I feel like I'm getting these done later and later every year. Yeah! Happy New Year! A little less than a fortnight behind schedule. But, in my defense, I had Covid last week. Does that matter anymore? Does anything move us to action? Does anybody here remember laughter? 2023 - Does anyone here remember that anymore? I barely do. You know, I just heard about this documentary series about the making of RoboCop called RoboDoc. When I went to look it up, there was a more popular result that was a movie about a robot doctor called RoboDoc. Now I'm not sure which one I'm more interested in seeing. 2024 is really throwing some curve balls right off the bat. Is that two baseball analogies in one sentence? I get the curve ball part but I think "right off the bat" might be one too? Language can seem pretty dated at times. Baseball can feel something other than pretty dated at times too. Quick! Who won the World Series last year? No one knows. No one cares. Is this thing on? You can't really say that about a computer when you're using it. Unless you're certifiably insane. But then, your computer's on/off status would be pretty low on your list of priorities. Or, at least, it should be. Being insane might skew the results on that one. Anyway, 2023. I like it as a number. Though I think 2024 might be a better number. Odd to even. And no one thinks it's odd. You know what I'm realizing right now. This is a blog. In my own everyday use of Sandra Bullock's The Net, which is considerable, I don't read a single blog post. I don't follow a blog. I don't even know if following a blog post is even possible. I watch YouTube. I look at Instagram. Why am I bothering to write a blog post every year? I think writing might be a dead art form. Or at least declining as a form of communication. Texting isn't really writing anymore being abbr 2 deth or with that stupid talk to text function. Artificial Intelligence can crank out a college level paper in seconds. I'd feel really bad if I didn't just do this one blog post every year. And, as there are no secrets on the internet, I really just do this as a way to look back in the future at my top records of any given year. The blog entry just forces me to do it. So, let's drop the artifice then and just get to the point. This is my top of the year list. Not anyone else's. If you don't like it, make your own. That's what I did.
22
Naoki Sato
Godzilla Minus One: Original Soundtrack
Rambling Records (& hopefully Waxwork)
Talking about movies to start out a music list; sounds right to me. Little story about me, I went to my first movie theater experience since March 2020 in late 2023. That's over three years. Did I fall down a well? Was I in a coma? Did I decide the corporate overlords had been brainwashing me into watching consumer propaganda and shoveling it down my throat with sugar water and stale popcorn in a butter like sauce? No, No & N... well, maybe. For you newborns and neocons out there, more than any of that, there was this thing that happened called a global pandemic. Sure, I went back to the office and back to the larger world after a couple years but the shifting media landscape allowed for the pushing off of placing my posterior in one of the permanently affixed communal seats set in rows and shared (and most likely very wind broken) by the thousands. A seat splashed with every variety of Pepsi product (amongst other things) on the exterior fabrics. At my location, there's even a chance for some Pizza Hut grease or an odd pepperoni to slide into the folds of the armrest too. If you order ahead, of course. Perhaps a little germ phobic in description but also deadly accurate. I mean, tell me where I'm off the (cine)mark. But, even with these chairs of the people, the movie bug eventually bit (but thankfully not the bed bugs). My first movie in a public seat in a public room in roughly 44 months was, the Mighty Pups: The Paw Patrol Movie! Not my choice obviously (or I hope that's obvious), but, thanks to my family, it was the one that brought me back to the idea of the movie going lifestyle. The chairs were bigger, they reclined, the audience was sparse and the popcorn wasn't half bad if you forgo the faux butter. While Marshall, Rubble, Chase, Rocky, Zuma and Sky (yeah) were yapping about crystals with Liberty, I was daydreaming about the next movie I would pick. That all came to fruition in late December 2023 when I was able to go back and cram popcorn into the now reclinable seats of my local movie palace during Godzilla Minus One. Or, really, Godzilla minus the audience as there was maybe three other people there. The movie was, or should I say, is not something I will be reviewing during a top albums of the year list but the soundtrack was on point. Some really nice callbacks and some proper 21st Century heft when needed. A really listenable 'track by composer Naoki Sato and, I believe, the only OST on this list. The vinyl release was limited to Japan and 500 copies only but word on the street is Waxwork Records will be making an announcement very soon for a 2024 domestic drop. Not sure about the release date for the Mighty Pups soundtrack though. Let me know if you hear anything.
21
Slowdive
Everything Is Alive
Dead Oceans
Veteran shoegaze band showing the neus that the olds still know how to do it. The internet tells me that shoegaze is having another moment in the double 20s. The GenZers like everything from grungegaze to newgaze to zoomergaze as long as it has gaze in the descriptor (not that there's anything wrong with that). Slowdive are one of this ever evolving genre's founding fathers along with bands such as My Bloody Valentine and Ride. While ultimately American, both the Founding Fathers and these founding fathers are all British. Is shoegaze thought of as American? I always thought so but now I'm not so sure. That would really ruin the last couple sentences for me. Let's just assume that it is. Slowdive should be experiencing the sophmore slump of their second coming after 20 years of using the verb "was" in their wikipedia page. But this album just floats by; a more subdued affair than prior records to my ears. Everything Is Alive is a mature record. The monotone, the reserve, the small choices and the slow to medium pacing makes this feel like a soothing dream. All wrapped in a shimmering 21st Century nostalgic for the 80s. This is the album Casey Kassem should have been coming out of before doing a long distance dedication to a dead dog named Snuggles. There's really no uptempo numbers on this one so no one needs to lose their cool here. This album is a deescalation from your normal, everyday life every single time you put it on. And, if it isn't, I really envy your life. Much respect to your quality of life out there. The two voices on this record just blend together to form some sort of eastern medicine application for your anxiety levels. Should this record be prescribed rather than bought? Can my insurance company somehow reimburse me for this? Are Slowdive considered out of network? British healthcare is so much easier... and free, right? Makes you wonder why those colonists were so amped to leave England in the first place. But they did and now we have confusing American healthcare and classic American shoegaze music to show for it. Best review ever.
20
Snooper
Super Snooper
Third Man
Art project turned band, Snooper, made a record. Screaming from somewhere in the midwest, just 50 years after Devolution birthed some amazing art rock in Ohio, these kids are showing some serious chops. And kicks and deadlifts. With tracksuits instead of jumpsuits and headbands instead of energy domes, these wanna be jocks are rocking around the clock with some high energy concepts and songs. With a runtime of roughly 23 minutes, they have to squeeze in a marathon's number of songs before it's all over. And they still have time to fit in an interview with a bodybuilder that pumps iron four days a week for an hour and half in able to win best poser at the Louisiana Championships. Honestly, if they just made a record of that whole interview, I wouldn't complain. That dude seems to have life all figured out. I can only hope a small piece of that interview ends up on all future albums. Not even just Snooper albums but every new album that gets released. Maybe President Mark Cuban can make that happen in 2025? I do wonder though, will this exercise theme make it to the next album or will they move on to something new. It's not exactly a deep well. Even Arnold moved on to movies and the Governorship. And art loving Devo changed their style, if not their sound, a few times over the years. I bet knowing more than just a cursory history and knowledge of Snooper would answer all of these questions. They must have some eps, singles and Bandcamp things that either double down on the gym or are nowhere near the weight room. Either way, they have some quality sounds and vocals that fit this type of songwriting. It doesn't really matter what the words and matching band outfits are. Super Snooper is just some lighthearted fun and unadulterated enjoyment that jumps from the speakers. There really isn't much here not to like. And it's perfect to work out to or so I have read.
