Words and Guitar
I’d like to branch out and write about something other than music, but those posts generally take a lot longer—to compose, edit, and sort out exactly what it is I’m trying to say. And since I’ve been devoting more time to fiction (which you’ll never see here and—if the trend of rejection letters continues, which I surmise it will—probably not anywhere else. But I’m glad to at least still be writing about music.
Interesting tidbit: I’ve recommended six albums for this year, all but one by women. Completely unintentional, and I imagine the scales will tip back eventually, but still a situation I’ve not previously had.
CALL ME LIGHTNING – Human Hell (Awal ’14): Milwaukee-based punk trio fronted by the wonderfully emotive Nathan Lilley, going for a Minutemen comparison though curiously named after a Who song. Here’s a weird complaint for an album I really dig: the tracks feel out of order. The galloping “You Are Known” feels like the perfect way to cap the energy they exert throughout, with its racing guitars and almost royal declaration that “We will remember you!” Regardless, that they never let up on the energy is doubly impressive because it never gets tiresome—a tall adrenaline stein instead of a shot. A MINUS
KATE PIERSON – Guitars and Microphones (Awal): The lukewarm response the former B-52s frontwoman’s debut solo outing has received doesn’t surprise me a bit—unless you like your redheads shrill and insistent, her brand of glistening New Wave-revival will cut your ear drums rather than worm its way into the pleasurable part of your brain. Admittedly, I was turned off by the over-the-top “Crush Me With Your Love,” and anything that’s too slow doesn’t suit her voice immodulation affliction, but I’d be more offended if she’d gone acoustic rather than slather this with slick production tricks—the spacey synths on the title cut are a perfect example—and didn’t belt as much as she could considering her age of 66. Interesting note about the album title: that she includes ‘microphones’ but not ‘words’ should tell you she couldn’t care less how sappy some of her material can be. I couldn’t care less, either. A MINUS