Year End 2019: Top 10 Albums That I Discovered/Rediscovered This Year

Welcome to part 3 of my 2019 year end lists. For this section, I'll be talking about ten albums that were heavy in my rotation this year that I either discovered this year or rediscovered in the depths of my collection. These are not albums that came out this year. For that, stay tuned for the final entry in my 2019 lists, coming soon.

The Caretaker: An Empty Bliss Beyond this World

I first came across this record in my Youtube suggestions after a long run of listening to ambient records. This record, along with a majority of the Caretaker discography, is derived from heavy sampling and editing of old '30s and '40s ballroom records to create a dreamy, nostalgic, and sometimes disheartening feel. This, according to the artist, is meant to be a commentary on Alzheimer's disease, and the slow warping and degradation of the samples over time into general confusion illustrates this masterfully. Very interesting stuff.

猫 シ Corp: Palm Mall

In my internet travels, I was made aware of vaporwave and the scene years ago, but never really deep dived into it until this year. This album, along with the video that turned me on to the album, Pad Chennington's Mall Soft video (like and subscribe to him, he really deserves it) are really responsible for my infatuation with the genre. I just listen to the mall ambience and the soft jingles in an echo chamber, and I can almost smell the coffee from the cafe and the chlorine from the fountains of my childhood mall. This really evokes an incredible nostalgic response for me.

Corrupted Data Corp: クリスタル Bepis

Another vaporwave (ish) record Pad Chennington's channel turned me on to (seriously, subscribe). I really enjoy the chilled out atmosphere to the record, and it has a very syrupy and reverb heavy trap sound that sounds almost like drinking the refreshing beverage seen on the cover. I feel the sound of this album and the overall aesthetic (there's that word) of the presentation complement each other perfectly, and I wish a lot more trap production could be this spacey and chilled out.

Deathpile: GR

And now for something completely different. Around the beginning of the year ( I go through a lot of musical kicks throughout a year where I'll listen to one genre obsessively for a while) I got really into power electronics, and this record is one of the more notable for me in the genre. It's not very notable that a power electronics record focuses on a serial killer, in this case the Green River Killer, but to put the majority of the vocals from his perspective and the overall vibe of the album is a lot more creepy than a lot of these albums get. Most of the time, it's just abrasive noise and bombast, which this album definitely has, but it also knows how to create a bit more of an atmosphere of dread and discomfort. Subtlety is not always a focus of noise music, but it definitely doesn't hurt when it is.

Funkadelic: Maggot Brain

This summer, I had the opportunity to see George Clinton and Parliament Funkadelic in concert, which, apart from a bum sound guy, was amazing. In preparation, I listened to a lot of their albums to get psyched, with this record and probably Mothership Connection being my favorites. But this one has to win out, if just for the amazing title track, which was amazing to see Clinton's current guitarist rip through. If only the venue had a better sound guy (seriously, 'Maggot Brain' is pretty much an extended guitar solo. Don't bury the lead guitar in the mix, my guy). 

Mort Garson: Plantasia

I like to listen to a lot of ambient records when I'm doing music around the house. As such, I'm always scouring Youtube and Bandcamp for different ambient projects to mix it up (you can only listen to lo-fi hip hop beats to relax/study to so many times before patterns begin to appear). That's how I came across this gem, which coincidentally, Sacred Bones just happened to rerelease on vinyl this year. Score. It also got me down the Mort Garson rabbit hole, who has a whole series of records for the 12 zodiac signs, among other Moog and modular synth based projects. This one is meant to be played to your house plants to foster healthy and happy growth, which is pretty weird, but studies actually exist about music and plant growth so who knows. Either way, it's a pretty great record.

Meat Puppets: Too High to Die

Early in the year, I had some problems with my car that messed with the center console. Long story short, my aux in doesn't really work, so I was on the hunt for used CDs, since most of my collection is at my parents house. At a garage sale, I picked this up, having heard of the band and a few of their songs being performed on that Nirvana Unplugged special, but not knowing a whole lot about them. The CD has yet to leave my disc changer. This is a pretty ineteresting mix of alt rock, punk, and country that I can't really compare to a whole lot. I feel like it's pretty unique and out there, but still manages to be catchy as all hell.

