, but one with quite tears of resignation. This spoke to me unlike any music I had ever experienced.From the opening drones of “Once” to the fading prayer of “Release Me”, Ten was filled with songs that made sense to me in some sort of primordial, subconscious way. In fact, I would say in hindsight that Pearl Jam had successfully tapped into the collective subconscious of an entire generation in a way that only few artist throughout history have been able to repeat. This connection, however, became the catalyst for their snowballing startdom, a position to which Vedder appeared allergic, an almost unchangeably anti-star. This became the main ingredient in what I have always interpreted as their ongoing desire to weed out those who “love the tunes” from those who truly connect with their music on an unspoken level. Throughout Vs. and Vitalogy you can hear their struggle to branch out and evolve while trying to keep one foot dancing with the date that brought them to this party. Those collections are rife with fantastic songs and their struggle still stands as one with better art than most. However, with No Code and beyond, their music seemed to be an increasing attempt to alienate those hangers on who dare not look too deep within themselves, lest they find the monsters they fear.
With the next two released, the aforementioned No Code and Yield, they tested their own boundaries of convention and musicality. Mike McCready continued to express his bluesy soul, as Ed began to tap more into his punk roots all the while Stone and Jeff held down the foundation as they continued to wander through an almost Spinal Tap-ish string of drummers. With the advent of Binaural, Pearl Jam finally cohered into the fullness of what they had struggle to capture. With the addition of Matt Cameron on drums, they finally became what, ironically they began as, Temple of the Dog all grown up.
With the collapse of Soundgarden and the unrest with Jack Irons at the drum throne, Matt Cameron became more than a natural fit – he was the prodigal come home. While he was never a member of the band, he was family and his consummation of that relationship was the final piece of the puzzle that created the Pearl Jam matured, defined, and fully unique sound they have become.
With the next four releases (Binaural, Riot Act, Pearl Jam and Backspacer) they never ceased to grow and evolve. In fact, each release continues to stretch and grow its audience as, I am sure, the band continues to grow through each period of writing, recording and touring. What they have grown into, however, is a band who lives on the road and shares those experiences excessively. Between 2000 and 2001, they released 72 live cds and had the record for the most albums to debut on Billboard’s 200 at the same time. However, they were just cutting their teeth. The next year, they released another 73. Today, they total more than 340 official live bootlegs. Official. This doesn’t count the hundreds of audience taped bootlegs that circulate through websites, fans clubs and bit torrents.
Pearl Jam have successfully cultivated a cult following that travels with them, purchases multiple live bootlegs, and records hundred of their own bootlegs. They tour tirelessly, but what’s more important is that they create tirelessly. Each set is an organic creation that lives, breathes and repeats nothing of its former incarnations; they are masters of improv. This omni-creation is what makes them both enduring and consistently relevant. Their constant evolution and reexamination of themselves, their individual contributions and their collective assertions into the collective psyche of a generation of empaths who will carry with them the lessons learn, the pains felt and the joys celebrated.
With the close of the year upon me, I always like to twist my narcissistic head around and look behind me to pontificate at great length about the successes and failures of the previous 12 months. It’s more than the typical time of reflection that we all come to expect of the impending new year for me, however. I learned long ago not to waste time on my own regrets….it’s much easier to focus on what everyone else should regret. My time of reflection is accompanied by a sense of smug self-righteousness and piety that only comes from believing with my whole heart that the music business takes its collective, yearly dump on us all and laughs at our expenditures as we swallow down the mediocrity we so eagerly open our mouths and wallets to receive. The bright spot is that there are wondrous treasures to be found among the shit each year and I have taken my own time and resources to deliver to you an easy guide to avoid the crap and go after the cream. You’re welcome. If you’ve been left feeling shat upon by the music industry this year, try these releases and you won’t be disappointed. Now, I am sure our tastes differ, but trust me on these…you’ll thank me later.
