If you grew up in the 90’s, you may remember 1999 as a soulless wasteland of pedo-friendly teen pop, corporate-endorsement rap, and the unholy sludge of whatever post-grunge/nu-metal/rap-rock all those bands with the poorly spelled names were. However, that impression was wrong. There was so … Continue reading Spoon
Miho Hatori and Yuka Honda may have disappointed their fans when they broke up Cibo Matto, but we can be grateful for their legacy, and how much the pop music landscape owes to them. They can both rest feeling very satisfied that they’ve lived to … Continue reading Speechless
The world needs more Cibo Matto, but Cibo Matto have given sparingly to the world. They might just be the weirdest and coolest thing to happen in 1999. And 1996 and 2014, which covers each of their three albums. There may not be a huge … Continue reading Sci-Fi Wasabi
If anyone at all was paying attention a few weeks ago when I posted my annual top of the pops BEST OF 2014 rundown, you’ll remember that Cibo Matto ranked highly. It was with deep humiliation that I had to admit to never having listened to them before, something for which there is simply no excuse. The thing is, I’d heard of them, but I’d never gone so far as to listen to their music until their latest album began getting a lot more press than they normally have gotten. And it was one of those rare moments of dumbstruck enlightenment, in which my disbelief at never having known of such greatness brought me low. How could I have not known of a band with such a delightfully eccentric and far-out sensibility? Who knows, but I know them now, and I recommend that you do too. These ladies are taking the concept of ‘weird and Japanese’ back from the world of racist fetish porn and restoring it to a place of high culture, complete with the blessings of everyone from Reggie Watts to Yoko Ono.
2014 was a year of extremes. It was, in terms of world events, rather extravagantly bad, marked by violence and unrest. If there was any piece of music that could sum it all up, it would be Merry Clayton wailing out a warning of rape and murder for The Rolling Stones. That was many years ago, but the storm is threatening darker than ever. For myself…it was a year of extremes, ranging from about as good as it gets, to close to as bad. Most of the defining moments of the year are things I’d rather not talk about publicly. Let’s just say that there was more drug use and anonymous bathroom sex than usual. Fortunately, there was also a lot of good music. So without further ado, the year’s best albums.
1. Lazaretto – Jack White
You knew this would happen. Of course Jack White would take the top spot. I’ve been a fan of pretty much everything Jack does, and he doesn’t disappoint. The whole thing feels tight and angry, fierce and confident. He’s really become a master at what he does, and Lazaretto is exactly everything you would want from a Jack White album. And, of course, it all comes with the usual visual delights; Jack never shorts us on imagery and artistry. The videos make me wish he’d go ahead and make a movie. The songs range from wordless to heartbreaking. Once again, Jack White presents the total package.
2. Popular Problems – Leonard Cohen
I had marked Cohen’s previous album as good, but this one is better than good. It’s his best since The Future, and it’s been a long time. Cohen is a sprightly 80 years old now, and somehow he sounds livelier than he has in years. It helps than the songs here are more catchy than somber, and the poet’s graveyard wit is still about him. The favored themes of love and desire and death and life are all lined up, along with darkly comic commentary on the bleakness of the world. “There’s torture, and there’s killing, and there’s all my bad reviews…”
3. This Is All Yours – Alt-J
Congratulation to Alt-J for avoiding the dreaded ‘sophomore slump’ that affects so many people’s second albums. They escaped the twin pitfalls of either repeating their debut note for note or abruptly reinventing themselves to better suit their newfound fame. They’ve remained satisfyingly weird and clever, while also growing into their sound. It’s great to see a band keeping psychedelic weirdness alive – and being successful while at it! (Also 10,000 bonus points for taking Miley Cyrus’s boneheaded affirmation of Confederate pride and making it into something awesome and actually empowering.)
4. Ghosts of Download – Blondie
Blondie has consistently produced good albums since their late 90’s comeback, so it’s no surprise they’ve made another good one. However, this one feels particularly timely. Right now, Blondie’s euphoric New Wave pop sound is really having a moment, with so many new bands striving to emulate their energy and sass. So it’s right on cue that the original punk princess returns. The new record is unabashedly high on hooks and dance-floor ready. I first heard many of these songs live in concert, just about a year ago, and the new material stood well beside the classics. It’s like the 80’s never ended.
