What Makes Nancy So Great By Sidney 1 Beautiful 2 Sexy 3 Beautiful figure 4 Great sense of humour 5 Makes extremely interesting conversation 6 Witty 7 Has beautiful eyes 8 Has fab taste in clothes 9 Has the most beautiful wet pussy in the world 10 Even has sexy feet 11 Is extremely smart 12 A great Hustler
I'll personally never stop loving their fucked up love story. Never...
by Dave Segal
on Wed, Jan 18, 2012 at 10:40 AM
The results of Pazz & Jop, the Village Voice’s annual music critics poll, hit the WWW this morning, and .007 percent of the world’s abuzz over the outcome. Josh Bis broke the news earlier, and in this space I’d like to elaborate just a tiny bit about my ballot. 2011 was the year I contributed a minuscule speck of gray matter to the music-journo hive mind with my inclusion of Shabazz Palaces’ Black Up, which placed #10 in the album poll. I am a shameless sellout. But I don’t feel bad about it, because Black Up is a once-in-a-lifetime explosion of hiphop genius that deserves every iota of hype it’s garnering.
My next flirtation with being in lockstep with my colleagues occurs at #74, with Demdike Stare’s Tryptych, an epic, hauntological electronic masterpiece making a surprisingly high appearance. I am a shameless sellout. It was also fulfilling to see such near-misses from my list as Danny Brown’s XXX (#28), Oneohtrix Point Never’s Replica (#35), Clams Casino’s Instrumental Mixtape (#61), and Peaking Lights’ 936 (#106) come in at fairly lofty positions.
Surprisingly low on the scale were such worthies as Ty Segall (#100), Thee Oh Sees (#103), the Field (#111), Rustie (#113), Battles (#122), and the Dirtbombs (#170). (If you’re into schadenfreude, the Head and the Heart’s self-titled album limped in at #172. Even my beloved weirdos Psychic Paramount (#132) and Andy Stott (#157) ranked higher. Booya! If you’re into WTFs?, Sun Araw’s monumental Ancient Romans checked in at #276. Outrageous!)
As for the “Singles” chart, my top one was #68, Burial’s “Street Halo.” I am a shameless sellout. Other than that, though, my top songs of 2011 didn’t share much overlap with other music scribes’. Shabazz’s “Swerve” only reached #226, and shit gets really long-tail-y with this chart, as any song qualifies as a single in VV’s game. Most of my babies tied for last with one vote each at #604. Boo hoo.
Scanning the top 20 albums, I see a handful that I wouldn’t kick out of bed (the Roots, EMA, Kurt Vile, PJ Harvey, St. Vincent, Shabazz, of course), but most of the entries leave me apathetic. However, looking at the P&J top 20 singles, I feel as estranged from the mindset of my peers as I’ve ever felt. (Are we even the same species?) Still, ultimately, I am a shameless sellout. (Please read my motherfuckin' ballot, kthxbye.)
by Josh Bis
on Wed, Jan 18, 2012 at 8:47 AM
Bon Iver may have won over the Pitchfork hivemind, but Merrill Garbus's tUnE-yArDs was just crowned queen of the Village Voice's massive annual Pazz & Jop survey. Garnering 1645 points from 135 votes from the 700 music types who turned in their homework on time, w h o k i l l topped the albums chart a few points and 165 points ahead of PJ Harvey's Let England Shake. Jay-Z and Kanye West's Watch the Throme, Wild Flag's self titled debut, and Tom Waits's Bad as Me rounded out the top five (of 1734 individual records receiving at least one mention).
Meanwhile, Adele's "Rolling in the Deep" came out on top of the singles ballot, just ahead of Beyoncé's "Countdown", Nicki Minaj's "Super Bass", M83's "Midnight City", Jay-Z & Kanye West's "Niggas in Paris", and six hundred other songs from 2011. Dig into all the results (all of that data is available, just begging for all sorts of deeply geeky statistical interpretations), peek into individual critical affections (including the mystery reveal of the other half of Dave Segal's ballot and my own curious definitions of what counts as a single), and deep thoughts about what it all means at Pazz & Jop.
