15 albums

For no good reason other than that it's February, and I'll do anything to stay stimulated, here's 15 albums that affected me personally, changed my life, or otherwise will never be forgotten by me. In chronological order...

Unplugged in New York, Nirvana
My dad came over to my mom's house and flipped on MTV and waited until the video for Smells Like Teen Spirit came on. "I love these guys." He would have their albums on tape in constant rotation in his truck. I was sucked in. Only a couple years later, my dad would call me late at night and explain what had happened to Kurt Cobain. This was the first CD I ever owned, and with out a doubt, it is their best. It proved that they were more than just a Pixies rip-off who fell ass backwards into stardom. This is the way I remember Nirvana, and the way I remember Kurt.

Rubber Soul, The Beatles
This is an album of a good band coming into their own. The Beatles where already mega-stars that could have settled on doing Motown and Chuck Berry retreads. Here, they’re getting into Dylan, into English folk, and retooling their hit making capabilities to encompass better, smarter writing and more intricate melodies. But the album is also great for its simplicity, the kind of unbeatably succinct songs like “You Won’t See Me” or “In My Life.” It has a youthful energy that isn’t wild or sullen, but something breezy like later Beach Boys. This album will always remind me of Toronto in the summer.

Is This It, The Strokes
Early in high school, all I listened to was music from the 60's and (embarrassingly) jam bands. But I didn't fit into the neo-hippie culture of the Phish-heads. When I heard the Strokes, a light went on, and I knew I'd found my music. As much as we've all moved past them by now, I realize that the Strokes were the perfect band for a disillusioned young man. They could express the nebulous teen angst and aggression that define those years, but also be really fucking cool, and like way fucking cooler than anything else on my radar other than maybe Beck. But most importantly, they pointed me to much better bands—an alternate history of pop music. I still wish I could sing like Julian Casablancas.

The Velvet Underground, The Velvet Underground
Album #3, the quiet one. After hearing both of my parents casually dismiss the Strokes as a Velvet's retread, my mom pulled out a tape of this album to prove her point. "What Goes On" certainly showed me what they were talking about. But the album as a whole has so much more, and I think it gets no respect. Lou's voice sounds better here than anywhere else, and the songs are just perfect. This album also sealed the deal, and like the saying goes, I went out and joined a bad.

Slanted and Enchanted, Pavement
I own this album in two formats, yet it will never sound better than the first time I heard it blaring from Andrew Scanlan's ghetto blaster in the Mazda-that-will-never-die-323 on our way to buy a PA system for the band. Oh my god, Pavement. My life would be nothing like it is now without this record. I've never gone very long without listening to it, and I probably won’t, because there are so many memories attached to it. Andrew, Anna, Nell, Ben, sing with me now, “Ice baby, I shot your girlfriend…”

KID A/Amnesiac, Radiohead
The two are inseparable in my mind, and for a while, I actually thought Amnesiac was a better album. I can say very little about either of them that won’t be total babble. I’ve clocked maybe 11,000 hours or something listening to them. They are both better than Ok Computer, no fucking contest. Ok Computer was genius and groundbreaking and what not. But it wore its organic/synthetic beautiful/ugly pop music/art music seams in typical 90’s postmodern fashion, and sounds dated. Hear, the lines aren’t blurred, they’re completely gone. I even like the weird “KID A=first human clone” urban myth because it seems about right. But none of that matters. What matter is that every time I hear the horns come screeching in on National Anthem, I completely lose it.

Echoes, The Rapture
And to follow the greatest records of my life with the most easily forgotten…
Ok, so maybe it’s the Strokes part two in my life, my false introduction to a scene that maybe only existed for four months, maybe completely run by trust fund hipsters, maybe only in the minds of rock critics. Except that it freaks out in a way that is so subversive, so dirty, so sexy, so cool, and yet so stupid… I don’t know. It’s still the soundtrack for a perfect party in my book. It’s sad to realize that the real coked up quasi urbane kids aren’t even close to being this fun.

You Forgot it in People, Broken Social Scene
One of the most authentically romantic records you will ever hear. There are many elements to the band that can totally sidetrack them, like having a rotating lineup that incorporates dozens of musicians, a totally unchecked earnest delivery, heavy handed production, and the post rock breeding frequently leads them past the six minute mark. But when it works, it works extraordinarily well. I could fall in love with anyone within eyeshot when I listen to this.