19
Overkill
Scorched
Nuclear Blast Records
This marks the first and only entry of old school thrash on these year end lists. That I can remember anyway. And the band doing the representing turns out to be Overkill. Can't say I would have ever put any serious money on that outcome. None of the Big 4, the Middle 4 or even the Little 4 ever made it on. This isn't a direct slight to Metallica either who also released a record this year. They're just a band that suffers greatly from overexposure and the damage of the ceaseless spotlight on their creativity (and the grandeur of their back catalog). Overkill is a band without any of those problems. In fact, the last Overkill album I bought was way back in the Hello From the Gutter era of the band. Underexposure might be more the speed of their problems. To keep it real, the majority of the Overkill discography is a bit of a mystery to me. However, in 2023, with many positive reviews pouring in for Scorched, my age based nostalgia reached a critical mass where the checking back in with the Elimination band became a priority that particular day or week. And it proved to be well worth the trip down memory lane. A nostalgia trip that even had a Mario World like time portal right up to the very edge of the current time component of our simulation. Beyond Bobby Blitz and his very distinct vocal delivery, I'm not sure who is even in the band right now. Hold on, let me check. Looks like D.D. has been on the bass since the very beginning but the other three dudes joined at various points in the 21st Century. There's a little more bottom end to Bobby's vocals then I remember but it's still holding up insanely well given the range it sits in. The riffs are still numerous and the double kick drums are being rattled off without a second thought. The songs still have that old school feel even if that students of that school are now looking forward to their 40th reunion this year. Not to say there hasn't been any growth in their sound. The decades have added layers to their sound and if you played Under the Influence back to back with Scorched, the differences would be many and pronounced. Aging gracefully isn't a easy trick to pull off. Most can't and even more haven't but it appears Overkill may have found a way. And in the process, have the opportunity to finally move ahead of their more heralded peers. In certain circles anyway. Small victories are still victories.
18
Mr. Phylzzz
Fat Chance
AmRep
Duo du jour, Mr. Phylzzz (a 2023 realization is that it's pronounced Mr. Flys), released yet another recording in 2023. This Chicago living and Cincinnati leaving band comes through again with the seven track album, Fat Chance. Coming in under a half hour, this rock fueled riff and drum fest rips fast and loose. The vocals are over the top, cliche rock tinged with a demented heart of raging punk attitude. This band's sound is a melting pot of rock parts that results in a very listenable and engaging AmRep style bowl of audio. Wedged into the Boris/Melvins 2023 tour between Doors and Boris, this band found a way to leave their mark on a legend filled stage each night. Now, I saw that tour in Queens where this triple bill was split over a weekend for some rock festival. I could look back but I'm pretty sure it was called Desertfest as Steven McDonald thanked them about 40 times during the Melvins set. As I only went to one night of the fest, I chose the night with both Boris and Melvins headlining. Mr. Phylzzz played the night before (or maybe just too early that same afternoon) so I missed them yet again. Been a fan since the first single Haze XXL promoted on his Instagram, website or whatever social media was king back then, but their live show is still a mystery to me. The pictures look great though. These two guys fill the bill of working class art rock dorks with the confidence of major talent and drive to back up their somewhat sophmoric antics. Being friends or, at least, friendly with the Melvins isn't a bad career move for noise rockers either. Their social media promotion is a step ahead of most with reposts by AmRep and Melvins giving them a small but outside opportunity for overexposure. These dudes are grinding right now and are slowly moving ahead every year inch by inch. Learning the secrets of their craft from some of the best in the noise business along the way. A pretty solid catalog is being built under the Mr. Phylzzz name with no sign of it slowing anytime soon.
17
Bill Orcutt
Jump On It
Palilalia
The master of the less than six strings, Bill Orcutt, released a bunch of records in 2023 and Jump On It was one of them. Solo acoustic in the American Primitive style but also very much Bill's own. Way more experimental than John Fahey ever was (at least with an acoustic guitar anyway). Orcutt has been making music for decades now. He's a true wierdo if ever there was one. I say that in the nicest way possible. The world needs more of his kind. This record is recorded in a way where you can hear Bill breathing (easy Phish heads) during his performance. Jack Rose was recorded in the same manner, on some records anyway. I was never a big fan of that in the past and even avoided some of Rose's records due to it. However, is it my age or just a perspective shift, but I dig it now. There are no vocals and the guitar isn't being played by a machine, that I can tell. Breathing is a key component to existence so, if anything, it's just more of the performer coming through on the recording. A very human condition. It's oddly comforting to me now where it was just an imperfection before. Breathing aside, Jump On It uses those minimal strings on Orcutt's guitar (is just three or is it four? I don't remember) to an emotional efficiency. These songs are not long, experimental freak outs or challenges to time and structure in music. This is an album for a cup of something liquid or a long walk in the woods. It's contemplative and emotional and played from a lifetime of experience and practice. To be frank, this shit is art. An art that has definable edges and instrumental limitations, but being boxed into an area of expertise has never been a negative attribute. It allows for some to break out of that confined space and others to master the contained space. In Bill Orcutt's case, he's been able to do both. An American original and learned talent that keeps making and surviving on his own dark, long and winding road.
