Music & Concerts
YEAR IN REVIEW 2015: music (An ‘Epic’ year for music)
Ear-bending wonders turn up in unexpected places
Kamasi Washington’s ‘The Epic’ is one of the best albums of the year — nothing short of a modern jazz/funk masterpiece. (Image courtesy Brainfeeder)
It’s been another great year for new music in 2015. That may not be reflected in the Top 40, which is arguably in its sorriest state since the survey began in the mid ‘50s, but it’s true nonetheless. There are plenty of great artists making top-notch music, many of whom are operating under the radar of mass consciousness. Here are my picks for the 10 Best Albums of 2015
10. Public Service Broadcasting — ‘The Race For Space’
“The Race for Space” is a novel concept — British duo Public Service Broadcasting sets the U.S. and Soviet space race to a trippy, electronic-rock soundtrack, with all the vocal samples consisting of dialog recording during the actual historical events. The album covers the triumphs and disasters — the kinetic “Go!”, for instance, is the 1969 Apollo 11 moon landing, and the harrowing “Fire in the Cockpit” is a chilling account of the Apollo 1 disaster of 1967. One need not be enamored by the history of the space race to enjoy this album. “The Race for Space” is meticulously crafted, expansive and ultimately fascinating headphones music that offers new surprises on every listen.
9. Brandi Carlile — ‘The Firewatcher’s Daughter’
Together with collaborators Tim & Phil Hanseroth, Brandi Carlile has created an album of terrific songwriting and musicianship that touches on multiple genres — rock, country and folk are blended seamlessly. The magnificent opener “Wherever Is Your Heart,” the gorgeous ballad “Wilder (We’re Chained),” the haunting “The Stranger At My Door,” and a sublime cover of the Avett Brothers’ “Murder in the City” are all standouts. “The Firewatcher’s Daughter” hasn’t caught on with a large audience, which is a shame — it’s an album that richly deserves to be heard.
8. Noel Gallagher’s High Flying Birds — ‘Chasing Yesterday’
“Chasing Yesterday” is easily the finest post-Oasis album by either of the ever-feuding Gallagher brothers. Noel Gallagher — always the premier songwriter in the group — has never been better, as he delivers one killer track after another. That old swagger is still there, as is his innate sense of melody and songcraft. High points include the opener “Riverman,” “In the Heat of the Moment,” and the epic finale “Ballad of the Mighty I.” Gallagher has never sounded better as a vocalist and his production work is spot-on. With “Chasing Yesterday,” Noel Gallagher has thrown down the gauntlet and proven that he is a major artistic force outside of his former supergroup. We’ll see if brother Liam is ever able to do the same.
7. Algiers — ‘Algiers’
The debut album by Atlanta, Ga.-based Algiers is a sonic marvel that blends rock, post-punk and soul with a palpable sense of darkness, dread and foreboding. The trio is led by vocalist and multi-instrumentalist Franklin James Fisher, who is an absolute powerhouse on tracks like “Blood,” “Irony. Utility. Pretext” and “Black Eunuch.” The album is hard to fit into one confining label. It’s psychedelic soul that runs headlong into Echo & the Bunnymen and Joy Division with a trip through gospel-country along the way. “Algiers” is as exciting and innovative a debut album as you’ll ever hear, and it’s going to be fascinating to see how this massively talented young trio develops on future projects.
6. Father John Misty — ‘I Love You, Honeybear’
“I Love You, Honeybear” is the second album released by former Fleet Foxes member Josh Tillman under the name Father John Misty. It’s a sublime collection of brilliantly conceived folk-rock with a lush and rich production. The tracks are built upon acoustic guitar and piano, then enhanced with gleaming string and brass arrangements burnished with richly arranged harmony vocals. Tillman creates a massive wall of sound in which he envelops his incisive pieces inspired by various aspects of his personal life. The sardonic “Bored in the USA” is an example of Tillman’s prowess as a lyricist. He captures the essence of many American lives with a few acerbic lines delivered over a derisive laugh-track: “They gave me useless education, and a subprime loan on a craftsman home. Keep my prescriptions filled, and now I can’t get off but I can kind of deal.” Tillman is an ace songwriter with a keen sense of melody and a resoundingly powerful voice; it’s a beguiling combination.
5. Laura Marling — ‘Short Movie’
British singer-songwriter Laura Marling was nominated for the prestigious Mercury Music Prize for her last album, 2013’s “Once I Was an Eagle,” but her latest release is even stronger. Marling has tended to stay within the realm of folk, but on “Short Movie” she expands her sound with fuller arrangements and a more alternative/rock vibe on some songs. She’s a songwriter of incredible wit and dexterity, as is evident by stellar tracks like the quirky “Gurdjieff’s Daughter,” “Warrior” and “Howl.” Marling’s voice is crisp and clear, a bit of a mix between Suzanne Vega and Joni Mitchell but with added richness. Worth checking out is the “Director’s Cut” of “Short Movie” which includes several excellent bonus tracks.
