TRMW Archives

* FYI, this stuff is old. The current TRMW is here.

January 29, 2005

Best of 2004

Wherein I finally post something resembling my favorite records of 2004. I have a reputation for showing up ten minutes late for everything, so I suppose it only makes sense that I should be about a month late to the end of the year. But fuck it. As a music obsessive, I feel compelled to compile these annual best-of lists, even if I do feel a little conflicted about the whole thing, for many of these reasons. I’ve been waffling on whether or not to do it this year, but, after reading and enjoying other people’s lists (click click click click click click click + magazines + emails), it only seems right that I should “give back”, or something.

That decided, I started my list, and quickly found myself in the odd position of having only three two solid favorites for 2004. Which seems really weird to me. I heard shitloads of music last year; how can it be that so little of it left any real impression on me? I’m thinking maybe it has something do with listening to too much music (by the time I finally get around to downloading/buying that album I needed to hear there’s five more in the queue, repeat), and something to do with spending a lot of time searching out old records. So what then, a top 2? Seems kind of anticlimactic.

Also, I have a hard time assigning rankings to music I like, and I’m lazy, and I like to avoid things I have a hard time with.

All of this leads to the semi-compartmentalized, not-really- hierarchical un-list you see below. I feel this format allows me to more accurately reflect the stuff I heard and how I felt about it, and prevents me from tossing in a bunch of stuff I wish I heard and half-like into something like the traditional 10.

In the end, the point of all this is really just to turn you the reader on to some good music I think deserves attention. This is what many of the lists I’ve read these past couple weeks have done for me; I hope this one does the same for you.

The Big Two:
Brooks Red Tape (Soundslike)
The Ponys Laced With Romance (In The Red)

Wish I’d listened to More:
Joanna Newsom The Milk-Eyed Mender (Drag City)
Kanye West College Dropout (Roc-a-Fela)
Animal Collective Sung Tongs (Paw Tracks)
Green Day American Idiot (Reprise)
Youssou N’Dour Egypt (Nonesuch)
Viva Voce The Heat Can Melt Your Brain (Minty Fresh)

Honorable Mention:
Cut/Copy Life Like Neon (Modular People)
Juicy Panic Otarie (InPolySons)
cry.on.my.console Rum Loving Bass Pirate
Soundhog As Heard on Radio Soundhog Volumes 4 & 5
boom selection
20 Jazz Funk Greats

Portland, Oregon (recorded, albums):
Strategy Drumsolo’s Delight (Kranky)
Blitzen Trapper Field Rexx (Self Released)
Viva Voce The Heat Can Melt Your Brain (Minty Fresh)
Adelaide Adelaide EP (Self Released)

Portland, Oregon (recorded, songs):
YACHT “I Love a Computer”
YACHT “SHTML”
Blitzen Trapper “Pink Padded Slippers”
Dykeritz “The Fountain of Youth vs. Everlasting Life in Heaven”
Alan Singley “Seem To Have Forgotten” (anyone know the real name of this song?)

Portland, Oregon (live):
PDX POP NOW!
Nice Nice Alarmist CD Release Party (The Fritz)
The Snuggle Ups PORCH P*L*U*R 2004 (The Orange Room
Wet Confetti PDX POP NOW! (The Meow Meow [R.I.P.])
Portland General Electro KPSU Fundraiser (Some Dude’s House)
Menomena, The Joggers, talkdemonic (Lola’s Room)
Mirah PDX POP NOW! (The Meow Meow)
The Hunches The Triggers’ Second-to-Last Show(Jasmine Tree)
The Triggers, Electric Eye The Triggers’ Last Show (Berbati’s)
Clorox Girls Easter BBQ Party (PRA House)
Easter Beer Hunt (Laurelhurst Park)
Wet Confetti, Knock It Closer, CUM LAZER Big-Ass Halloween Party (Katie’s House)

Seattle, Washington (live):
The Girls Secret Bumbershoot Show (The Funhouse)

Killer Singles:
M.I.A. “Galang” (XL)
Air “Run” (Astralwerks)
The Thermals “How We Know” (Sub Pop)
Junior Boys “Belona” (KIN)
CASH “My My My” (BlackGround / Universal)
Mario “Let Me Love You” (3rd Street/J
Snoop Dogg “Drop It Like It’s Hot” (StarTrax)
Jammin95.5

Killer Single + Best Video Ever:
Ludacris “Get Back” (Def Jam South)

Old Stuff I Found and Loved in 2004:
Swell Maps A Trip to Marineville (Secretly Canadian)
Swell Maps Jane in Occupied Europe (Secretly Canadian)
Caetano Veloso Caetano Veloso [1968] (Philips)
King Sunny Ade Juju Music (Mango)
Au Pairs Playing With a Different Sex (RPM)
Alice Coltrane Huntington Ashram Monastery (Impulse!)
Brian Eno Discreet Music (Editions EG)
The Monks Black Monk Time (Repertoire)
Plaid Booc EP (Warp)
The Seeds “I Can’t Seem to Make You Mine”
13th Floor Elevators “You’re Gonna Miss Me”