16
Deerhoof
Miracle-Level
Joyful Noise Recordings
I'm the writer of this stupid list and I'm still shocked to see Deerhoof making an appearance. This band has been around for what feels like generations. Earlier in this simulation when I was younger and loved compact discs, I had their entire discography on a shelf in my apartment. In 2023, that discography is three or four times bigger and the cds I had are now on the shelves in other fan's apartments. Along with the Deerhoof physical media, my Deerhoof fandom also went out the door back in the first decade of this new simulated century. I'm not sure if that fandom ended up being packaged and then delivered via the USPS to someone else or if it's simply been misplaced for over a decade. But, there's no need get Columbo, Bosch or even Monk, everything changed just last month. It seems to have been found alive and well. An acquaintance in the simulation that also saw Mighty Pups: The Paw Patrol Movie and needs to be at the same location as me in the morning and early afternoon every week day gave a reminder this band existed. As this person's career is dependent on a guitar, their superlatives regarding the musicality of recent 'hoof works held some weight with me. In this convo, The Runners Four was mentioned as a favorite by this gutarist so I knew there was a decent grasp of the history and long catalog. The recommendation of their most recent record, Miracle-Level, was logged for further review. Being this band is currently a Joyful Noise Recordings artist and I am a fan of that label, I was aware they never stopped releasing albums and were even somewhat prolific. Being honest, the reason I think I left Deerhoof's bandwagon way back when was both the number of releases versus the uniformity of their sound and the very coy bordering on annoying lyrics (but never the actual voice which was always stellar). And having just dipped my now much older toe back into the familiar Deerhoof shaped pool, I was sort of blown away by this record, Miracle-Level. Again, I'm not sure what they have been doing the majority of the 21st Century, but Miracle-Level has a varied enough song selection that keeps the record engaging. While maybe not as pronounced as on earlier records, the signature finger and pedal bending guitar work, minimal yet incredible drum work of Greg or the voice of Satomi still shine and haven't been compromised in the slightest. The best part is they seem to have successfully addressed the lyrical content quandry by dropping English all together and singing exclusively in Japanese. A genius move that feels much more authentic and well balanced with their overall sound. This record was such a pleasant surprise and the band feels like they've never sounded more cohesive or just generally better. Maybe this has been the case for the past decade? I have no idea. Just call me blissfully ignorant; and pretty excited to work backwards through their catalog from 2023 to the Aughts. A most welcome return to form. I'm just not sure if that return to form is the band or me. Let's just say both.
15
The Necks
Travel
Northern Spy
On this year's list, this is as close to jazz as any record is going to get. To be fair, 2023 had a lot of jazz listening and record buying therein. Blue Note, Prestige, Impulse, Riverside, the list goes on and on of the quality jazz reissues being unleashed on the masses since the 2020 pan. It's been an embarrassment of riches that allows genre jumpers like myself to settle into the history and richness of the art form without braking off multiple chunks for original pressings. Total audiophile experiences on (hopefully) pristine vinyl from reputable plants; original master tapes being remixed for modern turntables with the bottom end added back in which better replicates the sound in the room but not the sound of the original pressings of the records known and loved by the boomers who covet them. My opinion, the sons and daughters of the greatest generation can have those first pressings. Just keep reissuing the RVG gold for the growing niche market of modern collectors. That will tide me over even if 2023 doesn't have a top tiered modern jazz artist to discuss. Last year did with Joel Ross and 2024 might again with his newest record set for release in Q1 of 2024. Blue Note has a decent stable of modern artists along with Ross that could easily make the list depending on the year and the record. Bottom line, jazz is not a dead genre to anyone paying attention. Not that The Necks are a jazz band. They have jazz leanings but are better known as out or avant garde. Travel, their spectacular 2023 release, is comprised of four 20ish minute songs. A perfect fit for a double vinyl release which is what they did. After having a career of epically long single track records, this is a relatively new concept for this band. They last did this with three tracks on 2020's Three and with four tracks on 2017's Unfold. I'm not a The Necks historian but I believe these type of tracks are the result of a difference in writing style. The write ups for Travel seem to state each of these tracks had their origins in a jam at the start of a day's practice. These jams were scheduled and intentional as a way to build tracks. And I would say they accomplished their goal. Each of these four tracks establish their ground and then go deep into the triangulated space being explored. Bass, drums and piano can move meditative mountains in the hands of these Australian legends. The production and mix on this thing is crisp with separation and dynamics. I always assumed the Dirty Three had the market cornered for Australian long form, three piece instrumentalists but I was wrong. D3 might have been burned brightest but definitely not the longest. The Necks came first and are still very relevant right up to the current edge of known time. (Still waiting for a new record The Dirty Three! It's overdue!) This is music to escape into and forget the troubles of the world. It's basically everything the Cheers theme song promises to be found on that bar stool. But this won't ruin your liver, have you wake up with a wicked hangover or replace someone in your life with Woody Harrelson. All in all, that's a major win in my book. Just strap in and remember to keep your arms and legs inside the ride at all times. These only somewhat dirty three are doing all the necessary movement for you. (editor's note: I have covid right now so I hope this makes sense).
14
Nothing/Full of Hell
When No Birds Sang
Closed Casket Activities
I came here for Doyle Martin and stayed for the rest. Doyle is the singer and guitarist in the criminally underrated band Cloakroom and also the newest member of the more established and longer shoegazing band, Nothing. When No Birds Sang is a collaboration between the band Full of Hell and both the main Nothing dude and Doyle. Even in an amalgamation of basically two main songwriters and a full band Full of Hell, there are discernible layers to this record. It mixes at times but the best parts of the record, for the most part, are when the oil and water separate. The record starts out strong with Rose Tinted World and peaks with the next track, Like Stars in the Firmament. While I've never heard a Full of Hell record, I have to believe RTW is a solid example of their sound. With the obvious assistance of Doyle, I can confirm LSITF is basically as good as Nothing can sound. Those two tracks also seem to display the two extremes of the record, the pained and ugly underbelly of reality and the beauty and serenity of existence. The rest of the album tries to blend these two ideas into one cohesive sound to show both the contrast as well as the similarities. A sad beauty emerges along side the serenity of embraced pain and acceptance. The yin and yang or, at least, the twist and turns of the unknown and coldness of being. The heaviness of this release is both in the musicality of the more brutal tracks as well as the emotional weight all of the songs carry. In a way, I wish I never read this record's writing process involved 9/11 in some odd fashion. Apparently, the Falling Man image as documented by the photographer Richard Drew was a point of inspiration and reference to this project. With that added puzzle piece to this album, the emotional component of the music grows larger and more ominous. The darker elements seem pitch black and the light moments carry an even greater undercurrent of sadness. I won't say this is a tough listen but it's not a walk in the park either. If you choose to fully invest yourself into the record, it can get pretty bleak. But it can also be fairly life affirming as well. In just over half an hour, you go for a hell of a ride and the places along the way you opt to dwell in are of your own choosing.
13
Ulthar
Anthronomicon
Helionomicon
20 Buck Spin
Two for one at #13. You could almost call Anthronomicon and Helionomicon a double record. But you shouldn't. 20 Buck Spin made sure you had to buy both at full price, so let's not get confused about the label's (and I'm guessing band's) intentions about these works of art. Sure, both records were released on the same day and most every fan bought both at the same time to save on shipping, but these are not technically a double record set. Perhaps they are the Black/Death metal version of Use Your Illusion I & II? Does Ulthar also take some shots at Bob Guccione Jr at Spin or Mick Wall at Kerrang? Sadly, no. At least I don't think they do. Given the delivery, it's hard to decipher the content of Ulthar's lyrics. If I remember correctly, these two releases are meant to be companion pieces. Anthronomicon appears to be the more traditional of the two with 8 tracks and a run time of about 40 minutes. Helionomicon is comprised of just two side long tracks with roughly the same 40 minute total length. As dual releases kind of demand comparison, if push came to shove and a favorite needed to be picked, Helionomicon comes out on top for me. The longer song structure allows more room for experimentation and everything just feels slightly more ambitious. While I see the point of separating these two records to showcase their differences, a double record with some amazing gatefold art would have been even better. (Probably a little cheaper for the fans too, I'm just saying.) But I'm not in the marketing department of the record label, so I can only state what I would have preferred as a fan with record buying experience. Maybe 20 Buck Spin's marketing team thought double releases could generate some major social media buzz? A way to differentiate the band's release this year from the other hordes of Black, Death and Doom metal records? It might even be Ulthar's legalized Californian weed induced thoughts that told them to go down this path of excess. And yet, regardless of the format or packaging, these songs brought the riffs, the intensity and the experimentation to 2023 and left a few scars along the way. Ulthar is only three (or is it four?) records into their discography with just under 10 years as a band under their belt. Their confidence and song writing quality are only increasing with each release and the foundation they've laid so far seems strong enough to build off of for years to come.
