Another year in music, and the big question is of course: how was it? Any exciting new bands or releases that tickle the curiosity and passion of me, the humble listener? Let's dive in...
To quote one of the bands of my list this year - Calexico - the year's been an unconventional waltz. I'm impressed by releases from bands I've followed for ages - I mean - how do you keep up the steam when you're on your 20th or 30th year as an artist? Of the new bands on the list, it's almost exclusively young women. That's encouraging - if those artists continue making good stuff for 20 - 30 years we're in for good music for years to come.
Here's my list for 2018. It's not ranked, although I do think the best one is the first. I have also picked a song from each record in a Spotify playlist.
Pinegrove - Skylight
2016's Cardinal is a wonder of a record, and one that I listened to a lot. Finally an indie band with playfulness and creativity. Musically Pinegrove reminds me of the glory days of the likes of Built to Spill, and lyrically the traditional teenage and young adult angst themes. In 2017 they had recorded their follow-up, Skylight, and just before release #metoo hit. And one of the strangest stories of #metoo happened. Frontman Evan Stephens Hall issued a confusing statement about being accused of sexual cohesion. The consequence of events that followed was a one-year hiatus for the band, and therapy for Mr Hall. And the album (and the concert I had tickets to) was put on hold. Now, after the announced one year hiatus, the album is out. And what a gem.
Basement Revolver - Heavy Eyes
Basement Revolver plays washed-out guitar music that sounds like it could have been created at the height of the shoegaze era. And I like it. Whether it's nostalgia that is finally catching up with me is unclear, but at least this is new music and not a rehash of old songs. Perhaps the songs are not the strongest I have heard, but the total package does it for me. There's some similarity to the likes of contemporaries Alvvays (who are huge compared to Basement Revolver). So this is my "small indie band" discovery of 2018.
J Mascis - Elastic Days
Whether it's a new Dinosaur Jr. album or a solo album, J Mascis' songs feel soothingly familiar in a coming-home kind of way. A common critique is that the songs are too familiar, following a formula that has been used too long - basic chords, one chord per bar, J's moaning vocals, guitar solo. If you want to critique - sure - there's something there. However, the songs are crafted very well, and they feel good. What's the problem?
Finding you is easy, finding me is hard.
I don't peak too early, I don't peak at all.
Buffalo Tom - Quiet and Peace
Buffalo Tom was one of those bands who didn't quite make it to the mainstream and didn't quite make it as an indie band. My first record was 1992's Let Me Come Over, a record that at the height of the grunge craze simply delivered great songs. Their earlier releases had been more raw. On their 1988 debut listen to In The Attic - this song could be an early Dinosaur Jr song, and Walk Away is the quintessential sound of 90's indie rock. So when Buffalo Tom matured for Let Me Come Over, they missed the boat by being too early. Quiet and Peace is a very well crafted album that deserves more than one listen. Good stuff.
Hjerteslag - Nattseileren
Lyrically Hjerteslag is not too exciting for someone in their 40's as the themes are somewhat banal and teenage. The songs, however, are infectious guitar pop songs at their best. Coming out of Bergen - the de-facto pop capital of Norway, Hjerteslag delivers hook on hook, lift in a smooth, vintage sound and production. If you're young take the full package, if you're older just ignore the lyrics and enjoy the catchy songs.
The New Year - Snow
Two telecaster guitars straight into Fender amps playing monotonous themes and drones supported by slow, unexcited drumming and a slow bass guitar. A touch of electric piano and mumbling vocals. Brothers Matt and Bubba have been making music as The New Year since 2000, before then they released a string of great albums as Bedhead. Their music style basically the same - slow, mellow build ups that builds and builds and builds - lift on lift on lift and you're left with bliss.
Mayday, mayday - we've left our heyday
Searching the coffers for empty offers
Low - Double Negative
After the brilliant 2001 album Things We Lost in the Fire I gradually lost interest in Low, thinking they rehashed their formula without any new ideas. Their simple format - single snare drum, electric guitar and vocal harmonies - requires very strong songs to work. In their latest album, Double Negative, Low has expanded their sonic palette with noise and synthesizers in an experimental production, and have spent over two years recording this album with BJ Burton. This stuff is interesting on so many levels, and with the latest Yo La Tengo (also on this list) I'm amazed about bands in their 40's and 50's that reinvent themselves and deliver genuinely fresh music. Bravo. Looking forward to their concert in Oslo in February 2019.
boygenius - boygenius
Julien Baker, Phoebe Bridgers, and Lucy Dacus are all up and coming artists in their own right. Their project boygenius has only one flaw - it's an EP and as such way too short! This stuff is good. I expect most good stuff from these artists in the coming years.
Yo La Tengo - There's a Riot Going On
Yo La Tengo has been at it for a long time, and their latest album borrow its name from the classic 1971 album from Sly and the Family Stone. Yo La Tengo has always experimented with sound and form, and to me it sounds like their latest is experimental even for them. In Ashes an off-beat rhythm drives an eerie atmosphere forward, supported by reverse reverb guitars and Georgia Hubley's airy vocals. It's both classic and fresh Tengo. Well done.
Blow on the fire
Ashes blow away
Jeff Tweedy - WARM
Jeff Tweedy is a hero of mine, although thought Jay Farrar was the more interesting part of the Uncle Tupelo songwriter duo. Uncle Tupelo paved the way for alternative country in the early 1990's, and together with Lambchop ("the most fucked-up country band in Nashville") changed my musical tastes after focusing on indie rock in the first half of the 90's. After Uncle Tupelo we got two bands - Wilco and Son Volt, where the latter debut Trace was the better of the debut albums (Wilco's A.M is good, but not great). After that, of course, Son Volt and Farrar stagnated while Wilco re-invented country rock.
WARM is the first solo album Tweedy has done with original material. Tweedy is one of the best songwriters of his generation, and with WARM he shows why. His concert in Oslo earlier this year was pleasant, but nothing more than that, though.
Snail Mail - Lush
It may be a coincidence that the cover of Snail Mail's album Lush evokes Emma Anderson's red hair - the vocalist and leader of the 90's dream pop band Lush. Lindsey Jordan, the brains behind Snail Mail, was born in 1999, three years after Lush disbanded in 1996, so it's unclear if the reference is relevant to her or just to me, the old geezer. The album has been universally hailed as the next big thing, if indie rock can be a thing in 2018. Jordan has a strong backline supporting her, and the songs are surprisingly mature for a 19 year old. I'm looking forward to hearing what Jordan's next steps will be.
Calexico - The Thread That Keeps Us
Calexico has since their debut in the late 90's delivered albums of consistent quality based on their unique mariachi desert rock. Their latest is no exception. Joey Burns and John Convertino are exploring contemporary themes from modern-day USA, painting feelings with sound and whispered words - bridging a sense of vastness with intimacy. Just like J Mascis this feels more familiar than fresh, but who cares when the songs are this good.