Joni Mitchell: Ladies of the Canyon

At some point during the year, I had an obsession with early '70s California singer songwriter types (Neil Young, CSN, the Eagles to an extent), but I was really taken by the talent and songwriting of Joni Mitchell. I was going between putting this record or Clouds on the list, but this one won out to me because of 'The Circle Game'. It's just such a great song, and it really captures the passage of time, and the magic of being young, and remembering that time fondly. I had listened to this record in the past, but I never really gave it much of a chance outside 'Big Yellow Taxi' until this year, and that was a massive mistake on my part.

The Used: In Love and Death

This was another CD that I picked up for my car. I liked a decent amount of the scene bands from back in the day, but I never really listened to the Used back in my teens. That was a mistake. This record has so many great songs, and I feel like it's a lot more dynamic of an album than a lot of the "emo" records coming out at the time were. Bert and company knew that not every song had to be three chord chug fests with the amps cranked to 11. Sometimes the emotion could be more than just anger or melodrama. The only part i don't like on the record is the cringey spoke word section at the beginning of 'I'm a Fake'. I get secondhand embarassment just listening to it.

Whitehouse: Bird Seed

I don't think it's possible to go on a power electronics kick without at least listening to a few of the records by the group that coined the term in the first place. I feel like this record is one of their best, balancing the abrasiveness of their earliest stuff with the super disturbing (too disturbing in spots) subjects they delved into on their albums produced by Steve Albini. I just love the absolute hatred that William Bennett spews on every track. It's very cathartic to hear that much black bile vomited up with that much vitriol and violent anger. Plus, it's honestly pretty accessible as far as noise stuff goes. 'How You Never Became a Dancer' is hardly a hit single or anything, but it's definitely quotable, at least.

Well, that's it for now. Stay tuned for my top 10 albums of 2019 list, coming very soon.

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Year End 2019: Top 5 Disappointing Albums

Welcome to the second part of my 2019 year end lists. Here I'll be discussing the 5 albums of the year that were the most disappointing to me. Please note: these aren't the worst albums of the year, just those that didn't live up to the hype or my expectations. I don't actively seek out the worst of the worst. At least one of these records can be considered good.


Chance the Rapper: The Big Day
What happened? After both Acid Rap and Coloring Book were great tapes, I expected Chance's highly anticipated debut to be amazing, but alas, it was not to be. This waaay too long record was bogged down by bad lines, a corny tone, and, as I'm sure you've all been made aware, an incredible emphasis on Chance's love for his new wife. While loving your wife is definitely a good thing, and I'm happy Chance is happy, it's not a particularly interesting thing to hear about for 90 minutes, and the super happy, corny package the message was delivered in made the record that much more annoying to get through. Hopefully, Chance learns from the negative reception this album got and gets back on track.


Flying Lotus: Flamagra
This is probably the one album that I'm a little apprehensive about putting on here because it's honestly not even a bad record, but it just didn't live up to the expectations I had following up a record like You're Dead! The large amount of vignettes approach to the structure of the album didn't really add up to a cohesive whole for me, and I feel like there were a lot of ideas and experiments that were not realized to their full potential here. I feel like if Flying Lotus cut the number of tracks and expanded on the tracks he kept and saw the ideas to completion, the experience would have been much more fulfilling as a result.



Sleater Kinney: The Center Won't Hold
There were two things before this record even came out that made me a little nervous. The facts that St. Vincent (who has been on this list in the past) was announced as the producer to this record, and the departure of long time drummer Janet Weiss over the artistic direction the band was taking got me real nervous, and when the product was delivered, I could see why she left. This just doesn't seem like the same band to me. I feel like a lot of the edges were sanded off and they were going a lot more for an indie pop/ vaguely alt rock sound. Sleater Kinney used to be ferocious and passionate, and I just didn't hear that. Following this record, and what Janet has said following her departure (more of a forced exit from her POV), I'm honestly a little disillusioned with Carrie and Corin right now. This one hurt, not going to lie.


Tool: Fear Inoculum
After 13 years, I feel like it's okay to expect a grand return, maybe even a slight change in sound. When mbv came out after 22 years following Loveless, My Bloody Valentine didn't just feed you more of the same. They expanded upon their sound while remaining unmistakably My Bloody Valentine. Tool, meanwhile, just delivered a more plodding, meandering 10,000 Days. There was nothing adventurous about this album, and I think the response from the fanbase and general music listening public was more frustrating than the album itself. They were acting like this album was just sooo deep and so complex, like if I didn't like it, I didn't get it. Wow, you guys played in 7, cool. Hardly Don Caballero levels of mathematics there. In addition, playing in time signatures other than 4/4 does not let you off the hook when it comes to writing, you know, like an actual song once and a while?