10. Eyas, Split EP from Centro-matic & South San Gabriel
I’ve been a fan of these two bands for a decade now. Centro-matic and South San Gabriel are two split personalities of the same band with one slight difference. South San Gabriel has a pedal steel guitar player. Will Johnson and the gang put on the best live show of any band in this generation and they do it the old fashioned way – with music and energy. They don’t need the lights, the stage antics, the pyrotechnics or the theatrics that other bands rely on to divert your attention from their half-assed musicianship. This particular seven song EP is a gem of a deal. You can purchase it online for $6 and with it, you’ll get SSG’s slow moving, molasses induced funeral dirge cover of Lionel Richie’s All Night Long. Ironically, it’s the most honest and profound treatment that anyone could give of this song. As usual, throughout the EP, Centro-matic make their mark with gritty guitars, absolutely perfect drums and the best lyrics and vocals to come out of Texas in a generation at least. Their South San Gabriel personality counterpart delivers somber, deathly & beautifully pensive alt-country songs full of wrestling questions and joyful resonance. For anyone who is new to either of these bands, this is a powerful introduction. For the fans of both, this puts the cap on a great collection of songs from Will et al.
9. Nightmare, Avenged Sevenfold
I have to insert this CD in my list for a few reasons. I am, at heart, still a child of the 80’s and I respect anyone who is not afraid of that period’s influence upon their music. Also, I have times in my life where I unashamedly love to turn up heavy music so loudly that my spine fears for its survival. This CD has been added to my list for those reasons and because this project marks a real period of growth and maturity for these guys as songwriters and musicians. With the addition of Mark Portnoy, formerly of Dream Theater, as their drummer since the death of their original drummer, there is a marked difference in how his musicianship has impacted their thinking. Avenged Sevenfold have successfully graduated from mediocre musicianship and pubescent songwriting to turn out a CD full of spectacular, issue-driven music that is only occasionally seasoned with the adolescent pabulum they previously used as a staple crop. I will add this, Nightmare is one of the most perfectly EQ’d and mixed CD’s ever produced. This type of perfection typically renders the recording sterile and inaccessible. Nightmare, however, is far different. It has deep emotions and feeling throughout the disc and comes with strong sincerity and honesty. The end result is a very respectable hybrid of emotion and sonic perfection rarely found.
8. Scratch My Back, Peter Gabriel
Peter Gabriel, consummate musician, iconic lyricist, accomplished composer and now, cover artist. Scratch My Back is the beginning of a project where Gabriel renders what can only be called astounding covers of obscure songs that he enjoys in an effort to pay homage to these artists. In return, it’s reported that these artists will all cover his music in a collection entitled I’ll Scratch Yours. Clever. Endearing. And still this CD is in many ways a perfect complement to the disparate songwriters whose catalog this project respects and honors. His voice is accompanied solely by orchestral arrangements, which makes for some extremely “radical reinterpretations” as his website explains it. And radical it is. Moving. Swelling. Emotional. Vulnerable. The covers of everyone from David Bowie and Paul Simon to Arcade Fire, Bon Iver, Elbow and Radiohead are each treated with a unique viewpoint with which Peter Gabriel is so exquisite. This is definitely the most beautiful album of the year and certainly one of the most beautiful in my complete collection.
7. Recovery, Eminem
As some of you may already know, I’m new to the whole Eminem experience. Up until about two months ago, I had heard none of his songs. Not one. This was a position I held with great piety and a resolute certainty that I would never relinquish this medal of honor. Then, for some reason, I decided to give the guy a try. I ended up getting the guy's entire catalog and consuming it like a kid devours M&Ms. While Recovery doesn’t have the bite and fury that The Eminem Show has, it makes up for it in maturity, production and downright badassedness. I really couldn’t say enough good about this CD. While The Eminem Show will always be my favorite, Recovery is no small effort and it breathes its own air as a stellar project with track by track resolution and creativity. In short, this CD is its very own badass pill. Take it and you will grow testicles the size of grapefruit.
