Pile

Pile, “touched by comfort”

Quite a lovely build-up on this one. The urgency that PILE bring to this song, the climax they build towards, doesn’t at all pay off on the album, which lurches into a quiet instrumental that they call “fuck the police”. But it’s a good run-up for all that.

The Isley Brothers, “I Turned You On”

I’d say that this is an amazing period for the Isleys, but that’s honestly kind of silly to call out. Their career is made out of amazing periods. But, anyway, the late 60s albums, and especially the 1969 albums, are savage. The groove on this is absolutely vicious, just try and listen without at a minimum nodding your head.

High on Fire, “Spewn From the Earth”

Matt Pike had a big 2018. In addition to Sleep emerging from a fifteen year, uh, slumber to produce the very good The Sciences, he also put out a High on Fire record, Electric Messiah. High on Fire is one of the more consistent bands around, and so it is with this record: you’re going to get a Lemmy-esque bark, you’re going to get those big stoner riffs, and you’re going to get some solos. Just a crunchy good time.

Overwhelming Colorfast, “Coming Down”

It’s another largely forgotten mid-90s underground rock band! Overwhelming Colorfast put out three records, all of them pretty solid exercises in Hüsker Dü-esque melodic loud rock. That comparison, by the way, is pretty much required due to Bob Reed’s singing so strongly resembling Bob Mould’s. Although, truthfully, this is more like Sugar than it is like Hüsker Dü. Anyway, it’s decent stuff if you’re into this sort of thing.

The Jon Spencer Blues Explosion, “Hell”

This, from Xtra-Acme USA, is kind of a sketch of a song, but it still cooks pretty good. I mean, just one good “weeeeeeeeeeellllllll” from Spencer is enough to get me going.

Pile, “appendicitis”

There’s some other song that I can’t quite put my finger on that the intro to this song reminds me of. I feel like the guitar tone is very Black Francis, but I’m not entirely sure what song it’s trying to trigger for me. Once you get into the meat of the song, though, that feeling of reminding dissipates.

Krallice with Dave Edwardson, “Rank Mankind”

For their seventh album, Krallice brough in Dave Edwardson (Neurosis) to change things up. It’s still very much a Krallice record, with all the dizzying ideas that entails, so Edwardson mostly just kind of inflects the proceedings some. He gives the vocals a certain visceral grounding that gives this all a little bit more of a gutteral feel, as opposed to the sometimes purely cerebral feel of Krallice. The band is incredible as always, and this album rips.

White Stripes, “We’re Going To Be Friends”

Every now and again, a record breaks through into mainstream attention that surprises me. I would not have bet on the ascetic blues rock revivalists the White Stripes being anybody who would get mainstream attention, but somehow they broke through. White Blood Cells still doesn’t sound like a record that should have gotten huge, as it’s still relatively uncompromising in the vision they’re pursuing.

WIFE, “Salvage”

WIFE is the new band started by James Kelly, after the sublime black metal band Altar of Plagues disbanded. He clearly wanted to pursue a different direction, focusing on electronics to make his noise. It does share some of the same oppresive atmosphere of Altar of Plagues at times, and What’s Between (the only album so far) is a very interesting record.

Fountains of Wayne, “Michael and Heather At The Baggage Claim”

After three great records in a row, Fountains of Wayne put out Traffic and Weather, which on the surface seems similar, but it’s just not in the same league. The songs are shallower, they’re not as catchy, they’re not as sly. It’s just a big step down, which is a shame. The record is OK, and I do listen to it occasionally. But mostly, I do that just to check and see if my opinion has changed. It has not yet.