The Awl has collected from "43 music writers, editors, critics and assorted Awl music lovers... the most played songs in their digital-music libraries, as counted on iTunes or Spotify accounts." For example:
Amanda Dobbins, New York Magazine “Rolling in the Deep” by Adele, 1748 plays
Caryn Ganz, Spin "’Till the World Ends" by Britney Spears, 58 plays
Sasha Frere-Jones, The New Yorker “Katy On A Mission” by Katy B/“Tangerine” by Led Zeppelin, play count n/a
That "n/a" is a cop out, SFJ! And sorry to hear about your breakup, Amanda (there can be no other reason to listen to a single Adele song 1,748 times, right?).
I wish I had one to share, but I don't have my home computer here to check. I only remember one time years ago, when a coworker borrowed my computer and discovered while browsing my iTunes that Kelis's "Milkshake" was my most played song. I didn't even know the thing was keeping track. Dang you, technology!
Over the next 12 days, I'm going to highlight 12 local bands I like a whole lot and I hope will have a great 2012. In no particular order, really. And just because. Here's #1!
Boom City If you aren’t opposed to the term “Supergroup,” it would totally apply to newish Seattle band Boom City. There’s Eric Howk of the Lashes, Cristina Bautista of Visqueen and Paxil Rose (and her own impressive solo project), Burke Thomas of Vendetta Red, Pris, and Megasapien, and Nils Larson of the Greatest Hits. Put them together and BOOM! You’ve got Boom City, who play pounding and gleeful power pop laden with keyboards, harmonies, and a little attitude. Are you the type of person you likes it when other people describe things as “It’s like _________ on steroids”? Okay, then it’s like the Ramones on steroids. With guitar solos. And more than three chords. That comparison actually doesn’t work. One should never say “It’s like _________ on steroids.” Anyway! They're great! And their debut EP, a sampling taken from their upcoming full-length (which they plan to release this year), was recoded by Eric Corson and John Roderick and mixed by John Goodmanson. Look at all the names that were dropped in this paragraph! Good names, too. Boom City is destined to be great. Fuck it, they already are great. In 2011, it became apparent that Seattle’s music community has folk, alt-country, hiphop, heavy rock, metal, and hardcore covered, but good ol’ pop has taken a bit of a hit (RIP Visqueen). Well Boom City are bringing it back. And thank god for that.
Instead of a conventional list, i.e. one representing the year that has just come to a conclusion, here's a blast from the past—or at least a tiny explosion. In checking my email archives, it's the oldest one I could find. A hard drive crash destroyed all prior data, though there are a few older lists floating around on paper and in archived form (I was a member of the independent music mailing list, Chugchanga, for a decade and many of us would submit top 20s each year). At the time, I was writing about music for the All Music Guide, Amazon, and Tablet.
Top 20: 1. The Dirtbombs - Dangerous Magical Noise (In The Red) 2. The White Stripes - Elephant (V2) 3. Holly Golightly - Truly She Is No Other (Sympathy for the Record Industry) 4. The Shins - Chutes Too Narrow (Sub Pop) 5. Benjamin Biolay - Negatif (Virgin France) 6. Stephen Malkmus & the Jicks - Pig Lib (Matador) 7. Broadcast - Ha Ha Sound (Warp) 8. Quasi - Hot Shit (Touch & Go) 9. Various Artists - City of God [original soundtrack] (Milan) 10. The Clientele - The Violet Hour (Merge)
Conclusion: my taste hasn't changed much over the years. More below.
Fuckin’ a. Year-end lists are always difficult to make, and if they’re not, you just haven’t been listening. While wading through a desk full of killer albums, there are certainly the ones that stand out amongst others and are worth mentioning: Exhumed’s long awaited return, All Guts No Glory, Seattle blackened death metallers Book of Black Earth’s tribute to Swedish punk The Cold Testament, Disma’s skull-pounding debut full length Towards the Megalith, to name a few, but like all streamlined year-end lists, there’s really only room for five.