CUM LAZER’s Fave Mid-to-Early Nineties Party Classix:
Skee-Lo “I Wish”
Montell Jordan “This Is How We Do It”
Freak Nasty “Da Dip”
Tag Team “Woomp! There It Is”
Salt n Pepa “Push It” (ok, late 80s)
Naughty By Nature “Hip Hop Hooray” / “OPP”

Steve Winwood Song That Nobody Realizes Is As Funky As It Is:
Steve Winwood “Higher Love”

NO, really. At the tail end of 2004 I performed kareoke to this song, as it is one of the few songs I know all the words too. My mom had a tape of it growing up, and I distinctly remember being left in the car, playing this song on repeat, memorizing the words, and singing my pre-adolescent heart out to it over and over again. I hadn’t heard it for quite a while, but when the backing music came up it all came rushing back. And I remembered: this song has the wickedest pseudo-Afro synthetic percussion / fake-ass orchestral synth combo going on, like, ever! People don’t realize this. I told my girlfriend as much, and now the phrase “nobody realizes how funky that song is” will live on forever as the supreme indicator of my complete and total music geekiness.

Here’s to a geeky 2005!

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January 28, 2005

Hangar 18, OneBeLo / Majestik Legend at Berbati’s Pan, Portland OR, Wednesday, Jan. 26

[This post originally appeared on Team Tinnitus]

My friend Javan is from Ann Arbor, MI, as are my three other friends Steve, Andrew, and Mark (another one). They also all went to high school together, which is kind of weird given that they all now live in Portland, OR, but such is the strong connection between these two lefty playgrounds.

Lately, Javan has been saying how we need to go to more hip hop shows, so when I saw this one at Berbati’s I was already thinking of him. Then I noticed that openers, Majestik Legend and OnBeLo (AK One Man Army) are both on Ann Arbor-based Subterraneous Records (named in reference to their invented slang term for Michigan : “Water World”), and the deal was sealed.

I mentioned OneBeLo to Javan, and he recognized the name from Binary Star, apparently one of the bigger underground-type rap groups in Michigan. Javan said when he lived there these dudes were merciless performers, gigging any house party or stage they could get on, often multiple times a week, oftentimes donning an oven mitt as a sign of regional pride (Michigan is shaped like a glove). The result of all this was semi-legendary status state-wide (I think).

So I went. Javan did too, but only after breaking the holy “bro’s before ho’s” maxim, forgetting about the show, and going out with his new lady friend for pasta. Turns out OneBeLo and Majestik Legend were performing together, with the latter mostly performing DJ-duties, which mostly consisted of pressing play on a CD player. They were great. OneBeLo has a great flow, able to stop and turn a phrase on a dime, changing up rhythms with perfect timing. The subject matter was mostly braggadocio, except for one song equating love with extraterrestrial contact, and another about media propaganda (or something). The alien lover song was my favorite of the night, both for the clever metaphorical device and the beat, which reminded me of Souls of Mischief’s classic “93 Till Infinity”. The rest of the beats didn’t match this one, and some of them fell into the bin marked “generic underground”.

I had no idea what to expect from Hangar 18. They’re on Def Jux which is a label I know people freak out about, but I haven’t really followed. They weren’t what I think of as Def Jux sounding. They had two MCs named Winterbreeze and Alaska, so right off the bat you know it’s going to be a little less “manly” than the Michi-rap. Both of these dudes were dorky in the extreme, and slightly effeminate. Maybe they weren’t really effeminate, but in a genre as gender-loaded as hip hop, the occasional girly giggle stands way out (yeah, rock is loaded too, but we’ll leave that for now). Being an un-macho myself, I did my best to put aside whatever lame preconceptions might keep me from embracing my own, and focus on how much fun everyone was having.

Stylistically, Hangar 18 reminds me of the Beastie Boys, or maybe their little cousin, Ugly Ducking. If you hate the Beastie Boys, you’ll hate these guys; if you love them, you won’t. I’m somewhere in between, and that’s pretty much how I felt about their set.

Unfortunately, the rest of my Michigan crew showed up right after the Michi-rap and just in time for Hangar 18. This was really their own damn fault for showing up at 11:30 on a weekday for a two-act bill. Some of them were pissed, and some didn’t care.

Drunks drunk: 3 beers (brand names withheld/forgotten), I think.

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January 19, 2005

Just realized I’m mentioned by (fake) name over at Beats in Space, the radio show hosted by DFA-affiliate and all-around mega-hipster Tim Sweeney. No really, the twelfth link down here points to Metempsychosis and mentions my old production alias, Comma. So I’m cool now, guys, right? GUYS?!?!