Girls Can Tell, Spoon
One of the many breakup albums in both Spoon’s career, and in my lists of favorite albums. It’s a simple story about a guy who falls in love with a girl, moves to Chicago, leaves because he’s pursuing a rock career, gets dropped by a major label, and must now confront his failures while being surrounded memories of his youth. It’s also about men’s fashion. It’s also about two over educated, under stimulated kids from some shit hole town and the artistic/romantic obsessions they sometimes shared, sometimes fought endlessly over. It’s about their unkind imaginations. It’s about when you were 19 and still in school waiting on a light on the corner by Sound Exchange.

Daydream Nation, Sonic Youth
I thought about putting Murray Street or even Washing Machine because I thought almost everyone who likes Sonic Youth is going to name this as their favorite. But neither one is as life changing as Daydream Nation. It’s an album that deserves intellectual examination, while also defying it by sheer volume and aggression. If the album was just Teenage Riot on repeat for 45 minutes, it would still be their best.

Spiderland, Slint.
If you’ve really listened to this album the whole way through, and it didn’t in some way stick with you, if you weren’t in some small way compelled to listen to it again sometime soon—but not too soon--because it hasn’t sunk in yet, if you weren't compelled to patiently follow the insistent but subdued guitars to the very bitter but (triumphant? Fucking awesome?) end, then I don’t know what to say to you. For some people its David Lynch movies, for me, it’s this album.

This Night, Destroyer
His darkest, longest, most personal, most romantic album without a doubt. Not his best, but it’s got to be my favorite. Dan Bejar has a knack for pushing real emotion through even the most obtuse lyrics, but the ones here are actually pretty simple, and the imagery is pretty consistent. This album pulled me through a rough period of longing and self loathing. It feels like a breakup album, but one without all the bitterness, spite, and self pity. Sometimes it sounds like a love-letter, so I can’t really say what it’s supposed to be emoting. It is what it is, and it seems to be an artistic statement about that very emotion.

Early Works, Steve Reich
Steve Reich has the incredible ability to make music that is an all encompassing experience, a form of meditation that quiets your thoughts and opens your mind. And he does it without any trappings, without any tricks. His trick is transparent: set something in motion and let it play out to its end. Unlike Cage’s indeterminacy, Reich is purposeful. He’s not only concerned with the processes he puts into action (phasing, canons) but more importantly, the starting points. The nuanced chord he picks for Four Organs, the rhythms he chooses for his phase pieces, and the source of his tape works. This is what makes “Come Out” and “It’s Gonna Rain” more than just an experiment. Listen hard to the disintegration of the fiery sermon in “It’s Gonna Rain part II” and you understand that Reich has a deeply spiritual investment his work. Even though Reich has been an entry point for me into Art Music and experimental composers, I still think of him right alongside Brian Eno, Miles Davis, Sonic Youth, NEU!, Animal Collective, or J Dilla.

Cryptograms/Flourescent Grey, Deerhunter
I feel like I’m always defending this album, always explaining that the long ambient washes are just as important as the ‘songs.’ So many people will never be able to listen to this record without injecting their feelings about Bradford Cox into it. And as lauded and successful as the album and the band are, I still think this album is underrated. But the thing is, it’s a grower. If you don’t let it get under your skin, you’ll never really appreciate it. God knows where, there is a suncooked worn out tape of these records (the two come printed together as a double LP) that I listened to on repeat in a delivery van two summers ago. The hazy afternoons with the sun bleaching everything, a warm breeze coming and going, the skeletons of buildings hanging in the skyline, parking by the lakeshore just to take a break… this album was perfect.

Person Pitch, Panda Bear
I had been against the Animal Collective for a long time. I hated the ‘freak folk’ scene, I was starting to hate New York, and I hated that Animal Collective was being seen as the only ones actually pushing forward into new musical territory, I hated that this was the album of the year. And mostly, I hated good vibes. So the speed at which this album totally turned me around is amazing. The warmth and generosity, the familiarity, the timeless quality, all from an album made by some dude with a sampler. And the dude with the sampler, the guy who had music critics and other musicians frothing at the mouth with adoration, is actually a really nice guy. And the fact that I came way late to the Animal Collective party should be some sort of terrible shame on me forever in the world of music lovers. But no one gives a shit, including me, because this music trumps the fickle internet-bred sycophancy on which most bands live or die.

WTF

It's not that I hate an independent musician for getting driven around New York while chugging Starbucks, picking up her $1000+ guitar, claiming Williamsburg is the best place in the world, impulsively buying recording equipment on credit, being aggressively boring, all to end the day in a prolonged photo shoot at her gorgeous Manhattan apartment with her pack of poodles in an inch of gawdy make-up.
It's that I get the impression that I'm not supposed to hate it.

