Archive for Amen Dunes

Ty Segall’s “Freedom’s Goblin” Is Tulip Frenzy’s 2018 Album O’ The Year

Posted in Music with tags , , , , , , , , , , , , , , , , , , , , , on December 2, 2018 by johnbuckley100

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Who are we kidding? Everyone knows the best record of 2018 is the reissue of The Beatles. Unless it was Bob Dylan’s More Blood, More Tracks. But given that technically neither album saw its original release in 2018 — the Beatles record came out half a century ago, and you’d be middle aged if you were born the year of Dylan’s album — let’s make way for the young ‘uns. And in this, 2018 was a good vintage.

1. Ty Segall     Freedom’s Goblin

We could not be happier that Ty released a double album that was chock full o’ classic songs, cooked up on his own or with the usual suspects, Mikal Cronin in particular.  We have been waiting for the better part of the decade for Ty to put everything together, and on Freedom’s Goblin he really did.  Full-band renderings of complete songs, stylistic impatience that heard him sound like Neil Young and No Wave bands nearly back to back, Freedom’s Goblin cemented Mr. Segall’s standing as his generation’s brightest light, even as it stood heads and tails above all others as the Album of The Year. That he subsequently released a prett-y fine rec of covers only brought even deeper appreciation for his version here of Hot Chocolate’s “Every 1’s A Winner,” which would have had Prince clamoring to join Ty’s funky band.

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2. Amen Dunes    Freedom

When Damon McMahon released Love in 2014, it might have landed from outer space; it was so original, so unique in its Freak Folk sound that  it was hard to get a grip on it. We looked forward to its follow up, and when it didn’t arrive the next year or the one after that, we got concerned. In January, though, “Miki Dora” was released and it was astonishing, a song about a real-life ’60s surfer that literally crested at the end, crashing on the beach with melody and power sufficient to sweep us all to sea. Freedom is a beautiful, ambitious and accomplished album, an attempt by McMahon to reach a bigger audience.  It succeeded on all fronts: strong songwriting, incredible singing, and a band that Dylan could snatch for his Never Ending Tour and it would all make sense.

 

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3. Menace Beach      Black Rainbow Sound

We admit that we’d never heard of the Leeds duo until Brix Smith, ex-Fall and current chief pirate in Brix & the Extricated, tweeted in August that she’d contributed to the new Menace Beach album.  One listen and we canceled our summer plans. Black Rainbow Sound may have spent more time in our earbuds than any other record the whole year long. While there were some reference points those of us lucky enough to have heard Orchestral Manoeuvres in the Dark the first time round, and even Young Marble Giants, could use to place them in their proper taxonomy, we’ve previously written that the combo of AC Newman and Neko Case, otherwise known as the New Pornographers, may be the portal through which to approach Menace Beach. All we know is that there wasn’t an album we listened to the whole year long that trawls as many hooks. Despite its synthetic composition, Black Rainbow Sound is the most natural power pop album of this year and many others.

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4. Brian Jonestown Massacre      Something Else

The Tulip Frenzy conference room erupted in more charges of cheating than were heard anywhere this year other than in the North Carolina Board of Elections, but the prevailing consensus, if not the rulebook, dictated that Anton Newcombe gets special credit unavailable to others.  The fact is, we listened to more good music produced by Anton this year than any other artist, but he’s so fucking prolific, he tends to drop songs that should go on the main album just because they’re done and he has a single he wants to put out. So in our mind — and in our judging — we included “Drained,” the B-side to “Hold That Thought,” which was both the first single and the first song on Something Else, the umptyumpth BJM album of the last decade.  And this put it over the top. Adding just that one song rendered an album featuring “Who Dreams of Cats” — among the best songs of Anton’s career — into something really special.  (The Full Newcombe this year would have included the second album Anton made with Tess Parks, plus that combo’s E.P. featuring “Grunwald,” a song so great Iggy Pop covered it in August.) So, yes, we apply special rules to Anton’s records.  He deserves it, and if you don’t know that, we have nothing to talk about.

 

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5. Wand      Perfume

It was a free for all, the judging room this year.  Some of our editors held out the verdict that, at just under 30 minutes, Wand’s Perfume was more like an E.P.  At least not like a proper album, especially since last year’s Plum was clearly deserving of its (Co-) Album of the Year status.  But then we sat down the recalcitrant judges and played them the beautiful “I Will Keep You Up” and they began to weaken, one of the holdouts even willing to say, “That’s the most sublime song Cory Hansen has ever written and Wand’s ever released.” It was when we all listened together to the Tom Verlaine-like guitar perfection of “The Gift” that towels were thrown in and it was clear: Wand’s Perfume is a real album, and the 5th best of 2018.