12
Spirit Possession
Of the Sign...
Profound Lore
Sirens are blaring!! Ulthar alert! Back for a back to back appearance on the back end of this year's list with a third album. Back. That's a trifecta for Ulthar member Steve Peacock, a guitarist, vocalist and exactly one half of this band, Spirit Possession. A Black Metal White Stripes? A Black Metal Keys? So stupid. Other than being a duo, there is absolutely nothing in common with any of those blues based pop bands. The other half of Spirit Possession is Ashley Spungin on drums and synth perhaps best known for the band Insect Ark. Not sure how this works as Ulthar is described as an Oakland, California band and Spirit Possession is from Portland, Oregon. Two cities that are closer than most andomly picked locations on a map could be but not an easy commute either. Oddly, both bands seem to fit their location perfectly. Oregon seems like a perfect home for American black metal. Spirit Possession is a great name for this band too as their sound has the expected black metal exterior but also with a witchy underbelly. Tons of chaotic layered noise and riffing abound. Doubled and/or effects ladened vocals with patterned guitar excursions and well pounded drums. The inhuman double kick drums attack of tech death and the fretless bass of prog death are nowhere to be found here. There is a humanity to this extreme music that is most welcome. Of the Sign... is just Spirit Possession's second record but you can tell both musicians have been around the block. There is no youthful naivete from this band; just an uncompromising vision of what they want to accomplish with this project. The amount of noise they generate between the two of them is a feat of human ingenuity and modern technology. I'm not even sure if I'm more impressed with the pummeling drums, circling guitars or the expansive vocals that are the glue that holds it all together. This band and album are talent put to good use. Going full confessional here, I feel I have to admit this record didn't connect with me at first. I didn't hear what all the glowing reviews were talking about. It really took me until the fall of 2023, on the cusp of Halloween, to find the groove of this record. Once I did, the album really made sense to me. Granted, the echoed vocal stabs of "ew!" (or is it "oof!") still take me out of it sometimes but that's very minor in comparison to the insane musicianship on display. Not sure what all that means about me but felt the need to share.
11
Stephen O'Malley & Francois Bonnet
Cylene II
Drag City
Cylene II. As in Cylene Part Two; which means there is also a Part One out there. Now, I try and keep up with the aural exploits of Stephen O'Malley but sometimes an album (or year) or two slip by without thinking to investigate the extended Sunn family tree. That's where O'Malley is a diversified genius with his releases. Even with his own label at his disposal, he still finds material to release across a swath of independent friendlies across the western world. Case in point, Cylene II is on the venerable Drag City Records. Cylene I was not. In 2023, I randomly came across Cylene II due to the Drag City association and their miles ahead distribution and promotion abilities. Cylene I was released four years ago on a label with no real US distribution, Editions Mego. Love their label but also, here in the USA, their releases need to be sought out more than, say, a release on Drag City. Not that this is a review of record labels, more a statement on an average music fan's ability to access the artists they know and enjoy in 2023 (and 2019). To be frank, I don't know who Francois Bonnet is or even what instrument is his calling. Based on this record, he plays the knobs? Not in the British sense. Or maybe he does? It doesn't matter to me. I have zero insight into this person. All I know is the atmospherics are dense and that usually means a whole lot of electronics are involved with switches, circuits and things that can be adjusted. I'm assuming O'Malley has a guitar in hand but I'm not even sure of that. It sounds like it to my ears but I also have tinnitus so that high pitched ringing I hear throughout may be my own personal collaboration with these dudes as a trio. This album sounds exactly like you would expect. There isn't a lot of surprises here. And if you're familiar with Cylene I, then you might have already had enough of this collaboration and even bored by the slight smell of burnt electronics your brain produces as a sense memory of the first. Overall, this thing is moody and longer than most records on this year's list. Cylene II puts demands on its listener too. Patience, attention and time. All three precious things in this world; most were hard lessons learned through repeated experiences. Time not so much a lesson, just something you learn to rightfully respect and fear. This is a record living in the venn diagramed space between art and music. A space that can create an almost spiritual energy if done correctly. And this album does many things correctly. I can't tell if this album makes me feel insignificantly small or it makes the universe feel infinitely large. The end result is the same but it's never the destination that matters, it's the journey. Somebody important said that. And this record is one wild ride. I believe Mr. Toad said that.
10
Afterbirth
In But Not Of
Willowtip
Being upfront at the upfront, I am just desperately trying to hold on to the voice of the non-West Philadelphia born and raised Will Smith. This is his third release with a third different band on one of these year end lists. That's kind of crazy. But so is Smith's genre obliterating voice that could make Tuvans seethingly jealous of his natural abilities. With In But Not Of, Afterbirth do in fact bring the lightning to Smith's vocal thunder. That wonderful and now very familiar low, other worldly, gravelly thunder. While Artificial Brain continues to be Smith's benchmark in terms of a complete package, In But Not Of offers a lot of left turns and variation resulting in an engaging record from minute one to minute thirty five. A briskly paced half hour of pure prog/tech death metal that really has no equal in 2023. Am I alone in thinking Smith's big willie style vocal talents are jaw droppingly inhuman? If he went public, I would be like Kevin Bacon on the floor of the stock exchange at the end of that 80s bike messenger movie. I can't say I've heard every death metal vocalist but I can say I've never heard anything quite like Smith's voice. On first listen and then every listen after that, the throat output seems fake or processed or perhaps even a creation of the studio. But that's not the word when surfing on these information filled internet streets. The man is just uniquely blessed by this simulation's creator. The unique and alien vocals are just such an other worldly power for any band to possess, if even just for a record or two. Like the rings of power in those George JRR Tolkien books. It might almost explain why he jumps around from project to project so much. The longer you use Smith, the more his powers destroy your band. Honestly, that explanation just makes too much sense. But the simulation we live in is much more trite so the answers are probably more standard. Artistic differences? Boredom? Personal strife? I mean, first Jada and now metal musicians? The Will Smiths out there can't catch a break. Or maybe they're both divas who are impossible to deal with? I have no idea; I'm neither a Jada or a metal musician. I will say though, I just now for the first time looked up who else is in the band, Afterbirth. Not sure why that never crossed my mind before. I guess the Smith shadow is long and might distract from the talent of the other musicians. Hmmm. I bet that phenomenon could be a negative to some. Turns out Afterbirth is from Long Island, New York and the guitarist, Cody Drasser, is an accomplished musician in his own right with an ambient side project called Caulbearer. Given that fact, I'll assume Cody is also handling the synth like effects and passages on this record too. Pretty impressive. The rhythm section is solid here as well with the drums being an integral piece of Afterbirth's overall sound. There are lots of ways to say it, but to keep it short as we're downback in this review, In But Not Of is a complete band offering and is a truly special death metal record to add to your rotation. Buy the record if you can too, the cover art is pretty spectacular and deserves the spotlight of the largest physical format possible.