Young Chicagoans are more than aware of the tired trixie/chad/Northside vs art school brat/scuzzy hipster/Westside dichotomy. But alas, New York has surpassed us uniting the above into an unstoppable late capitalist nightmare. Give me a tie and a blackberry and point me to my middle management job because I'm packing it in. Anyone want to buy some guitars?

feeling gay

Below are four reasons I wouldn't mind making music that people thought was gay.

Two Weeks by Grizzly Bear


I love how tight Grizzly Bear are. I didn't like Yellow House all that much, but I love the Department of Eagles album and the Friend EP. I hope the rest of their new album will be as heartbreaking as this. Ed's voice has really developed.

A Song For Ellie Greenwich


I want my voice to do that, although I think it would hurt, and not really have the desired effect.

Hazel St


I miss dress wearing Bradford, and a little pissed that I missed this performance because I was having brunch. I don't think I've had brunch since.

Strange Powers


I think I might actually like pre 69 Love Songs Stephen Merritt more. Even though it's not as whimsical, I actually think it's less self serious.

I guess Moz should be on the list but Moz wouldn't be gay if he found a female version of himself. And he never really counts anyway. Also, something that doesn't count:



I loved this song, but would always have to turn it off around the family, although I regret not playing it audibly just to see what would happen. But shit, this video is awful. I'm consistently amazed at Broken Social Scene's unflappably earnest stance. When I found out Kevin Drew wasn't gay, I was kind of offended, although I couldn't imagine why or how. This video finally validates that response.

Modding guitar pedals and otherwise fixing things that aren't broken

I just finished modifying two guitar pedals in my possession, giving them both new life and better functionality. And, without trying to pat myself on the back (although I am quite impressed with them), I realized how gratifying it is to take something apart and make it better.

Not only have I learned basic electronics, but also sharpened my ability to research, to learn new systems and develop new skills with almost no instruction. It's not like I just fucked around until I got lucky (a lil maybe). I feel like this is another merit badge for my list of Skills For Surviving a Post Apocalyptic Future.

Andrew and I had brainstormed about this very issue. He's seen a biker with a weedwacker sized engine attached to his bike frame. As he buzzed down the road, Andrew declared that the Apocalypse has befallen us, but news hadn't spread yet. This guy must have gotten the memo though, and was already on top of it. Mind you, this is before the financial meltdown. So like William Gibson says, the future is here, it's just not widely distributed yet.

I'm hoping that what I'm learning now fucking around with second hand distortion pedals, could some day help me build wind turbines to power my own pirate radio station of the apocalypse. Or at least power a sweet soundsystem for those end of the world dance parties. Or maybe, I should just be buying lotsa guns.

All of this seems much more feasible than me EVER using ANY of the "SKILLS" learned in dramatic writing. Besides, in an oral culture (and you can bet that's what we'll be for the most part), narrative will be a more important art anyway. Or maybe, there will be post-civilization "happenings" or new forms of performance. But let me tell how fucking useless the dramatic form will be in a world where food is scarce and there is no government to protect you. That will be almost as useless as the degree I'm spending 3000 extra dollars just to get.

Of course, all debts will vanish. So, maybe I don't have an excuse not to show up on Tuesday.

Pitchfork.tv makes me wanna smoke crack

All in all, I find Pitchfork's venture into internet video pretty entertaining. I like that it's commercial free, I usually enjoy the content, and even its flaws usually aren't glaring or obnoxious. One small bone I have to pick with the site is the usually breathless fanboy interviews (see Justice, Liz Phair, Animal Collective). Not that I feel like these artists need the third degree, but the wide eyed puppy dog interviewers tend to deflate the interview pretty quickly. And then there's this...



From the completely shrugged off show of fraternal physical affection, to his ability to be completely disoriented by a single word answer, Cosmo Lee steals this interview with his black hole of a personality. To Jesse's credit, his comic timing is unflappable. But it's as if his one liners and aphorisms just register a "DOES NOT COMPUTE" in the CPU of Cosmo's humorless android brain. Give this man an original series, or maybe just drop him into Tim Harrington's waste of server space, Beardo.

Bros

A response to Leigh's eloquent post about her girlfriends...


During Christmas, my roommates and I had sent a series of emails checking in and wishing each other well. Each one of us had admitted (sometimes begrudgingly) that we were all important to each other, and that we were all thankful for such good friends. Now, you can blame Christmas cheer or cabin fever for this, but it was kind of a big deal for me.