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6. Spiritualized      And Nothing Hurt

Jason Pierce famously claimed that And Nothing Hurt would be his final album, until people listened to it, went crazy, and petitioned him to do some more. Happily, we think he’s agreed. This was not as fine an album as 2012’s Sweet Heart, Sweet Light, but that was Spiritualized’s best album since Ladies and Gentleman, We Are Floating In Space, which was only the best album of the 1990s, which was only the best decade of music since the ’60s. So, you can see what And Nothing Hurt was up against, and what it pulled off: a soulful album, sung in Pierce’s typically exhausted voice, but backed up once again with a big band and chorus revolving around the tracks he put down in a home studio. This is a road album, something to put on the cassette deck strapped to the dashboard of the dark green 1971 XKE as you motor on up to the Cotswolds.  Gorgeous stuff.

 

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7. Oh Sees       Smote Reverser

John Dwyer has now recorded five albums with this version of Thee Oh Sees, and in the studio, the double-drum arrangement with him playing guitar like some combo of Hendrix, John McLaughlin and Pere Ubu’s Tom Herman really works.  Smote Reverser had the same combination of well-strategized opuses and songs that crush the skull.  On a song like “Last Peace,” which opens up into free-wheeling punk jazz that thrills the soul while still stunning the senses, it works.  On Deep Purple-inflected crushers like “Enrique El Cobrador,” we admit we yearn for the comparative delicacy of earlier incarnations. Still, in a year when Ty Segall takes top honors, we’re glad that Dwyer’s still in scoring distance. Next year could be his year.

 

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8.  Parquet Courts     Wide Awaaaake

The Parquet Courts have, since 2013, been such a reliable producer of great records we’ve overlooked ’em when it comes time to hand out the prizes.  Parquet Courts? Oh yeah, sure, I only listened to their record for, like, the entire summer, but now I’ve moved on to other things… Not this year! Like fellow Brooklynites Woods, Parkay Quartz have figured out how to incorporate reggae, Latin and ’70s funk into their output, and it’s all really good! These guys are so much of an institution that a band like Bodega could put out an album that is to Parquet Courts as, say, Teenage Fanclub were to Big Star, and no one even mentioned the pure homage! We love this band, and Wide Awake is just begging for the uninitiated to take the plunge.

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9. Calexico       The Thread That Keeps Us

Seeing Calexico again was one of the highlights of 2018, and so was listening to The Thread That Keeps Us, their best album since 2008’s Carried To Dust. The sheer conceptual grandeur of Joey Burns and John Covertino’s particular take on music that straddles our southern border had tremendous resonance in a year when evil forces tried to turn that permeable membrane into cement. When we hear the Mexicali horns on “Under The Wheels,” synapses fire like our taste buds after biting into a pepper. This is the soundtrack of America as it actually is, not as it is wished to be by MAGA-hatted assholes.

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10. The Limiñanas      Shadow People

Our year began in the cold of January listening to the hypnotic, glorious sounds of The Limiñanas, a duo from Perpignon, France caught deep in Anton Newcombe’s orbit, Praise the Lord. In fact, the song “Istanbul Is Sleepy” features Anton on vocals, and it may be his most powerful singing performance of the year. There is something about the infectious, garage propulsion of this band that makes one think of late night bacchanalia after the grapes are in, when Peter Hook plugs in his bass, as he did on this record, and Anton plugs in his guitar, and we’re all crawling over the stage in some cavernous warehouse, grokking deeply the global glories of rock’n’roll where you don’t even need to speak the language to know what’s great. Shadow People was incredible, and so are The Liminañas.

The Five Songs Amen Dunes Played At The Anthem In DC

Posted in Uncategorized with tags , , , on May 19, 2018 by johnbuckley100

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Touring as the opening act is a bitch, even if it offers a young band exposure.  We’re not sure when or even if Amen Dunes had played D.C. before, but we weren’t going to miss them, even if it meant seeing only a 30-minute set.  After all, Freedom, which came out at the end of March may just be 2018’s best record, and Love, which came out in 2014 ranks high among the best recs of the decade.  So we went to see them at The Anthem.  Let’s view this band, as we did last night, through the prism of the five songs they were allowed to play.

Bedroom Drum, the opening song, was released on 2011’s Through Donkey Jaw and it gives a good preview of the kind of gauzy dream pop Damon McMahon was gearing up to make. Parker Kindred’s drums last night (we assume that’s who was drumming) weren’t muffled, as the drums were on that eight-year old album, and Delicate Steve and McMahon’s strumming invoked Galaxie 500.  It was good to hear McMahon’s voice in the wild, that unique quaver sounding strong after five weeks on the road.  Preserved of course because as the opener you only get 30 minutes to play.