I’ll chalk this up to Richard Caraballo aka minusbaby, long time member of the Metempsychosis Krew and super-talented designer/photographer. Rich designed a past version of the Beats in Space site, maybe even the current one, I don’t know. You can see the genius oozing out of Rich’s brain here, in a good way.

markmattkaraoke

fig 16: trmw (left) and mark rocking the human league

In other news, Justin Wescoat Sanders and Douglas Wolk have joined the PDX concert blogging action over at Team Tinnitus. This means we can now be two places at once, and still make it out for karaoke the next day (see fig 16). Watch out, Portland, the eyes of Tinnitus are upon you!

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January 14, 2005

Mirah, Tricrotic, The Blow, Rigamortis at Nocturnal, Portland OR, Thursday, Jan. 13th

[This post originally appeared on Team Tinnitus]

It’s a freezing-ass night in Portland, and I just got back from seeing Mirah at Nocturnal, a brightly-colored all ages on top / 21+ below nightclub on East Burnside. The last time I saw her was at the PDX Pop Now! festival, at the Meow Meow last summer. I was one of the organizers of that event, and I remember her set distinctly, a sweaty and still oasis in the midst of an exciting, panicky weekend. This oasis might have had something to do with drinking beer in the green room with my co-blogger immediately before the set, but I digress.

On that day she was accompanied by a full band, complete with drums, strings, the works. Tonight she was alone, just her and a guitar, sometimes a piccolo. No matter: what makes Mirah Mirah is that voice. Clear as a bell, with this gorgeous, resonate midrange. Which I suppose could also describe the sound of a nice acoustic guitar, which might explain the perfectly unified sound they make together.

Her music fits like that. The words cut deep, squaring life and death and the small enormity in between. Small enormity; that’s what I heard tonight. Her lyrics are short and sharp; stark wisdom delivered in lucid tones, over pretty, stark guitar lines, the arrangement also stark, pretty. These simple, perfect parts make room for silence, and nudge towards infinity.

But that’s a lot of words and the three that kept coming to mind throughout this show and the last are enough: such beautiful music.

Drinks drunk: 2 Pabst

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January 12, 2005

Checking Pitchfork today I found the following horrible horrible Neighborhoodie. You may recall this is the same company that makes those HAWTHORNE, WILLIAMSBURG, etc hooded sweatshirts found on every other page of every alt-weekly in every city in which the term “hipster” has geospecific meaning. Seems the market for uber-dorky ‘hood indentification clothing is drying up, and now they’re touting cute hip/indie catchphrases. Hence this:

Neighborhoodie Post Punk

fig 15: ?????

What are these people thinking? Why does this exist? Did anyone stop to think how completely absurd it is to be waxing nostalgic over a not-really-genre whose only real point of unity was a complete and total hatred of nostalgia – in 200freaking5?!?! If, as I understand it, the people who constituted this movement were reacting against punk’s slide into same-old-Rock, as typified by The Clash, then I can only imagine their distaste for any person who has ever said “punk’s not dead”, let alone worn this t-shirt. Of course, holding these people in such golden-age-ish high regard is probably some form of nostalgia in itself [turning finger toward self] but why would you buy this if you didn’t? And why would you buy it if you did? There are bigger questions to be asking, but right now I just want to shoot mental darts at this person and whatever the fuck they signify. And I guess I just did.

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January 10, 2005

Trawling compulsively through the blogosphere last night, found some cool stuff:

This is an interesting post about some current grime-influenced dance music coming out of England, and it’s potential merging with circa-93 IDM melodicism, and how cool that could be. Yeah, this is obscure to the max, but isn’t that what blogs are for? I enjoyed the mp3 samples and descriptions of interesting music I would not have heard otherwise. I like blogs when they do stuff like this.

There is an interesting little meme going around regarding the roots of IDM, it’s “social content” and “sonic form”, and whether or not these are racist. Nice to see people talking about the social undercurrents underpinning various genres. This stuff is the meat that makes music fascinating for so many people, at least me, whether or not we’re conscious of it. Here you will find Jane Dark aka Felizitas’ original post, here is Philip Sherburne’s response, and here is Simon Reynolds’. This, also, is what blogs are for.

My friend and housemate and sometimes editor Mark Baumgarten has started a blog and another one dedicated to live reviews. I will soon be joining Mark in posting reviews of shows and stuff. Collective brains and reportage on things you won’t find in print = blogs.

So what is this one for? Hopefully the same things, and that bit about “music in context” or whatever I was babbling about a couple posts ago, but today we’re just pointing the way. I think I’m gonna post something like a year-end list soon, and maybe a round up of good lists I found elsewhere. Perhaps my top ten top tens? That’s also what blogs are for, and that’s kind of why they suck sometimes.

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Blast from the present!