9.3696
Liturgy
Thrill Jockey
This one is my fault. Liturgy have been out there making some heavy and challenging music for decades now. I was on board somewhat early with this band, not even sure which record was the first one I saw them tour for, maybe the first? Most likely the second. Greg Fox was the main reason to check them out at that time. Fox eventually also had shows and records as Guardian Alien and with Kid Millions of Oneida as some kind of drum duo. In my friend circle, Liturgy became Fox's band but then his output diversified and eventually he left the band. I think I might have dropped off the Liturgy path even before Fox did. The thing is Liturgy was, even at that point and obviously very much so now, Hunter Haela Ravenna Hunt-Hendrix's band. I was just too blind to see that at the time. Not that she didn't shine even back then, the talent on guitar was unmistakeable. It's just requires a shift in perspective. Flash forward to 2023, Liturgy unleashes a power house of a record, 93696, and reintroduces themselves to the larger world which somehow also included my stupid brain. There was a number of full lengths released since I last listened back in the day. 93696 being the biggest, loudest and longest of them all. The intensity, pounding, shredding and glitching out on this record is at epic levels. But don't forget the layers that allow for piano, kid's toys and other various instruments to find their place in the cacophony. The quieter passages of these pieces are necessary respites to allow for the rest of the record to hold their power. I've heard some describe an almost Asiatic influence or perhaps just microtonal or nonwestern elements being added to the mix. Not sure I hear all that but the intention of the comment is understood. Something extra is going on here musically that my untrained ear won't be able to explain to you. But it's there. Looking back at Liturgy's last couple records, Hunt-Hendrix seems to have found her groove musically. Both H.A.Q.Q. and Origin of the Alimonies have a similar feel to 93696, they just accomplish their stated goals in half the running time of 93696. Honestly, that's the only knock I can find for this record. It's a bit too long. I could say some editing may have been needed but I also feel like a story is being told with this music so the creative process doesn't allow for any trimming. The length is part of the strength. It's baked into the writing and can't be removed. So, this review is more to point out the power of Liturgy not only with this epic music at an epic length but also to highlight the band's discography over the past decade that I somehow overlooked. 93696 contains career highlights for this band if you sift through the nearly 90 minutes of material. I really enjoyed the shorter H.A.Q.Q. and Origin of the Alimonies records in 2023 and found them both much more digestible. 93696 just asks more of the listener than your average album. And I was glad to give it more especially after I went backwards into Liturgy's catalog/history and did the work. In 2023, a reconnection was established with Liturgy that is one of my better musical moves of the year. Right now, this band is firing on all cylinders and making landmark albums. Liturgy are not a band to be overlooked again.
9
Mort Garson
Journey to the Moon and Beyond
Sacred Bones
More of a compilation of odds and sods than a proper full length record but Mort won't be doing anything that proper ever again, so this will have to do. Not that I'm complaining or feeling like this record is anything approaching less than. I love this record. It might even be the most listened to album on the list this year. The reason for the season of this release is the six minute Journey to the Moon track which the official Mort Garson Bandcamp page states as follows:
"The crown jewel of the set is no doubt Garson’s soundtrack to the live broadcast of the 1969 Apollo 11 moon landing, as first heard on CBS News. That’s one small step for man, one giant leap for Moogkind. For decades, this audio was presumed lost, the only trace of it appearing to be from an old YouTube clip. Thankfully, diligent audio archivist Andy Zax came across a copy of the master tape while going through the massive Rod McKuen archive. So now we get to hear it in all its glory. Across six minutes, Garson conjures broad fantasias, whirring mooncraft sounds, zero-gravity squelches, and twinkling études. It showcases Mort’s many moods: sweet, exploratory, whimsical, a little bit corny, weaving it all together in a glorious whole."
What an odd story for a dude playing a moog! Why was he asked to soundtrack a live broadcast? Why was it then lost for so many years? Why does NASA have a track record of losing so much tape? Was the Summer of 69 really as great as Bryan Adams claims? He seems real passionate about it but it doesn't seem like things were that organized that year at least. Except for the whole getting to, landing on and then leaving the moon. That was pretty good. And that's just one track on this record. How about the "And Beyond" part of the track list? There's a hodgepodge of tracks from soundtrack work (blaxploitation, industry work, martial arts films, etc) as well as other random found sounds in the Garson archive. The other main track on this record is "Zoos of the World" which was music for a short about zoos (I'm assuming) that aired on PBS. All correct facts if I'm remembering the write up correctly. I really love the track "Love is s Garden" as well. It's unlike any other track on the record and kind of heartbreaking for some reason. The emotion wrestled out of that Moog is impressive. Mort must have gotten pretty intimate with the ins and outs of that machine/instrument over the years. Is the plant record he's so famous for better than this one? Most people would say yes. I'm not one of them though. The history of the songs, the era of the instrument and the mystery of the artist just go hand in hand in hand on this release. The deeper into the archive the curators and label heads want to go, it seems the more adventurous the tracks will get. I hope the Garson estate releases a new album of deep cuts annually. Odd tracks on an odd instrument from an odd era by an odd dude. The stuff is dangerously teetering on the edge of genius. Keep it coming, please.
8
Queens of the Stone Age
In Times New Roman...