4. Kendrick Lamar — ‘To Pimp a Butterfly’
Kendrick Lamar’s third album “To Pimp a Butterfly” is an an invigorating and challenging listening experience packed with thrills and surprises. Lamar collaborates with some of the best creative minds in the business, including Flying Lotus, Pharrell Williams, Sounwave and Thundercat. The complex vocals are inventive, the grooves are razor-sharp and the songs are loaded with memorable hooks. “To Pimp a Butterfly” is heavily rhythmic throughout, with elements of funk, R&B, rock and jazz all percolating to create an intoxicating brew. Standouts include the energetic first single “i,” the ultra smooth and funky “How Much A Dollar Cost” and the album’s emotional centerpiece, the provocative “The Blacker the Berry” on which Lamar spits out the lyrics with a manic intensity over the tight rhythm. There’s much for the listener to digest on “To Pimp a Butterfly” — exciting and innovative, it’s an example of hip-hop at its very best.
3. Sufjan Stevens — ‘Carrie & Lowell’
“Carrie & Lowell” is an intimate collection of heartbreaking pieces inspired by the recent death of Stevens’ mother Carrie. Stevens’ whispery vocals float nebulously over a spectral acoustic guitar and piano accompaniment. “Death with Dignity” sets a gently somber mood, waxing and waning between nostalgia and anguish. A deeply felt sense of loss permeates every song. “Should Have Known Better” and “Fourth of July,” with its grim repeated refrain “We’re all going to die,” are particularly powerful. The album feels raw, like a fresh personal wound, but with the protective distance of someone who can only express his emotions through a wall of detachment to protect himself from completely falling apart. “Carrie & Lowell” is spellbinding — a touching tribute, an aching reflection on abandonment and forgiveness and a haunting farewell.
2. Steven Wilson — ‘Hand. Cannot. Erase.’
Progressive rocker Steven Wilson, best known for his work in Porcupine Tree, released his breathtaking double album “Hand. Cannot. Erase” early in 2015 to raves. The album is a song cycle that explores human frailty, isolation and loneliness, and how we approach life in the face of these struggles. It was inspired by the story of a young woman who died in her apartment in a major city and was not discovered by friends or family for over three years. The music is immaculately performed by the virtuoso Wilson and his uber-talented collaborators and makes use of sudden shifts in dynamics for dramatic impact. Long, beautiful instrumental passages give way to sudden bursts of molten hard-rock played with machine-like precision. It’s an album of heart and beauty, but also of unspeakable sadness. Particularly notable is the heartrending “Routine,” one of the finest and most powerful pieces of music to emerge in 2015.
1. Kamasi Washington — ‘The Epic’
Never has an album been more aptly named. Saxophonist extraordinaire Kamasi Washington wasn’t satisfied with the notion of easing into his recording career. His debut album is three discs and not a moment is wasted. Washington’s brand of kinetic jazz is a must for fans of the genre, but even if you’re not into jazz it’s hard not to be blown away by the razor-sharp musicianship on “The Epic.” Washington and his band — especially drummer Ronald Bruner, Jr. — are on fire throughout the set. The vast scope of the album, the audaciousness of the musicians and Washington’s electrifying talent make “The Epic” the single most vital must-hear album of 2015. It’s nothing short of a revelation — a modern masterpiece of jazz/funk.
Music & Concerts
Underdog glorious: a personal remembrance of Jill Sobule
Talented singer, songwriter died in house fire on May 1
I’ve always prided myself on being the kind of music consumer who purchased music on impulse. When I stumbled across “Things Here Are Different,” Jill Sobule’s 1990 MCA Records debut album on vinyl in a favorite Chicago record store, I bought it without knowing anything about her. This was at a time when we didn’t have our phones in our pockets to search for information about the artist on the internet. The LP stayed in my collection until, as vinyl was falling out of fashion, I replaced it with a CD a few years later.
Early in my career as an entertainment journalist, I received a promo copy of Jill’s eponymous 1995 Atlantic Records album. That year, Atlantic Records was one of the labels at the forefront of signing and heavily promoting queer artists, including Melissa Ferrick and Extra Fancy, and its roster included the self-titled album by Jill. It was a smart move, as the single “I Kissed A Girl” became a hit on radio and its accompanying video (featuring Fabio!) was in heavy rotation on MTV (when they still played videos).
Unfortunately for Jill, she was a victim of record label missteps. When 1997’s wonderful “Happy Town” failed to repeat the success, Atlantic dumped her. That was Atlantic’s loss, because her next album, the superb “Pink Pearl” contained “Heroes” and “Mexican Wrestler,” two of her most beloved songs. Sadly, Beyond Music, the label that released that album ceased to exist after just a few years. To her credit, the savvy Jill had also started independently releasing music (2004’s “The Folk Years”). That was a smart move because her next major-label release, the brilliant “Underdog Victorious” on Artemis Records, met a similar fate when that label folded.