6. Band of Joy, Robert Plant
The new collaborative project known as Band of Joy brings together three of my favorite people in music: Robert Plant, Buddy Miller and Patty Griffin. Co-produced by Plant and Miller, this project has the exactly perfect formula that cannot fail. Robert Plant - the voice and lyricist of the most influential rock band in history…joining forces with the most underrated and over-looked producers, songwriters, guitar players and arrangers in history, period - Buddy Miller. I’m telling you, this guy doesn’t sweat onstage, he oozes liquid music. When he plays the guitar babies stop screaming, the market starts rising, and women get to stop faking it. This guy is the real deal and anything he puts his hand to becomes butter in the ears of the listener. The fact that this project is almost entirely made up of covers matters not. In fact, the covers blend into a cohesive, awe-inspiring sound that could easily be mistaken for peace in the Middle East. Their cover of Low’s beautiful lament, Silver Rider, is worth the price of the torrent alone…absolutely gorgeous and haunting. If you buy only one CD because of this article, it should be this one. End line.
5. How To Destroy Angels, How To Destroy Angels
When Trent Reznor decided to call it quits for Nine Inch Nails, the world’s population of music enthusiasts mourned in great numbers while all musicians secretly gave an enormous sigh of relief. Reznor is one of those artists that everyone should fear. His honesty, integrity and musicianship are challenged only by his holistic and artistic approach to everything he does. I’m not trying to make this guy sound like Jesus. It’s purely coincidental, because he can almost do no wrong. I say almost because every artist has their Saint Anger, and for me it was The Slip. To go out on that note was very disengaging for me. But hey, he gave it to us for free so what do we have to complain about. I paid money for Saint Anger AND that damn fool of a movie. My own fault, but I digress. Yet, How To Destroy Angels has redeemed Reznor into the Post-NIN Hierophant that he rightfully is. In this project, however, he takes a step to the side and while completely running the show, he’s no longer the performer as much as the stage manager for his wife, Mariqueen Maandig. A wise decision, on both a marketing and a composition level. Mariqueen’s voice renders itself as one more instrument in the mix and the palette is slight, coy and extremely sexy. This little EP has the longevity that any great art deserves and should be ingested with a nice red wine. Fantastic sounds.
4. Feedback, Derek Webb
Derek Webb made his break with the corporate death knell that is the Christian Music Industry long ago, yet his perspective will always be from one inside Christianity. This is not a charge against him. Everyone has their worldview and this is his. However, don’t think for a moment that he shares the same narrow, narcissistic and compulsively abusive worldview that is Christendom today. His music is always insightfully spiritual, critically introspective and (most importantly) artistically beautiful. His latest offering is the instrumental album, Feedback. Inspired by and crafted to be an instrumental representation of The Lord’s Prayer, this disc is full of all manner of wonderful surprises. The paintings, the digital artwork, the sounds, all coalesce into a joyful and reflective mix of acoustic and electronic that can bring even the most devout agnostic to consider the sheer beauty of the words this music symoblizes. St. Francis of Assisi supposedly said, “Preach the gospel at all times and, when necessary, use words.” Webb has shown us all that words are frequently distractions when conveying the Beautiful.
3. Heligoland, Massive Attack
What a frantic and expansive treat Heligoland is. The fifth studio album by trip-hop demigods Massive Attack. This CD is perfect. You should buy it immediately.
That is all.
2. Dark Night of the Soul, Danger Mouse/Sparklehorse
Dark Night of the Soul is a collaborative project between Danger Mouse, Mark Linkous (Sparklehorse) and David Lynch. Yes. David Lynch. As in Eraserhead. Anything that man touches is going to be darkly and wondrously beautiful. To make sense of this project you also have to know that it was written and recorded in the months before the sad passing of Mark Linkous who, as it seems, was going through his own Dark Night of the Soul. The album, released in conjunction with a 100+ page book of photos taken by Lynch which was to be a visual correspondence to the music itself, employs a number of other artists in its collaboration. In fact, the roster of vocalists and co-conspirators reads like a who’s who of artistic music: James Mercer of The Shins, Wayne Coyne of The Flaming Lips, Gruff Rhys of Super Furry Animals, Frank Black, Vic Chesnutt and even David Lynch himself. The result is an awfully mysterious trip down the path of least resistance and a burrowing siren of pensive contemplation. The CDs grandeur is as great as its heaviness. Truly one of the most beautiful works of art in a long time, this project has so many layers that it still feels brand new upon every listen. I have yet to exhaust all of the nuances and strata found within this project.