Matador
The inclusion of this record on the year end list isn't that big of a surprise to me. How high it ascended on this list is somewhat shocking though. In Times New Roman... is a top ten album in 2023. I write it out to convince myself of that fact. It feels weird to say but I also know it's true. Honestly, there isn't another big box, guitar based rock band in the 2020s that outclasses these guys. Foo Fighters at their stadium rock heights didn't put out any records as interesting as this one. Grohl as a guitarist and vocalist doesn't even touch the soles of the shoes of Josh Homme. Dave's best moments post-Nirvana (outside the first two Foo records) was playing drums with Homme on either Songs for the Deaf or Them Crooked Vultures. Basically, it's undeniable, Queens holds the crown as the best Top 40 rock band currently alive and well and active and touring. With that being said, I'd like to think that actually meant something important in 2023 but it doesn't. The "rock radio" bands of the twenty twenties are a weak band of brothers. Where I live, I was looking for a band to see this summer at a couple close enough outside venues. It had been a couple pandemic lengthened years since I had been to a show and wasn't looking to add additional months to my already extended sentence. It was bleak out there. I was starting to think new rock was dead at the amphitheater level. Finally, I saw that Queens was making a stop. It was like an oasis in the desert, if I'm allowed to use the laziest metaphor available. I was so thankful a band this quirky and comparatively inventive was currently cranking it out and even hopping onto the touring circuit. And I went to the show happily and it was... serviceable. A few steps above satisfactory with little more than just a few middle aged dudes standing around playing their instruments as their stage show. In fact, it was the bass player's birthday that night which made them that much more middle aged. The PA system was good though and everything sounded as it should; well rehearsed and professionally put together. These are proper musicians after all. Plus, there were seats in my section which really added to the enjoyment factor. As did the setlist which pulled heavily from In Times New Roman. I find this Queens record can be listened front to back without a skip in between. It's paced really well and the length makes for an easy run through. The songs are varied enough with each having an interesting sound or twist/turn to hang your attention span on. Honestly, I find Homme's vocal range and guitar tone to be generally pretty pleasing. When the band is doing things right, they make it seem easy to be a big, world famous rock band. This thing is covered in confidence and cool like only a bunch of middle aged dads can pull off. Best thing you could hope to hear when stranded on an island with just an old school radio in 2023.
7
VoidCeremony
Threads of Unknowing
20 Buck Spin
Let me see if I can get this right, VoidCeremony are a Progressive Death/Black Metal band. I'm not an expert at the many subgenres of metal but I think that's an apt descriptor. I always thought they were Canadian but they're actually from the world's fifth largest economy and the longest state in the Union, California. Or is that Alaska? Not the large economy part but the length part. The map of the world is kind of askew so I never know how large Alaska really is. Though Greenland and Antarctica are probably the most misrepresented. Try and take a sphere and smooth it out onto a two dimensional flat surface (flat Earthers have really tried); it's almost impossible without some distortion. Speaking of distortion, VoidCeremony have really created a musical palate that seems pretty free of distortion. I hear mostly clean guitar lines, on time drums, some synth touches, guttural vocals and a sound defining bass guitar tone. Each instrument seems to have free rein to make noise together but with decent separation. Musically, it's proggy more than anything but the vocals pull it into the true metal subgenres more than any other aspect. On first listen, my full attention was given to the bass though. I'm not knowledgable enough to talk about influence on that instrument's sound but I feel like Death circa Human may be the answer (for the blame). I'll be honest, usually I cannot handle this style of bass playing but VoidCermony are somehow making it work. And they aren't burying that loose, wondering bass in the mix either; it's fairly prominent. Threads of Unknowing is album number three for VoidCermony and I've been a big fan of each release. The manageable running time (a Gary Shepherd approved thirtysomething minutes) on this one helps this record too. And it really compliments the pacing of the tracks and the digestibility of the package as a whole. Due to its length, this becomes something to completely consume in one sitting. A meal of an album? Substantial but not so much that you feel like a rest is needed afterwards. It's odd to say about records in the Death or Black Metal genres but this is somehow light and enjoyable. Not to be too Californian about this but the guitars are tasty, bro! I don't know, here's where the English language fails me. The album is light heavy music? It just absolutely wins like Martin's kid on every track. I can't really say it better than that. And that's even factoring in their bass style. Minus the album cover and vocal style, this record has true crossover potential. The guitars just soar and crush on this one. This should really be higher on the list.
6
Roger Waters
Dark Side of the Moon Redux
Cooking Vinyl
One of the more pleasant experiences I had in 2023 was part of my morning commute to the office. A hybrid work schedule that allows for half the time at the home office and the other half in the cubicle sea. A pretty great deal if this was 2017, a so so deal in 2023. Plus, my commute has ballooned to roughly two hours each way post pandemic. So, half the work week, I have four hours plus of commuter time to factor into my day. It's a time where you can easily become very contemplative about your life and the choices made. And on a cold, grey early morning in mid December days before the winter solstice, I decided to dial up this redux performance of DSoTM by the old and aged former member of Pink Floyd, Roger Waters. And it was revelatory. The timing and setting were a perfect backdrop for the unspooling of this 2023 redux meditation on life. Everything about this version hit just like Roger Waters probably hoped for on that particular overcast morning. The reworked instrumentation on songs already tattooed onto my brain were askew just enough to keep the whole listening experience comfortably off kilter. The lyrical themes of time and death on Dark Side are all the more poignant coming from the ragged and world weary voice of an octogenarian unable to hit the same high notes of his youth. The spoken word aspect of the style of music makes the whole thing come off like an amazing podcast at times or a really well produced radio play. It might just be my own musical path that makes this so enjoyable. Dark Side is one of the most listened to records in my collection. It was a cd stuck in the car player for years. Years! It sounded so great on those speakers in an enclosed space. A true working man's think piece of an album. Basic philosophical ideals about life and death told through a rock narrative. In 2023, the world being 50 years older from the original release date (as well as Roger Waters himself), the concept of this project and the execution just made so much sense on that morning train ride zipping through the sleepy suburbs between metro areas. An ocean of humanity rapidly witnessed through the sealed train window from the depths of a semi comfortable chair. Brief glimpses of people's whole worlds from a blink and it's gone perspective. Mortality is all over this record. It's just so human in its scope, its execution and its success. But I get the other side of the coin with this album too. I was living in that negative space before actually hearing it in its entirety. Roger Waters' Lockdown Sessions album didn't work for me or for most people apparently. In that shadow, this redux of Dark Side seemed to be just another failed attempt at whatever the Lockdown Sessions was trying to accomplish. And maybe it should have been but I think Waters stumbled onto a record where this late in life revisit actually makes sense thematically and, surprisingly, musically as well. This is not a replacement for the original, that is a more than laughable thought. But this also takes nothing away from the original either. This redux stands on its own as a complete work that is shockingly affecting and poignant. It's reduxed (new word apparently) music that left an emotional resonance with me in 2023 that I won't soon forget. A shift in perspective on a well worn piece of ground that no one asked for, expected or realized they desperately needed.