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Blue Rose is one of the highlights of Freedom, a real departure for Amen Dunes after Love.  If the prior album was a gorgeous freak folk outing, a mostly acoustic psychedelic tour de force, “Blue Rose” sounds like it could have been an outtake from David Bowie’s Young Americans, blue-eyed soul from Philadelphia.  McMahon dropped the guitar and just sang, his dance moves about the equivalent of Bowie’s, but his voice gorgeous, as the song is.

L.A. closes out Freedom, and it’s really two songs, a pretty folk song coupled with a less melodic extended meditation.  Live it was truly compelling and we could see what a great band this foursome is, or would be if allowed to stretch out and play a full set.  McMahon is an incredibly compelling singer, and his delicate, sinuous songs get under your skin.

Splits Are Parted was a pleasant surprise, with McMahon introducing this highlight from Love as an offering from that album on the anniversary of its 2014 release.  If you want to understand what all the fuss is about, why someone would shell out the big bucks to scalp a ticket to see this band open for another band, start here.  His voice warbled a bit like Devendra Banhart, an obvious influence on Love.  While Delicate Steve’s guitar work last night didn’t quite bring to the fore that oddly charming counter riff, this was the highlight of the evening.

Believe is perhaps the most conventional rock song of McMahon’s career — the song on Freedom that got us to understand just how grand are his ambitions — and as a closer it showed how close he is to producing music that might actually bring him a mass audience.  It is a beautifully melodic song, and on this one, the combination of Kindred’s drumming and Steve’s lead guitar was utterly enchanting.

And that was it.  No “Miki Dora,” Amen Dunes’ astonishing invocation of the ’60s surf legend, which builds like a wave before crashing to the shore.  They played it Thursday night in Pittsburgh, according to Setlist.com, but not last night in D.C. And that, we’ll admit, was a disappointment.  But like we said, touring as an opening act is a bitch.

Oh yeah, Fleet Foxes also played.

We Wish We’d Included Violet Woods, Amen Dunes, And Angel Olsen On The 2014 Tulip Frenzy Top 10 List

Posted in Uncategorized with tags , , , , , , on January 4, 2015 by johnbuckley100

It always happens.  We publish the Tulip Frenzy Top 10 List and then discover, often from others’ lists, recs we missed.  So before we tell you what we overlooked, let’s give thanks where it’s due.

From Uncut, we learned about Violet Woods.  From former Woods bassist Kevin Morby, we were turned on to The Amen Dunes.  And from NPR’s Bob Boilen, we learned of Angel Olsen.  Thank you all.

On the self-titled Violet Woods, Fuzzy Lights frontman Xavier — that’s the full name listed in the Uncut write-up — takes us on a quiet ride through British psych pop, and it is sonically gorgeous.  (We hadn’t heard of the Fuzzy Lights either, but that’s a different story.  Let’s just say that Violet Woods is Xavier’s louder band.)  We’re used to smart rock coming out of Cambridge, from Syd Barrett to the Soft Boys to Radiohead, but this is unpretentious guitar jangle that will be reassuringly familiar to anyone who loved The Perfect Disaster or Luna.  If you like Temples, think of  Violet Woods as the quieter, prettier sibling who was grokking on the San Francisco bands, not T. Rex.  We will be listening to this ‘un well into 2015.

That Kevin Morby, whom we admire, felt so strongly about Love, the new album by fellow Brooklynites Amen Dunes, to list it as Numero Uno on his top ten list made us sit up and take notice.  Cut from the same cloth as Kurt Vile and Devendra Banhart, Damon McMahon produces dreamy, droney low-fi pop that can lull and excite at the same time.  It’s a hard combination to pull off, soporific adrenaline, but on the marvelous Love, McMahon and his fellow musicians — usually acoustic guitar, a cello, little to no percussion — produce music for a cold and snowy day.  Gorgeous.

On Burn Your Fire For No Witness, Angel Olsen and a small combo alternately showcase her strikingly emotional quaver against a minimalist acoustic framework and kick the doors down.  It’s a similar dynamic to the one PJ Harvey puts to use, which we know is a hard comparison for a young artist to be saddled with, but yeah.  Angel Olsen’s antecedents are all those strong women who came down out of Appalachian hollers and caused jaws to drop in Nashville, Austin, and New York.  On this album, you have a perfectly self-contained combination of artist and musicians who mesmerize with the rhythm of their counterpoint between hard and soft, hot and cold.

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