1. The Suburbs, Arcade Fire
And now for the #1 CD of the year for me. Arcade Fire’s The Suburbs. Why? That’s a tough question to answer. Besides the fact that this album is inspired by the Arcade Fire’s Butler brothers youthful experiences growing up in The Woodlands, TX (a suburb of Houston – my home town)...besides its universal, yet extremely familiar themes of angst, hope, hopelessness, a struggling for meaning, and the yearning for escape...besides the haunting melodies and perfect instrumentation...besides the harmonically perfect balance between classic instruments and sounds and fresh new approaches influenced by post-punk sensibilities yet skillfully directioned away from marketeers and puppeteers...besides the intelligent lyrics and introspective themes that require the listener to give himself or herself as an offering to the music in response...besides the vigilance of folks like the Butlers who demand we scrutinize ourselves and our surroundings...I suppose there’s nothing of note in this album at all. Other than those spectacular and all too infrequent ingredients, this is a regular CD with nothing noteworthy. And that’s what makes it pure genius. The sounds are so palatable and comfortable, the melodies are so wonderfully glorious, the music is so catchy and happy that they provide the perfect cover for the subterfuge that they so wittingly serve us in the unsuspecting songs and melodies that the result is an infection within us as it seeps deeply into our subconscious. This is rock music at its finest hour. This is what this art form is all about. It’s like the mullet of rebellion: a “let’s dance” in the front and a “fuck you” in the back. That, my dear friends, is why this CD is at the top of my list.
10. Eyas, Split EP from Centro-matic & South San Gabriel
I’ve been a fan of these two bands for a decade now. Centro-matic and South San Gabriel are two split personalities of the same band with one slight difference. South San Gabriel has a pedal steel guitar player. Will Johnson and the gang put on the best live show of any band in this generation and they do it the old fashioned way – with music and energy. They don’t need the lights, the stage antics, the pyrotechnics or the theatrics that other bands rely on to divert your attention from their half-assed musicianship. This particular seven song EP is a gem of a deal. You can purchase it online for $6 and with it, you’ll get SSG’s slow moving, molasses induced funeral dirge cover of Lionel Richie’s All Night Long. Ironically, it’s the most honest and profound treatment that anyone could give of this song. As usual, throughout the EP, Centro-matic make their mark with gritty guitars, absolutely perfect drums and the best lyrics and vocals to come out of Texas in a generation at least. Their South San Gabriel personality counterpart delivers somber, deathly & beautifully pensive alt-country songs full of wrestling questions and joyful resonance. For anyone who is new to either of these bands, this is a powerful introduction. For the fans of both, this puts the cap on a great collection of songs from Will et al.9. Nightmare, Avenged Sevenfold
I have to insert this CD in my list for a few reasons. I am, at heart, still a child of the 80’s and I respect anyone who is not afraid of that period’s influence upon their music. Also, I have times in my life where I unashamedly love to turn up heavy music so loudly that my spine fears for its survival. This CD has been added to my list for those reasons and because this project marks a real period of growth and maturity for these guys as songwriters and musicians. With the addition of Mark Portnoy, formerly of Dream Theater, as their drummer since the death of their original drummer, there is a marked difference in how his musicianship has impacted their thinking. Avenged Sevenfold have successfully graduated from mediocre musicianship and pubescent songwriting to turn out a CD full of spectacular, issue-driven music that is only occasionally seasoned with the adolescent pabulum they previously used as a staple crop. I will add this, Nightmare is one of the most perfectly EQ’d and mixed CD’s ever produced. This type of perfection typically renders the recording sterile and inaccessible. Nightmare, however, is far different. It has deep emotions and feeling throughout the disc and comes with strong sincerity and honesty. The end result is a very respectable hybrid of emotion and sonic perfection rarely found.8. Scratch My Back, Peter Gabriel