Kanye West: Jesus is King
I actually had pretty high hopes for this album. Yes, The Life of Pablo was not very good to me, and ye was a little underwhelming, but I thought Kids See Ghosts was great, and unlike many others, the fact that this is a Christian record didn't really phase me (Bob Dylan's born again phase had some slaps, see 'Serve Somebody', and Bob Marley's entire oeuvre was essentially Rastafarian gospel). What irks me is how disingenuous the whole thing is, and cringey to boot. Kanye has no humility, and even in a record specifically made to spread a Chrisitian message, he can't put his ego aside long enough. He can't let Jesus be the only messiah in the room, and the Zane Lowe interview preceding this album reinforces this notion. Plus, the album is underproduced, underwritten, and not up to snuff on any level. As for the new record that came out last week, Jesus is Born, I'm sure someone has made this joke on the internet already, but if they haven't here's my take: Jesus is Stillborn. Try harder Kanye. Just because Christian music has a built in fanbase doesn't mean you no longer have to try. Also, try having some humility. It'll make you a better artist, person, and from what I've gathered, a better Christian. Pride is a deadly sin, after all.

So, that concluded my list of disappointing records. Feel free to shre some records that disappointed you this year, or to try to change my mind on these (you might be able to on Flamagra, but probably not the others). Check in later for some more year end lists, even though 2020 is here. Sorry, I'm perpetually behind.


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Year End 2019: Top 10 Books I Read

Welcome to the first part of my year end 2019 lists. This post will be dedicated to the top ten books I happened to read this year, not necessarily that came out this year. Last year I restricted the list to strictly music books, but I thought it might be fun to venture out this year.

The Minus Times Collected edited by Hunter Kennedy

This book is a compilation of 20 years of the Minus Times zine, which was essentially an experimental fiction mag that also incorporated some interviews, playlist recommendations, etc. It was an incredibly varied magazine and featured some contributions from the likes of Stevn Colbert, Harmony Korine, and Sam Beam. Definitely a weird read, but if you're into experimental fiction or weird short stories, maybe give it a shot.

Ready for a Brand New Beat by Mark Kurlansky

This book focuses a lot on the song 'Dancing in the Street' and its role in the civil rights movement. It also goes into a lot of early Mo-Town history and the history of the early '60s, which is pretty cool for those interested. There's also an extensive list of all the acts that have covered the song. There's a lot more than you would have thought.

Sway by Zachary Lazar

Zachary Lazar approaches some of the dark parts of the late '60s in a very interesting way, essentially blending fact into fiction to portray the lives of The Rolling Stones, Bobby Beausoleil, Kenneth Anger, and Charles Manson around the time Lucifer Rising was in  early development. For those who are interested in that time period and gobble up all the info on that era, it might be worth it to check out this novel.

33 1/3: The Holy Bible by David Evans

David Evans contributes a book length essay on the Manic Street Preacher's Holy Bible album. It's less of a track by track review, and more of a personal reflection combined with its overall look at the band and Richey Edwards around this time, as well as the band's Welsh heritage and culture. As a huge fan of this album, I was very excited to see the addition of the record to this long running book series.

Dune by Frank Herbert

What do I say about Dune that hasn't been said a million times before? It's essentially the greatest science fiction novel ever written, and I'm ashamed to finally just now getting around to reading it. Herbert's scope and level of detail in his world building is incredibly intricate, and I'd say only surpassed by the likes of Tolkein (I didn't see him invent languages from whole cloth is all I'm saying).

Play On by Mick Fleetwood

I'm not super into Fleetwood Mac, so I thought I might give this autobiography by the founder and drummer a read. It's pretty in depth into the history of the band and gave me a lot of insights as a relative newcomer that I would not have had otherwise. It actually expounds a lot on the pre- Buckingham Nicks period (yes they existed almost a decade before, get over it), but unfortunately it was published a little to early to comment on Lindsey's firing from the band. That would've been pretty interesting.

Night Shift by Stephen King

Stephen King is an author I'm pretty late to the party on, which is a bit of a blessing because I can pick up his books in Goodwills and free book bins all over the place and not go broke. I feel like he's at his best when he's given a little restriction in shorter works like this collection. King has a nasty habit of overwriting , and this short story collection keeps things concise and on point. This is pretty early King, and his Lovecraft influence is fully on display, which for a fan of Lovecraft, is a good thing.