Now if I were to truly go by amount of listens alone, my top album of 2011 would have to be a record that didn’t even come out this year, but was reissued by Earache. Woods 4: The Green Album by Northern Ontario doom/post black metal quartet Woods of Ypres easily topped my most played list. I have to take a break from this one, though, as it’s difficult for me to hear the lyrics, “Life is just pain and piss/It’s nothing that I will miss,” being sung in the deep Peter Steele-esque baritone voice of Andrew Gold, considering the 31-year-old vocalist was tragically killed in a car accident just one week ago.
But I digress. Now going by the somewhat draconian year-end list rules set in stone by music journalists worldwide, I must push forward and choose wisely. Here goes:
Number 5: Benighted, "Asylum Cave"
5.) Benighted: Asylum Cave: From the abrupt yet familiar “What’s Up Doc” of Bugs Bunny that starts off this record to the lightning-fast blast beats of Kevin Foley and heinously unsettling pig squeal vocals of Julien Truchan, this French five-piece surely live up to the name of the genre they so proudly rep: brutal death metal. While at times it approaches death core territory, their chugga chug breakdowns are tasteful and never cringe worthy, unlike the Impending Dooms and Job for a Cowboys of today.
Number 4: Vader "Welcome To The Morbid Reich"
4.) Vader: Welcome to the Morbid Reich: After a few albums that really didn’t stand out much, Polish death metal crew Vader returned in 2011 with a meaty dose of old-school death, filled with memorable thrash-influenced riffs and fist-pounding anthems. Nothing too technical here, just pure, righteous, death metal awesomeness.
Number 3: Wolves In The Throne Room "Celestial Lineage"
3.) Wolves In The Throne Room: Celestial Lineage: So this is the end of Wolves in the Throne Room's three-part concept album, which began with Two Hunters and continued with Black Cascade?? If so, it's gone out in great fashion, as this record combines all my favorite of their elements—the moody, dark ambience and their melodic-but-fierce brand of Weakling-like black metal, while keeping things precise and tight enough not to bore me. I admit, I have pretty bad musical ADD. The seven minute-long opus “Subterranean Initiation” is quite possibly my favorite single song of the year.
This story has been updated since its original publication.
Earlier this week I asked you which songs you listened to over 100 times in 2011. Then smart lady Julia suggested via Twitter that I make a Spotify playlist of all the songs. Good idea, Julia! So here it is, friends, a playlist comprised of the songs you and your Line Out-reading peers listened to over and over and over again in the year 2011. It's over two hours long and, for those of you who listed more than a song or two, I just added the first couple of suggestions, so please don't feel bad if all of your favorites didn't make it.
by Dave Segal
on Thu, Dec 29, 2011 at 1:13 PM
Two Seattle labels—Hardly Art at #14 and Debacle at #20—made online zine Impose’s best of 2011 list. Both are well deserving of the honor, but the inclusion of Debacle is especially heartening. Run by Megabats member Sam Melancon, the imprint issued a lot of impressive experimental electronic and drone-based music this year. Crystal Hell Pool, Sorry, Brain Fruit, Karnak Temples, Daniel Bachman, and Melancon’s own Megabats all delivered important works in beautifully designed CDs.
by Dave Segal
on Thu, Dec 29, 2011 at 12:25 PM
Because you’ve not yet had your fill of year-end lists this month, we present to you the top-10 albums lists of Seattle radio station KEXP’s programmers. If there’s one conclusion we can arrive at from this, it’s that KEXP's on-air talent (nine of 'em) loves Shabazz Palaces’ Black Up. (By the way, this is the only album that my top 10 has in common with KEXP’s DJs.) Black Up—along with James Blake’s self-titled full-length—are the great uniters among the station’s jocks. Peruse the lists here.
by Dave Segal
on Wed, Dec 28, 2011 at 1:34 PM
To follow up on this post on my Pazz & Jop ballot from yesterday… I didn’t really listen closely to Oneohtrix Point Never’s latest album, Replica, until after I’d finalized my ballot, so my fave cut from it, “Explain,” failed to make my top-10 tracks list. A tragic turn of events, for sure. But I’m going to partially compensate for that gross mishap by posting about “Explain” here.