5. Hotel Valentine – Cibo Matto
I can’t believe I’ve never listened to Cibo Matto before! They’ve been flying just under the radar for years, and this album for some reason received more than the usual amount of publicity. Let me tell you, it was a case of instantly falling in love. Why would’t I love a concept album about a haunted hotel? Or a song with “Don’t throw the fucking oyster shell at me” as a chorus? If the ghost in the hotel appears to be that of Yoko Ono, it’s no coincidence; Ono is a longtime friend and mentor. It’s nice to discover a band of serious eccentricity.
6. El Pintor – Interpol
*Belated discovery of the year*
Another band I’d never listened to before that really struck a chord this year. Interpol are just back from a hiatus, so the new record came with loud and serious buzz. Well earned, it turns out. Having done my research with all of their previous albums, I can safely say, this is awesome by their own and any other standards. It’s Mancunian New Wave reborn, in a different decade, as New York City grunge.
7. Ultraviolence – Lana Del Rey
Lana Del Rey is a divisive artist, to say the least. She gets flak for her looks (plastic surgery or nah?), her stage presence (wooden), her public statements (dumb), her fanbase (hipsters), her everything basically. She’s both blessed and cursed for having arrived on the scene fully formed in the age of internet-based instant gratification, and she’s sparked some deep debate about image and authenticity. Right away she struck me as an interesting songwriter and an original voice, and she’s grown since then. On her new album she’s more mature, less in love with her own sex kitten image, more emotional and more perceptive. And she’s ready to parody herself and her hipstery ilk as well.
8. Lullaby and…The Ceaseless Roar – Robert Plant
Robert Plant had some bad years as a solo artist, mostly in the 80’s. (Didn’t everyone?) In recent years he’s reinvented himself as something of a folksy man of the world, in the sense that the world is his inspiration. On his latest, he’s gathered musicians from all over the globe to form The Sensational Space Shifters, and they’ve all brought a piece of their home culture. It’s Plant’s liveliest and most diverse album, and it might actually be the most diverse album by anybody this year. And he still has the voice of a golden god. No wonder he’s ‘not bored enough’ to get the Led back on.
9. Give My Love to London – Marianne Faithfull
I love it when Marianne Faithfull rocks out a little. Nobody does gloom and doom better than she, but high spirits become her too. She’s definitely in a spirited mood on this outing. And she brought friends! Nick Cave, Roger Waters, Brian Eno, Mick Jones and Steve Earle all show up, and it seems that collaborating with the masters of morbid really brings out everyone’s cheery side. Some of the tracks sound like they’ve been piped in straight from the sixties, others like they’ve escaped from one of Cave’s own albums, all delivered with a hint of a wink. Faithfull sounds like she relishes digging her teeth into everything from Cave’s extravagantly morose Late Victorian Holocaust to classic Everly Brothers to standout late period Leonard Cohen.
10. St. Vincent – St. Vincent
St.Vincent has become quite the critics’ darling – and rightly so. She’s quirky enough to satisfy lovers of eccentricity, and yet (just barely) accessible enough to actually sell an album or two. She also has the David Byrne stamp of approval (not that she needs the validation); the two made an album and toured together. But Annie Clark is in no one’s shadow. She’s the thinking man’s new rock goddess.
11. Cheek to Cheek – Tony Bennett & Lady Gaga
All is forgiven, Lady Gaga! If Born This Way was all gigantic choruses, then Artpop was all drawn-out middle eights. It felt like Gaga, having concurred the world of pop, was treading water in search of a new direction. So she did the last thing anyone would ever expect. She made a jazz album. With Tony Bennett. Does it add something profound to the genre? Not really. Is it campy and bombastic at times? Yes, somewhat. But it’s been a long time since I’ve heard those old standards belted out with such joy and enthusiasm. Lady Gaga finally shows off her vocal chops, and she sounds swell. It’s plain to hear that Gaga and Bennett had an absolute ball working together. It’s a contagious feeling.