With her 2009 album “California Years,” Jill launched her own indie label, Pinko Records, on which she would release two more outstanding full-length discs, 2014’s “Dottie’s Charms” (on which she collaborated with some of her favorite writers, including David Hadju, Rick Moody, Mary Jo Salter, and Jonathan Lethem), and 2018’s stunning “Nostalgia Kills.” Jill’s cover of the late Warren Zevon’s “Don’t Let Us Get Sick” on “Nostalgia Kills” was particularly poignant as she had toured with him as an opening act.
Jill was a road warrior, constantly on tour, and her live shows were something to behold. My first interview with Jill took place at the Double Door in Chicago in early August of 1995, when she was the opening act for legendary punk band X. She had thrown her back out the previous day and was diagnosed with a herniated disc. To be comfortable, she was lying down on a fabulous-‘50s sofa. “I feel like I’m at my shrink’s,” she said to me, “Do you want me to talk about my mother?”
That sense of humor, which permeated and enriched her music, was one of many reasons to love Jill. I was privileged to interview her for seven of her albums. Everything you would want to know about her was right there in her honest lyrics, in which she balanced her distinctive brand of humor with serious subject matter. Drawing on her life experiences in songs such as “Bitter,” “Underachiever,” “One of These Days,” “Freshman,” “Jetpack,” “Nothing To Prove,” “Forbidden Thoughts of Youth,” “Island of Lost Things,” “Where Do I Begin,” “Almost Great,” and “Big Shoes,” made her songs as personal as they were universal, elicited genuine affection and concern from her devoted fans.
While she was a consummate songwriter, Jill also felt equally comfortable covering songs made famous by others, including “Just A Little Lovin’” (on the 2000 Dusty Springfield tribute album “Forever Dusty”) and “Stoned Soul Picnic” (from the 1997 Laura Nyro tribute album “Time and Love”). Jill also didn’t shy away from political subject matter in her music with “Resistance Song,” “Soldiers of Christ,” “Attic,” “Heroes,” “Under the Disco Ball,” and the incredible “America Back” as prime examples.
Here’s something else worth mentioning about Jill. She was known for collaboration skills. As a songwriter, she maintained a multi-year creative partnership with Robin Eaton (“I Kissed A Girl” and many others), as well as Richard Barone, the gay frontman of the renowned band The Bongos. Jill’s history with Barone includes performing together at a queer Octoberfest event in Chicago in 1996. Writer and comedian Julie Sweeney, of “SNL” and “Work in Progress” fame was another Chicago collaborator with Sobule (Sweeney lives in a Chicago suburb), where they frequently performed their delightful “The Jill and Julia Show.” John Doe, of the aforementioned band X, also collaborated with Jill in the studio (“Tomorrow Is Breaking” from “Nostalgia Kills”), as well as in live performances.
On a very personal note, in 2019, when I was in the process of arranging a reading at the fabulous NYC gay bookstore Bureau of General Services – Queer Division, I reached out to Jill and asked her if she would like to be on the bill with me. We alternated performing; I would read a couple of poems, and Jill would sing a couple of songs. She even set one of my poems to music, on the spot.
Jill had an abundance of talent, and when she turned her attention to musical theater, it paid off in a big way. Her stage musical “F*ck 7th Grade,” a theatrical piece that seemed like the next logical step in her career, had its premiere at Pittsburgh’s City Theatre in the fall of 2020, during the height of the pandemic. The unique staging (an outdoor drive-in stage at which audience members watched from their cars) was truly inspired. “F*ck 7th Grade” went on to become a New York Times Critic’s pick, as well as earning a Drama Desk nomination.
In honor of the 30th anniversary of Jill’s eponymous 1995 album, reissue label Rhino Records is re-releasing it on red vinyl. Jill and I had been emailing each other to arrange a time for an interview. We even had a date on the books for the third week of May.
When she died in a house fire in Minnesota on May 1 at age 66, Jill received mentions on network and cable news shows. She was showered with attention from major news outlets, including obits in the New York Times and Rolling Stone (but not Pitchfork, who couldn’t be bothered to review her music when she was alive). Is it wrong to think that if she’d gotten this much attention when she was alive she could have been as big as Taylor Swift? I don’t think so.
Music & Concerts
Tom Goss returns with ‘Bear Friends Furever Tour’
Out singer/songwriter to perform at Red Bear Brewing Co.
Singer Tom Goss will bring his “Bear Friends Furever Tour” to D.C. on Sunday, June 8 at 8 p.m. at Red Bear Brewing Co.
Among the songs he will perform will be “Bear Soup,” the fourth installment in his beloved bear song anthology series. Following fan favorites like “Bears,” “Round in All the Right Places,” and “Nerdy Bear,” this high-energy, bass-thumping banger celebrates body positivity, joyful indulgence, and the vibrant spirit of the bear subculture.
For more details, visit Tom Goss’s website.
Aussie pop icon Kylie Minogue brings her acclaimed “Tension” world tour to D.C. next Tuesday at 7:30 p.m. at the Capital One Arena. Tickets are still available at Ticketmaster.
The show features songs spanning her long career, from 1987 debut single, “The Loco-Motion,” to “Padam, Padam” from her album, “Tension.”
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