Peter Gabriel, consummate musician, iconic lyricist, accomplished composer and now, cover artist. Scratch My Back is the beginning of a project where Gabriel renders what can only be called astounding covers of obscure songs that he enjoys in an effort to pay homage to these artists. In return, it’s reported that these artists will all cover his music in a collection entitled I’ll Scratch Yours. Clever. Endearing. And still this CD is in many ways a perfect complement to the disparate songwriters whose catalog this project respects and honors. His voice is accompanied solely by orchestral arrangements, which makes for some extremely “radical reinterpretations” as his website explains it. And radical it is. Moving. Swelling. Emotional. Vulnerable. The covers of everyone from David Bowie and Paul Simon to Arcade Fire, Bon Iver, Elbow and Radiohead are each treated with a unique viewpoint with which Peter Gabriel is so exquisite. This is definitely the most beautiful album of the year and certainly one of the most beautiful in my complete collection.7. Recovery, Eminem
As some of you may already know, I’m new to the whole Eminem experience. Up until about two months ago, I had heard none of his songs. Not one. This was a position I held with great piety and a resolute certainty that I would never relinquish this medal of honor. Then, for some reason, I decided to give the guy a try. I ended up getting the guy's entire catalog and consuming it like a kid devours M&Ms. While Recovery doesn’t have the bite and fury that The Eminem Show has, it makes up for it in maturity, production and downright badassedness. I really couldn’t say enough good about this CD. While The Eminem Show will always be my favorite, Recovery is no small effort and it breathes its own air as a stellar project with track by track resolution and creativity. In short, this CD is its very own badass pill. Take it and you will grow testicles the size of grapefruit.6. Band of Joy, Robert Plant
The new collaborative project known as Band of Joy brings together three of my favorite people in music: Robert Plant, Buddy Miller and Patty Griffin. Co-produced by Plant and Miller, this project has the exactly perfect formula that cannot fail. Robert Plant - the voice and lyricist of the most influential rock band in history…joining forces with the most underrated and over-looked producers, songwriters, guitar players and arrangers in history, period - Buddy Miller. I’m telling you, this guy doesn’t sweat onstage, he oozes liquid music. When he plays the guitar babies stop screaming, the market starts rising, and women get to stop faking it. This guy is the real deal and anything he puts his hand to becomes butter in the ears of the listener. The fact that this project is almost entirely made up of covers matters not. In fact, the covers blend into a cohesive, awe-inspiring sound that could easily be mistaken for peace in the Middle East. Their cover of Low’s beautiful lament, Silver Rider, is worth the price of the torrent alone…absolutely gorgeous and haunting. If you buy only one CD because of this article, it should be this one. End line.5. How To Destroy Angels, How To Destroy Angels
When Trent Reznor decided to call it quits for Nine Inch Nails, the world’s population of music enthusiasts mourned in great numbers while all musicians secretly gave an enormous sigh of relief. Reznor is one of those artists that everyone should fear. His honesty, integrity and musicianship are challenged only by his holistic and artistic approach to everything he does. I’m not trying to make this guy sound like Jesus. It’s purely coincidental, because he can almost do no wrong. I say almost because every artist has their Saint Anger, and for me it was The Slip. To go out on that note was very disengaging for me. But hey, he gave it to us for free so what do we have to complain about. I paid money for Saint Anger AND that damn fool of a movie. My own fault, but I digress. Yet, How To Destroy Angels has redeemed Reznor into the Post-NIN Hierophant that he rightfully is. In this project, however, he takes a step to the side and while completely running the show, he’s no longer the performer as much as the stage manager for his wife, Mariqueen Maandig. A wise decision, on both a marketing and a composition level. Mariqueen’s voice renders itself as one more instrument in the mix and the palette is slight, coy and extremely sexy. This little EP has the longevity that any great art deserves and should be ingested with a nice red wine. Fantastic sounds.4. Feedback, Derek Webb