The last track on Replica (a strong album all the way through, by the way), “Explain” is like a prolonged, rapturous sigh of relief after a long, arduous journey. It strikes me as what would’ve transpired if My Bloody Valentine, still wondering what the hell to do after releasing the paradigm-shifting Loveless in November 1991, had collaborated with Seefeel, MBV’s closest competitors for the shoegaze throne, in 1993, when Seefeel dropped their aqua-solar-dub debut EP, More Like Space. The word "heavenly" gets tossed around too casually by music reviewers (I may have done it cavalierly myself in my younger, less disciplined days), but in this case it's totally justified. "Explain" proffers a gilded, lavender-scented ladder to a much lovelier, loftier realm
by Dave Segal
on Tue, Dec 27, 2011 at 2:48 PM
The Village Voice’s annual Pazz & Jop poll of the nation’s music critics is a big deal… to the 1,500 or so music critics who participate. This yearly stock-taking of the critical hive mind typically reminds us of the conservatism and herd mentality of the country’s opinion-havers on the music beat. There are a handful of writers whose lists deviate from the predictable norm, and you can determine who they are by a gauging system of selection similarity that accompanies the results (some guy with too much time on his hands tallies these stats; may Allah deluge him with blessings). The last few years, I’ve ranked near the bottom of P&J's critical pool for sharing affinities with other voters’ selections. And this is why I can’t have nice things.
Anyway, Pazz & Jop ballots have been sent and the results will be published Jan. 18, 2012 at villagevoice.com. However, in this dead zone between Christmas and New Year’s, there’s hardly fuck-all happening in the music world and the ravenous blog monster must be fed. So I’m going to give y’all a sneak peek of my top 10 albums and top 10 songs—but just half of my picks. Which half? Not telling. :p
Feel free to post your favorite albums and tracks of 2011 in comments. You have hardly fuck-all to do till Saturday, right?
½ of Dave Segal’s top 2011 albums list for Pazz & Jop
Actually, I didn't get any music for Christmas, other than the Ty Segall singles collection I picked up a few days ago, but here are 10 titles—plus one extra—I would have liked to receive...and I do have a birthday coming up in nine months (New Year's Day presents are also welcome). That said, I'm not complaining about the gifts I did receive. My friends and relatives know me well, so there was chocolate, champagne, bath products, and other life-sustaining substances.
by Dave Segal
on Mon, Dec 26, 2011 at 12:04 PM
Flavorwire has an interesting chart on the geographical stats of the artists who placed tracks in Pitchfork's list of top 100 of 2011. Seattle came in a 4-way tie for 8th place (along with Philadelphia, Providence, and Eau Claire, Wisconsin). Yay? New York City, London, and LA came in at 1-2-3. zzzZZZzz. The most shocking thing here? Chicago and Detroit each only had one artist represented.
Years ago I ran out of space in which to store any new CDs, and yet I keep buying them. Or people keep sending them to me. If I were a record collector, the situation would surely be worse (and I have plenty of those, too), but I still like CDs—in fact, I prefer them—and I'm not about to convert every release I own to mp3 or whatever the hell the kids are doing these days (I honestly don't know).
So, instead I've been stacking them wherever I can find a spot. Here are three of my favorites. Several titles in the first stack also appear on my top 10 of 2011.
by Josh Bis
on Fri, Dec 23, 2011 at 11:32 AM
While no year-end-recap can top Trent's collection of amazing interview responses, 'tis the season for list making; so I thought I'd take a stab at it. Rather than regurgitating my list of favorite indie jams of ohleven (already submitted to the relevant tallying authorities anyway), trying to decide which were the best shows I saw this year, or pick my favorite photos, I thought I'd instead flip through my archives from a fun year of blogtography to pick out some my favorite rock faces snapped during 2011. After the jump, a few of the better expressions made by people while performing.