5
Yo La Tengo
This Stupid World
Matador
This band blows my mind. Just continues to blow my mind. Georgia & Ira are well into their sixties and are still bringing the white light and white heat. Along with the kid, 54 year old James McNew, this New Jersey trio has been musically filling up and breaking my heart since they were either old youths or young middle agers. The Rolling Stones of the indie circuit? I think it's arguable. YLT is more relevant with their new material than the British invaders were at this point in their career. Case in point, I'll take This Stupid World over A Bigger Bang 10 out of 10 times. Granted, at Ira's current age, Mick & Keith had released roughly 22 albums and the Yo Las have just released 17 full lengths but that's still pretty close. Plus releasing a couple records a year wasn't out of style in the early years of rock. Plus+ most of those early Stones records were just blues covers anyway. That's my opinion, you can agree or disagree but you can't say it isn't worth mentioning. So, leaving the Stones comparisons behind, did Yo La Tengo just write the best song of their career on this record in Fallout? What a devastatingly effective pop song with perfect production and tone. YLT just know how to consistently play to their strengths and add a couple new tricks every record. James McNew's vocals on Tonight's Episode never sounded more confident and so smooth esp when mixed with Georgia & Ira's harmonies in the chorus. And Georgia's voice on Aselestine? Those larynx still hold up and the song itself is melodically mind blowing. How has this trio never stumbled onto this sweet and memorable tune before? This song feels like it could have been included on one of their records from the slacker 90s without missing a damn beat. How about another argument, tough guy? This Stupid World is Yo La Tengo's best record of their 21st Century catalog. It's a big assertion but the debate is warranted. And remember, Yo La Tengo is on record stating they are not afraid of you and they will beat your ass. So, you better have your debate notes memorized for that one. Arguments aside, nearly 40 years into their career and I can't believe how solid this album came out. I actually feel kind of bad being this shocked at the quality of this record. What does that say about my opinion of this band? As the listener and fan, I think I let the band down. That's depressing. But This Stupid World is not. It's just so quirky and inventive yet approachable and engaging as hell. I don't know what to say. I'm kind of speechless. Like it's been said, This Stupid World is all we have and, honestly, it's more than I could ask for. Just beautiful.
4
Dean Hurley & Romance
River of Dreams
Ecstatic Records
And you're telling me that Dean Hurley is a sometimes musical collaborator of David Lynch? What's that you say? What could have given it away? And if that fact wasn't true, in some even more bizarre simulation than this one, a meeting would need to be arranged between the two ASAP. Dean Hurley's music with Romance, a UK based ambient artist, is just pure nightmare stuff in the stratosphere of Twin Peaks (the tv show, not the band). Atmospheric aural landscapes that get under your skin through the oddest absorption and regurgitation of television soap opera drama. Both Hurley/Romance records, 2023's River of Dreams and 2022's In Every Dream Home a Heartache, the dreamy vaporwave vibes are being mixed with dialog snippets from random daytime soaps. This produces an odd, uneasy state of relaxation with ominously anxious, almost evil, notes subtly hidden in the darker corners of the studio. I don't know who Eric Forrester is and I don't ever want to meet him. The overly dramatic lines of daytime soap operas are mixed with the dense clouds of manipulated mellow and cut short musical refrains that leave a sense of unfinished business. The buried and chopped up dialog stays just out of reach under the surface until they bubble up to the top with their absurd proclamations and emotional outbursts. The music can be light and airy at times with touches of humanity mixed in which is a great juxtaposition to the darker, more anxious moments of the record. Cast a Spell takes an obviously over the top moment in the show and drags it out for nearly four minutes drawing deep into the moment of tension created for the what must be an overtly ridiculous daytime tv quality storyline. I might be in the minority here but the song honestly makes me anxious. It's just layers of manipulation; musical manipulation of obvious emotionally manipulated television. Even with that known intention, it's still damn effective. In the ambient world and esp in the vaporwave genre, taking found clips or very specific clips from specific work isn't anything new. And yet, this is one of the most effective uses of this concept I've stumbled across. And maybe I haven't heard enough. Yes, there's vaporwave artists out there using clips from video games, the Weather Channel, Seinfeld, The Room, yada yada yada. Nothing moved me quite like this 2023 collaboration. There is just an inherent creepiness to these tracks that truly borders on something magical like Twin Peaks to me. Perhaps it's just the Dean Hurley connection to David Lynch that's already in my mind or perhaps it really is just the insane genius of Dean Hurley? This record is a damn dream or, more accurately, a damn nightmare. It's welcomingly unsettling like the best challenging music knows how to be. It knocks me off center for a while and it takes me a second to find my footing again. And with art, there's not much more you can ask for. This is weird, this is wild and this is utterly unique. I've woken up, Grace, and I'm definitely paying attention now. Looking and hoping for more from Romance & Dean Hurley in 2024 and beyond.
3
Chained to the Bottom of the Ocean
Obsession Destruction
Consumed By the Vitriol of Life
Redscroll
It's about time for some sludge/doom to show up on this list. 2023 was a productive year for Chained to the Bottom of the Ocean with the full length Obsession Destruction AND the late in the year ep Consumed By the Vitriol of Life. This sludge is from New England- Springfield, Massachusetts to be exact. I've been there. Not much to do in that town if memory serves. They have the Basketball Hall of Fame, I think. You can see it from the highway. A big round dome on the building; most likely designed to look like a basketball? I'm guessing CttBotO has never set foot in that place. Then again, basketball has become somewhat ubiquitous. Lots of fans of all different ages and all different backgrounds. Giving it a little more thought, I could imagine some interest in the Celtics from someone in this band. Like I said, not much to do in Springfield. Odd too that their Springfield home is such a landlocked part of Massachusetts and the name of the band brings up the image of a watery grave. It's not like they're from Gloucester, Plymouth, Duxbury, Quincy or Revere (I could and would love to go on but I digress). Yet, this band is a perfect storm of strengths that results in some top notch sludge. The growled and distorted vocals are up front in the mix and take up a considerable amount of the soundstage. The slow, methodical down tuned riffs are the foundation of the band's sound that everything is built upon. The rhythm section is rock solid and never oversteps their layer in the sludge stratigraphy. The individual pieces all fit together expertly to form a handmade custom doom laden sound puzzle. Ah, man. Did I really just write that? Yup, I did. I just wrote something about a sound puzzle! I should really take a break if that's the best I can do. Maybe I just did? There's no way for you to know. Back to the band. They ended the year on a continuing upward trajectory with the ep Consumed By the Vitriol of Life. While just under 20 minutes in length, the songs feel even more desperate, doom filled and immediate. Their full length Obsession Destruction is three times as long and, by comparison, it can be hard to find time to spin the whole record from start to finish in one sitting. But the new ep goes down quickly and easily. Which makes whoever said "always leave 'em wanting more" absolutely right in the case of Chained to the Bottom of the Ocean. While there's no need to directly compare their two releases this year, I'll just say the ep is the Sophie's Choice pick for me. That should be a sufficiently old enough reference to ostracize any basketball loving sludge metal fans who were absolutely loving this review up until now. But if there were any Meryl Streep and basketball loving sludge metal fans, I expect some comments on this post. I mean, that's a hat trick. Whoah! If there are any Meryl Streep, basketball and hockey fans who love sludge metal reading this, I think we're best friends now. Either way, listen to the full length or listen to the ep, the end result will be that 2023 was a career highlight for this ascending doom sludge band. To be real, I have to shout out Redscroll as both a label for putting records out for bands like this and as one of the better record stores in all of New England. Princes of Connecticut and Kings of New England!
