Christmas Vacation

Fuckmas Eve!

Songs from 2011 - Part 9 - Queen of Hearts

In this interview, Fucked Up's Damian Abraham talks about a touring version of the band, one without him as vocalist. I say he's got it backwards. Fucked Up rules live because he's got the mic. What I want from Fucked Up are more guest vocalists on-record, a paring-down of Damian's role. Fucked Up's hour-long records, such as 2011's David Comes to Life, wear on me because of that bark that I adore so much in person.

That in mind, "Queen of Hearts" is the finest song on DCTL. The guitars are layered gorgeously, Damian gets two minutes to do his thing, and then it's the triumphant break for the female vocalist. The latest iteration of Fucked Up needs this song as a template. I want a record of songs like "Queen of Hearts."

 

Songs from 2011 - Part 8 - All the Sun that Shines

It's the best time of the year for people who follow online music journalism. What I do is cross-check the year-end lists, note the records that keep cropping up, listen to them in rapid succession, and winnow out the wack (like Kate Bush, Youth Lagoon, Liturgy, Bon Iver, Beyonce, Drake, Joyce Manor, Adele, James Blake, and on and on) from the dope (Black Lips, Paul Simon, James Ferraro, Julianna Barwick...). 

The lists also remind me about what I should have listened to all along. The distinctive cover of Peaking Lights's 2011 release, 936, caught my eye since spring. Worried that it might be standard psych rock revival, I ignored it. Joke was on me, though, because it's wonderful.

I mostly get down to "All the Sun that Shines" and "Birds of Paradise Dub Version." Deep grooves, reverbed chant vocals, spaced-out synths. "All the Sun" even begins like "Kokomo," which should clue you in to the sunshining mood that prevails. Peaking Lights were a nice surprise.

Songs from 2011 - Part 7 - Blue Eyes

Destroyer's new album, Kaputt, seemed destined to garner hype for a week and then disappear. A record with its quirks (corny saxophone, corny keys, corny everything) should not be enduring. Too many bands recycle 80s tropes, but we don't include Dan Bejar in that conversation because he's motherfucking Destroyer, and he's been on his game for like two decades. For me and for a lot of the internet with year-end lists, Kaputt was durable and worthy of revisiting. "Blue Eyes," with its quick start, sultry female backing vocalists, and laid-back groove stood out to me, but I wouldn't blame you if you prefer "Chinatown," "Savage Night," or "Poor In Love." Don't be ashamed or disgusted with yourselves.

Unfortunate end-note: Kaputt didn't work live for me at p4k.

 
 

Songs from 2011 - Part 6 - Sad Girls

I first heard Big Troubles while panning for Gold Zounds, and I thought they were great. That song, though, was from their first lp, and it sounds totally different from the offerings on 2011's Romantic Comedy. The song-writing is better on Romantic Comedy, but I hold the squelchy production on Worry close to my heart. They switched labels, and that's okay, because Slumberland took the reins from Sarah Records. 

"Sad Girls" is endlessly addictive with its sweet melody and melodramatic lyrics. Great record, great band.

Songs from 2011 - Part 5 - Doughnut for a Snowman

Could it be that all Robert Pollard needs to make another stellar lp is the name Guided By Voices? The solo work since 2006's From a Compound Eye has been marginal, at best. Boston Spaceships were sorta cool, but I'm still listening to Alien Lanes when push comes to shove.

"Doughnut for a Snowman" is the second mp3 from the new album Let's Go Eat the Factory. The first was "The Unsinkable Fats Domino." Whereas that sounded like a wack solo-Pollard deep cut, "Doughnut" is the best song he's put out since songs from FACE. That record is phenomenal, in case you couldn't tell, and so is "Doughnut." It's not "classic" in most senses; it's a mid-fi, mid-tempo Pollard vehicle that sounds like a solo cut. But it's the flourishes that make GBV records from Pollard songs, and this one's got loads: the bizarre pan flute intro, the subtle orchestration, and the abstract lyrics.

The hammer, of course, is Tobin Sprout. As usual, his backing vocals complete the song. His entrance at the second verse is so welcomed, and before we can tire of "Doughnut," GBV ends it. Now that's classic.

"When everything goes right for her, when everything goes wroooonggg."