This shouldn’t come as a surprise to anyone who knows us well. We’ve lived with each other or known each other for years now. We’re the official Lost Boys, the Princes of Pilsen, those assholes, or whatever you want to call us. Jokes aside, I have to admit that I wouldn’t know what to do if I didn’t have these guys.

I’ve had so many close friends in my life, and I’ve tried to tell most of these friends how important they are to me. But looking back, I haven’t had a group of guys were I felt so much a part of. I played sports, I had a band, I’ve had plenty of good male friends. But I haven’t known many guys who I consider my bros. My brother and my dad, sure, we were tight. We were the boys, and I have healthy relationships with them both. But as far as friends, I’ve rarely felt that I could let my guard down amongst other guys. In high school, my friends were petty and competitive. There was a lot of drama, a lot of bitching and cruel backstabbing. The guy I probably had the most healthy relationship with was my bandmate Andrew, but I talked shit about him behind his back out of pure jealousy.


I don’t know if people always realize how cruel men can be to each other. There’s this idea that guys are always out-front with each other, that they get into fist fights and beat each other to a pulp, but afterwards are cool with each other. And yes, that does actually happen. But there are just as many guys who can pull some real mean girl style bullshit and appear totally masculine uncomplicated when they do it.

So when I finally fell in with these guys, I felt a huge sense of relief. We can be masculine and stupid with each other. We can get drunk and disorderly and make cruel fun of each other. But I feel like we all have each other’s backs. And we can be disarmingly honest with each other. That’s the defense I have against the Lost Boys tag. We’re not just dicking around and avoiding responsibility. We’re all very concerned with growing up, becoming good men, good people. And no one is more critical of us than each other.


I know I’m lucky, and I know this won’t last forever. We will all grow up, move out, possibly marry, have families of our own. But I hope we never grow too distant. I would love for our children to be friends, to feel like cousins. That may seem like a pipe dream, but it’s not totally unrealistic. Working with MPAACT, I see old college friends working together, in community with each other, their children playing together like cousins.

I hope we haven’t alienated ourselves from our other friends. This winter has been isolating, and I know, this is what we get for moving so far away. But I hope our friends feel like our doors are open to them anytime. I also hope that the 'boys only club' feeling isn't too strong, that we haven't alienated our female friends. I know that we have, and I'm sorry. It's a pity that it often took breakups or frustration with girls to bring us together. But it's not what holds us together. Besides, as Weezy says, "[we've] been hated by the seasons, so fuck y'all whos hate'n fo no reason"


ahhh


Stay critical or die,

Nigel

End of Year List

Atlas Sound Let the Blind Lead Those Who Can See but Cannot Feel
Atlas Sound is Deerhunter ingénue Bradford Cox’s solo moniker he’s previously used for releasing vinyl-only tape collages on scattered small labels. (Yes, I bought all of them I could find). Here, Cox turns to tighter song structures and a clearer lyrical narrative. These songs are alternately delicate and fucked up, many times both at once. That is to say, perfect for winter. Cox also used my favorite recording program, Ableton Live (see below), which makes me believe we should be best friends in real life. Also, Cox is a really nice guy. I met him before his show at the Empty Bottle, and he offered me a copy of his album for free before his tour manager told him he shouldn’t.

No Age Nouns
I was casually interested in No Age until I saw them open for Liars. They blew me and everyone else away. I lost my shit and ended up doing several embarrassing fifteen year old things like pogo-ing, screaming “I love you” and “play it fucking loud,” and playing air-guitar, then Randall’s guitar as it was passed around the audience. In my defense, this is the only accurate response to a No Age show. I mean, I wonder what they said to each other after recording Brain Burner? Did they say, “Oh that was nice, let’s take a break,” or did they high five each other mid-air while jumping of Randall’s amp and screaming “FUCK YESSS!!!!” Totally rad album, totally rad guys (and I thank them for reintroducing rad to my lexicon). Also really nice guys. I got to see them after Pitchfork at somebody’s basement. Indescribable.

Jay Reatard Blood Visions, Singles 06-07, Singles 08
Like No Age’s dark counterpoint, Jay Reatard writes abrasive, tight, loud, poppy, and deceptively simple songs at a rate of about two per hour. He’s also known for punching wayward stage climbing fans with no remorse, and sticking a flower up his ass in an impromptu set with King khan. I shouldn’t like this guy. Maybe it’s because he’s of the few people who actually deserve comparisons to early Wire records. Maybe because he’s lead to my discovery of Kiwi-pop (also, below)? Or maybe because getting punched by this guy might actually feel as good as getting pummeled by his live set? Who knows? Who cares? "Puppet Man, lets go!”