Derek Webb made his break with the corporate death knell that is the Christian Music Industry long ago, yet his perspective will always be from one inside Christianity. This is not a charge against him. Everyone has their worldview and this is his. However, don’t think for a moment that he shares the same narrow, narcissistic and compulsively abusive worldview that is Christendom today. His music is always insightfully spiritual, critically introspective and (most importantly) artistically beautiful. His latest offering is the instrumental album, Feedback. Inspired by and crafted to be an instrumental representation of The Lord’s Prayer, this disc is full of all manner of wonderful surprises. The paintings, the digital artwork, the sounds, all coalesce into a joyful and reflective mix of acoustic and electronic that can bring even the most devout agnostic to consider the sheer beauty of the words this music symoblizes. St. Francis of Assisi supposedly said, “Preach the gospel at all times and, when necessary, use words.” Webb has shown us all that words are frequently distractions when conveying the Beautiful.3. Heligoland, Massive Attack
What a frantic and expansive treat Heligoland is. The fifth studio album by trip-hop demigods Massive Attack. This CD is perfect. You should buy it immediately.That is all.
2. Dark Night of the Soul, Danger Mouse/Sparklehorse
Dark Night of the Soul is a collaborative project between Danger Mouse, Mark Linkous (Sparklehorse) and David Lynch. Yes. David Lynch. As in Eraserhead. Anything that man touches is going to be darkly and wondrously beautiful. To make sense of this project you also have to know that it was written and recorded in the months before the sad passing of Mark Linkous who, as it seems, was going through his own Dark Night of the Soul. The album, released in conjunction with a 100+ page book of photos taken by Lynch which was to be a visual correspondence to the music itself, employs a number of other artists in its collaboration. In fact, the roster of vocalists and co-conspirators reads like a who’s who of artistic music: James Mercer of The Shins, Wayne Coyne of The Flaming Lips, Gruff Rhys of Super Furry Animals, Frank Black, Vic Chesnutt and even David Lynch himself. The result is an awfully mysterious trip down the path of least resistance and a burrowing siren of pensive contemplation. The CDs grandeur is as great as its heaviness. Truly one of the most beautiful works of art in a long time, this project has so many layers that it still feels brand new upon every listen. I have yet to exhaust all of the nuances and strata found within this project.1. The Suburbs, Arcade Fire
And now for the #1 CD of the year for me. Arcade Fire’s The Suburbs. Why? That’s a tough question to answer. Besides the fact that this album is inspired by the Arcade Fire’s Butler brothers youthful experiences growing up in The Woodlands, TX (a suburb of Houston – my home town)...besides its universal, yet extremely familiar themes of angst, hope, hopelessness, a struggling for meaning, and the yearning for escape...besides the haunting melodies and perfect instrumentation...besides the harmonically perfect balance between classic instruments and sounds and fresh new approaches influenced by post-punk sensibilities yet skillfully directioned away from marketeers and puppeteers...besides the intelligent lyrics and introspective themes that require the listener to give himself or herself as an offering to the music in response...besides the vigilance of folks like the Butlers who demand we scrutinize ourselves and our surroundings...I suppose there’s nothing of note in this album at all. Other than those spectacular and all too infrequent ingredients, this is a regular CD with nothing noteworthy. And that’s what makes it pure genius. The sounds are so palatable and comfortable, the melodies are so wonderfully glorious, the music is so catchy and happy that they provide the perfect cover for the subterfuge that they so wittingly serve us in the unsuspecting songs and melodies that the result is an infection within us as it seeps deeply into our subconscious. This is rock music at its finest hour. This is what this art form is all about. It’s like the mullet of rebellion: a “let’s dance” in the front and a “fuck you” in the back. That, my dear friends, is why this CD is at the top of my list.
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