November 2021 – Living To Listen

October Observations:

I recently managed to talk former Vice UK music maven and FANGIRLS author Hannah Ewens into Zooming once again with my students at Stephens College to chat about her book (their required reading for my freshman comp/pop music class) and other related bits. She was smart, warm, funny, and curious about my students, as usual. A few days after her visit, in a glum mood, I happened upon her IG and noticed she was vaunting a group called For Those I Love (it’s also the name of the group’s album), which she’d just seen. Only it ain’t a group, it’s an Irishman named David Balfe, and his album captures a desperation for solace, connection, and dancefloor expiation I (and probably you) know all too well. Hadn’t heard of him, played the slab, instantly cheered up.

Ingebrigt Håker Flaten is the bassist for Norwegian jazz powerhouse The Thing. Dude just waxed an album, (Exit) Knarr, that features an instrumental texture, rhythmic variation, and conceptual focus that–to my amateur ear–tops anything his group’s ever released (and I love ’em). I liked it so much after three listens that I was willing to pay a hefty shipping cost for the vinyl. Never underestimate a Scandi jazzer–never.

Chuck Eddy has long been one of the best (and most open) music writers on the planet. He, too, offers monthly recommendations of interesting new musical offerings, and his latest featured a bit o’ metal, courtesy of lead Crystal Viper Marta Gabriel, Monster Magnet, and Joecephus and the George Jonestown Massacre . Metal is usually not my jam, especially modern metal (the worst excuse for singing I have ever heard, quite often), but the records Chuck anointed with a nice score all three a) are “cover albums” of throwback metal; b) mostly shine light on VERY obscure older songs (Joecephus’ album, a Nazareth tribute, is the exception); c) head-bang balls-out in a trad manner; and d) are a blast. I may be overrating them on this list–as is my wont when I put a list up right after I’ve heard something enjoyable–but maybe I’m not. Time will tell, but my wife Nicole loved all three, too, and I have my Marta Gabriel poster on my office wall.

I’ve probably listed 10 albums over the past five years that my students had to force on me because I made the gas face in class when they mentioned the artists involved. One of this year’s candidates is Willow Smith. The student who verbally twisted my arm is probably the best writer, thinker, and talker I’ve ever taught, and she understood my balking but reminded me that anyone can make a stunning record. I tried Willow’s lately I FEEL EVERYTHING and I must admit it is…powerful and dynamic. Thanks, Jadyn.

Thurst. I really enjoyed the first album, liked then forgot the second, and find myself amusedly intrigued by the conceptual thrust (not a typo) of the songs here. The structures and instrumental attack don’t demonstrate much variety, but the songs tickle me in a snide and sloppy way, so I’m going with it.

The excavation of transitional-period ’65 Trane playing A Love Supreme live with Pharoah Sanders and an expanded quartet had me on tenterhooks for months. I have a refined taste for racket, so reports of the classic suite being somewhat defiled bothered me not a whit; I’d also heard the fidelity was not the best, but these days I often wonder if the young writers who report this have ever heard ’60s-’70s vinyl bootlegs. Alas, though, while I value it, it’s not quite the mind-blower most others have reported. The performance wasn’t planned, and you can definitely hear that; Pharoah ain’t quite full Pharoah yet–his tenor “warbling” works much better on Live at the Village Vanguard Again; Trane’s too level in the mix, to my ear, and Elvin seems to be the one you’re really hearing most of the time (could be much worse, but it’s not a drummer date). Historically, it’s major, but as an absorbing, potentially compelling repeat-listen work, not so much.

bktherula: DEFINITELY one to watch! And, of course, hear. Sound, rhythm, words–a pretty complete package, and becoming ever more impressive.

Snotty Nose Rez Kids: not sure why these Neechie MCs aren’t being more frequently lifted among us music nerds, because they’ve hardly stepped wrong up to and including their new record. Third Nations-representing with accuracy, humor, passion, wildness (kids everywhere are nuts), reverence for the past–whaddya want? Well, maybe the beats aren’t all that varied, maybe there aren’t enough hooks, but I suspect they’re operating on the cheap, and I advise you just lean into the words and the delivery.

JPEG Mafia and Pink Siifu have made their most accessible albums. That probably sucks for many; I personally welcome it, and honestly think the move better justifies their respective reps.

BOLDED ITEMS are new to the list.

Archaeological Digs

Living To Listen

Compact music commentary about artifacts new and old: I enthuse, I don't accuse, but I do refuse–to review anything lukewarm or colder!

Month: November 2021

No-Save* November: The Best Recordings Released in 2021 (So Far), Which I’ve Drained My Wallet For Despite Using Multiple Streaming Platforms

For Those I Love, A Burgeoning List Including Lots of Long-Playing Lyricism–Best Rekkids, January 1 – November 1

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