King Khan and the Shrines The Supreme Genius of King Khan and the Shrines
A total surprise to me. I’d heard about King Khan, but was generally disinterested. I didn’t think I’d have time for some kind of garage-funk hybrid at this point in my life. His live show at P-fest won me over. I think it won everyone over, as he got us all to burn and rip up dollar bills (creating a ripple effect still being felt in the money markets, I’m sure) like cult members. King Khan is what’s been missing from independent—no, all pop music for along time. He’s a consummate performer, excellent band leader, bat-shit insane guru, and all around charmer. Also, Welfare Bread is a great anthem for the Great Depression part II.

Deerhunter Weird Era Cont.
I’m not just being a dick by listing the bonus CD from Microcastle, I just though Microcastle was underwhelming. A few great songs, some boring ones, a couple of medium ones, over. I can’t complain because Bradford Cox is a prolific man, and I’ve rarely been let down. Weird Era makes up for every weakpoint on Microcastle with amazing songs that should have been part of the album proper (its version of Calgary Scars should have been on the album). Best one is Vox Celeste, in which Deerhunter finally nails My Bloody Valentine, and does it one better.

Women Women
Recommended to me by the always reliable Liz and Lance from Permanent Records. This album is exactly what I wish I could make. A lo-fi album that is messy, tight, tuneful, abrasive, succinct and sprawling. It’s a remix of my favorite elements from No Age, and possibly better. I’m still diving headlong into this album, but unlike most of the albums listed, I’ve gotten everyone else in the apartment onboard. Listen to Shaking Hand and then buy the album.

The Chills, The Verlaines, Flying Nun Records
Apparently, early 1980’s New Zealand was the best place to find melodic pop bands. Flying Nun records documented what came to be known as the Dunedin Sound, a collection of talented bands hovering around Dunedin including The Chills, The Verlaines, and the Clean. I became briefly obsessed with the Chills after listening to Pink Frost. And the Verlaines wrote my new favorite pop chorus in Death and the Maiden. So good I played an unrehearsed and ill advised cover of the song just because I wanted to sing it.

Of Montreal Skeletal Lamping
Completely underrated. At first, this album seems less confessional than Hissing Fauna, and a lot of people are put off by Kevin Barnes’ black transvestite alter ego. It’s indulgent, but it’s also frequently brilliant. Very gutsy, and rewarding after repeated listening. An Eluardian Instance is a heartbreaking coded love letter to his wife, which is especially rewarding to fans who followed his story thus far.

Bertolt Brecht/Kurt Weil Threepenny Opera
I had the pleasure of working on the Hypocrites production of 3penny at the Steppenwolf. During which Joe and I finally got “really into” Kurt Weil and the nonstop hits in this show. Just perfect, and way more influential than I ever realized. Most Fav, Jealousy Duet.

New Pornographers Execution Day
“ON THIS DAAAAYYYY….”

Ableton Live, PSP Vintage Warmer, Abby Road 14213
Ableton Live is the best recording software ever made, primarily because it’s made to make music, not just record it. Once you learn the program, it stay’s out of your way and has a massive arsenal of easy to use plug-ins. But to really get it right, I needed PSP Vintage Warmer and Abby road 14213 plug-ins. These are modeled after famous solid state vintage gear, the second modeled specifically after the compressors found in the EMI desks at Abby Road and used on the later Beatles albums. Also, giving these plugins nicknames will make you feel less lonely after completely imploding into total geekdom. But seriously, these are golden and indispensable.

Music Ben Listens To
Despite my ravenous internet seeking, name dropping, and talking about that No Age show where I almost met Avey Tare, Ben will always find away to one up me. This year, he introduced me to some of the best psychedelia ever recorded, made me respect post Modern Lovers Jonathon Richmond, and left my Dylan love in the dust as he plunged into the near unlistenable Self Portrait with Ethan.

Music Ben has Recorded
Well actually, I recorded some of it and played bass on some of it, so…
Seriously though, there is going to be a songwriting arms race as our gear buying arms race has grinded to a halt. And Ben is winning so far.

Ethan Heil
For buying the sickest amp, for being the most rock and roll, for his smart ass opinions, and for putting up with me for two years in a row.

Ben and Ethan getting into Spoon
HA!

Jazz at the Skylark, Open Mic Nights at Bernice's tavern
Just two reasons why where I live is cooler than where you live.