Perfume: The Story of a Murderer by Patrick Suskind

I saw this book used and figured I should know what this fuss is all about. Having first heard of it through Kurt Cobain's interpretation of it as 'Scentless Apprentice', I gave it a read and was sucked into the world Suskind created. Inever knew how evocative a book could be, as the author tries very hard to convey smell, taste and other sensory qualities through written word. I'm looking forward to watching the film adaptation and the new TV series and seeing where they take the material.

Inherent Vice by Thomas Pynchon

Though by most this is given up as the most accessible Pynchon novel, its intricate plot, hallucinogenic haze and overall sense of confusion has me intimidated going  into my next Pynchon novel. This book reminds me a lot of The Big Lebowski on steroids, in that it's a detective story with a clueless drugged out hero, but the twists and turns this story goes through and the extensive cast of characters puts that movie to shame. I've picked up the Paul Thomas Anderson movie, but I've yet to give it a watch. Movie review, perhaps?

Touch and Go '79-'83 by Tesco Vee & Dave Stimson

This is a volume of the collected run of the punk rock fanzine that led to the label that gave us so much great music. I really enjoy reading contemporary reviews with a bit of hindsight (like where they were afraid that the Cure would never make it state side because they were "just too good"), and reading this book really got me going down some web holes searching for the more obscure bands the zine covered. Sure, we've all heard of X, Black Flag, and Minor Threat, but now I'm scouring the internet for Destroy All Monsters (they might be famous in Michigan, but not here) and other bands time forgot.

Check back in soon for more of the year end 2019 lists. Next up, top 5 disappoiting albums of the year, followed by (re)discoveries and the top 2019 albums.


"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."

Golden Nuggets #10: Diana Ross & The Supremes- Someday We'll Be Together

Welcome to the tenth edition of the Golden Nuggets series, where I take a look at the number one song on the Billboard charts from 50 years ago and reflect on the music of the past. Today we'll be taking a look at the song 'Someday We'll Be Together' as performed by Diana Ross & The Supremes. If you've never heard the song, or could use a reintroduction, you can take a listen to the song here.

'Someday We'll Be Together' was originally recorded by the group Johnny & Jackey in 1961, and was written by Johnny Bristol, Jackey Beavers and Harvey Fuqua. When the Tri Phi record label for which the song was recorded was purchased by Mo-Town later into the 1960s, the songwriting team also moved to the Detroit powerhouse, with Beavers subsequently leaving for Chess records. 

We fast forward to 1969, where Johnny Bristol had created a new arrangement and instrumental backing track of the song, originally intended to be given to Jr. Walker & The All-Stars. However, when Berry Gordy heard the new arrangement, he thought it would be perfect for the solo debut of his superstar and love interest, Diana Ross. Unfortunately, Diana proved to be pretty uncomfortable performing the song in the studio, and required encouragement from Bristol, whose ad libs and words were captured on Ross' vocal take. In the end, this was eventually marketed as the final Supremes single, even though no other member of the group made any vocal contribution.

It's very easy to see that this is during the end of the Supremes life cycle, as Berry Gordy is focusing exclusively on Diana Ross, not even giving the other members backing vocals. It also has a bit of a bittersweet finality to it, both in lyrical content and in sound, contributing more to the feeling that the group's demise had come. As a song, it's okay I guess. A little too mid paced and sentimental for my taste, as I generally like my Mo-Town hits on the upbeat and bouncy side. That may be why Gordy made this the final Supremes single and not Ross' debut; that would be a pretty unexciting first song and not exactly starting a solo career on the best foot.

It also feels fitting that this song with its sense of closure would be the final number one single of 1969, and though the song had been released in October, it took until New Year's Eve time to reach that spot.

So, that's it for Golden Nuggets for a minute. I'll be back soon with the first number one of 1970, 'Raindrops Keep Fallin' On My Head' by B.J. Thomas, but until then, I'll be trying to pump out some 2019 year end lists. I've decided against a decade list since that'd be a lot of me rehashing my old year end lists. Until next time.

"Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" for purposes such as criticism, comment, news reporting, teaching, scholarship, and research. Fair use is a use permitted by copyright statute that might otherwise be infringing. Non-profit, educational or personal use tips the balance in favor of fair use."