2
Hellripper
Warlocks Grim & Withered Hags
Peaceville
Easily the best metal album in a year of some heavy metal hitters. Warlocks Grim & Withered Hags is such a near perfect record, it's hard to believe this is just one dude, James McBain. And even harder to believe is James McBain is from Scotland. Well, that’s not hard to imagine. It’s just random information. But the fact this killer record has some serious Motorhead, Slayer and classic era metal vibes is anything but random. And these influences are not subtle. I’m sure there’s even more metal eras being flattered on this record but I don’t have the metallic depth to know more than the obvious. The style of vocals are most likely part of that blank black metal space for me. Cackled and snarling and, most importantly, almost clear enough to decipher. The energy, youth, immediacy and sense of history just leap out of the speakers. The epic throwback guitar lines over the swirling hard rock foundation are like mini-time machines to your angsty teen heart. The solos are ripping when needed and melodic enough to hum along to (if you’re into that kind of thing). McBain’s voice has a few levels and he uses them all to perfection. I could try and be more grandiloquent in my praise but all you need to know is that James is a multi talented beast. The quality control on this record creates nothing but higher echelon tunes with some well balanced production. This whole thing feels like a throwback if you’re not paying attention. But every additional listen makes you realize nothing this modern sounding could have come from anywhere but this simulation's present. The energy coming off this record is intoxicating. It’s white hot and it’s here to eat any indifference in the room. I would even listen to this in front of nonmetal fans. It has a certain crossover potential as the black and speed metal extremes have all been reigned in a bit more than usual. Almost to a point where it’s just a solid ball of only the wide, sweet center of the genre. Throughout, there are times you feel like a really great hard rock record is on. Then, other times, the black metal hits hard and the record feels just ever so slightly more niche. But it’s never either of those things for very long as the record lives in that fertile middle ground for the majority of the runtime. To be fair and balanced (someone has to be), the lyrical content is a little bit genre specifically cliche but, honestly, words aren’t all that important in terms of the overall sound to me. To be even more fair and more balanced, Warlocks Grim & Withered Hags is an absolute classic that will be heralded for years to come. Make an appointment 10 years from today in your google calendars and we'll compare notes on Hellripper's influence then. I look forward to it.
1
Ativin
Austere
Joyful Noise
This wasn't an obvious number one record to me going into this end of the year process. But that changed when I started going through my notes, making drafts and listening to 2023 albums again or for the first time. With this repetitive back to back to back listening with comparison, it became very clear how important this record is, how strong this record is and where my heart lied this year. Looking back, when Joyful Noise announced this release back in the beginning of the year, I had a visceral reaction. It wasn't like I needed a fainting couch brought in or someone had to go get smelling salts. It was just kind of a shock. Justifiably, I thought this band was completely in the rearview. In fact, the very thought of this band takes me back to the turn of the century, or hell, the millennium. I can distinctly remember when their previous cds came out, Interiors being one and even getting a promo copy of Night Mute before the official release date. Even my earliest memories of searching the young internet involves Ativin as I was desperately searching for a copy of the elusive German Water on vinyl. (Although, I'm pretty sure I ended up finding it in the used section of a NYC record store.) Let's just say Insound was no help with that one. Back then, I was all in with this band and their sister band, Early Day Miners, and loved the idea of the Bloomington scene from afar as a trip to Indiana was never in the cards for me. Then, Ativin called it quits or, more likely, just stopped making records and touring. Early Day Miners continued for a little while longer but, in my memory, it all just slowly faded away. I'm sure that is not the case for Dan Burton, the guitarist, vocalist and engine behind both Ativin & EDM, or Chris Carothers, bass/guitar player of Ativin. The beginning, the end and every stop in between are probably crystal clear to them. Being that Early Day Miners reformed/toured again in 2019 and even recorded a couple new songs for a tour ep that same year, it shouldn't be a complete shock that Ativin picked up again in 2023 where they left off in 2004. But, in a surprise, the story isn't that simple. I didn't know this but Ativin previously reformed in 2014 and even toured in 2015 as a 4 piece and then disbanded; going their separate ways once again. Even this 2023 full length release, Austere, had its roots in a 2021 reunion between Burton & Carothers along with multi-instrumentalist & ringer, Chris Brokaw on the sticks. Apparently, Austere was recorded in late 2021 with Steve Albini at Electrical Audio. 2023 was just the year it finally saw release through Joyful Noise. 2023 was also the year I was shocked to discover 2004 wasn't the end of Ativin and that new material was forthcoming. That's almost 20 years in-between releases which is both fantastic and kind of scary in terms of how fast time can get ahead of you. Austere has the same Ativin approved interplay between instruments and the drums have never sounded stronger with Brokaw behind the kit. The album has one song with vocals but the genres of "math rock" and "instrumental" that seem to follow this record all over the internet are apt. Not a great or universal description for you all but this is a record and a band that reminds me of the formative years of my life. The melancholy is still there as are the interweaving math rock passages. But more than the dexterity of fingers and independent grooves created, emotion is the driving force of these songs. For real, the melancholy is definitely still there. I don't know, there 's just something to the pop of the drums and the wandering of the guitar moving in and out of focus with the rhythm section; it's just everything. It defines music to me. Just the opening of the high hat can hit you in your guts (but not in a Houdini way, mind you). Maybe the feels is a better way to say it but I don't really want to. The energy of the start/stop reactive passages jump out of the speakers and make you feel alive. Even the comfortable, laid back spaces created by repetitive, hypnotic sections can move you to a much lowered and proper blood pressure. All of those emotional manipulations are a big tip of the cap to Albini. How does he do it? The magic of room tone and the placement of the mics? He'll tell you exactly what he does and it still doesn't make sense or seem to be replicated by anyone else but him. But whatever it is, the Albini touch makes the instruments on Austere (esp. the drums) sound as crisp and clear as if you were right there in the room. The added cello to False River adds such a welcome depth and warmth to the middle of the record. The pacing of Austere is a perfect ride from the first track to the last. Every little touch just sings on this record, including the loops employed on Mirrors Secured and quite literally on the track Haunt Blue with vocals by Burton. There's also a bonus track not officially on the record but added on the Bandcamp site that is the second to feature vocals. This time by Natasha Noramly, formerly of Ganger ,who sings and weaves a tale throughout this nearly seven minute long beauty of a song. Further proof the recording session for this 19 years in the making record was a joyful, magic moment in time that seemed to produce nothing but audio Indiana (not Ohio) gold. Just a raging and bursting jewel of a record with a sense of history, earned wisdom and raw emotion that pours out of its center and right through your speakers. Music doesn't get much better than this.
credits
