There are favorite bands that I’ve known all along I felt a special connection with. Then there are bands that become favorites much later on, either because I didn’t know they existed until several albums deep into their discography, or I just didn’t think at first that they were for me. Anberlin is one of those weird cases where I was into the band from pretty much the beginning, but didn’t realize how deep of a connection I felt to their music until almost the end. I also didn’t realize how much it meant to certain other folks in my life until the clock was running out on our chances to actually enjoy the band’s music as a communal experience.Continue reading
As always, I’m closing the year out with a summary of my favorite records from the year gone by. The only qualifying factors to make this list are that they must be full-length albums consisting of new material (I have a separate section for EPs and collections of previously released material), with a release date in 2014. Everything I really enjoyed this year that falls outside of those boundaries still gets a mention, just not a ranking.
It was really hard to pick a clear #1 this year. I love the top four albums on this list just about equally. Two are more “baroque” pop records that lean toward the electronic and experimental, and two are more in-your-face rock records. They’re the only “A grades” that I gave out this year. Which one is my favorite among them changes based on my mood, so I basically gave the #1 slot to the one I’ve enjoyed for the largest chunk of the year. I can’t imagine very many other people who would ever actually listen to all four of them, let alone like them all, but they all come with my highest recommendations for anyone into the types of music these individual artists are making.
It’s that time of year again, when I arbitrarily sort through the list of songs I’ve been obsessed with over the past 12 months, and try to whittle it down to a semi-reasonable list of 100 favorites. A lot of these were released in 2013, and a few even in 2012, but as usual, I was late to the party.
Music videos and some live performances are embedded for most of the Top 30. I didn’t want to go too far beyond that, for fear of crashing your browser. I’ve also created a Spotify playlist that explores a number of these favorites, more or less chronologically in the order that I discovered them.
Last night, Anberlin put one of the most high-energy rock shows that I’ve ever attended – the kind where just watching is exhausting. (Not being able to resist moving to the kinetic rhythms of many of their songs – even when socked in by the presence of several other sweaty bodies – might have something to do with that.) You know how a runner who is otherwise exhausted can somehow still find an extra dose of strength to make that last sprint to the finish line? That’s what seems to have happened with these guys on their final tour. They tore through over 20 of their songs with hardly any breaks, only stopping briefly to thank the audience for making their 12 years of existence as a band such a blast.
In Brief: In closing the book on Anberlin, the band delivers a heartfelt (and sometimes surprisingly aggressive) set of songs that make it clear the band members see this as a beginning and not and ending. It’s not quite the grand finale I would have hoped for, but it’s a strong epilogue to cap off a remarkably solid discography. There’s a little something for everyone here, though fans of Vital and Dark Is the Way, Light Is a Place will probably respond to it best.Continue reading
Here are my first impressions of the latest releases from Chatham County Line, Sean Watkins, Jimi Goodwin, Weird Al Yankovic, Anberlin, and Jars of Clay.
For the third and final entry in this long-winded look back at the music that mattered to me this year, I present the cream of the crop – the albums that provided me with the most satisfying listening experience from beginning to end, which is a much more difficult feat than simply hooking me with a catchy song or two, and arguably a feat many artists have given up on in the age of digital music that can just as easily be released for bite-sized consumption on a sporadic schedule, rather than thought through as a fully-formed artistic statement. These albums don’t have that much in common with one another, but taken all together, they represent the weird snowball of influences that make up my musical tastes these days, ranging from old favorites who have resurfaced after lying dormant for many years, to buzz-gathering indie artists who have begun to break out of the blogosphere and into some version of “the mainstream”, to those who have given up entirely on mainstream fame and are content to Kickstarter and Indiegogo their way into fans’ hearts with no traditional support structure whatsoever. It’s all a very weird mix, but it’s all quite delicious.