Zion I

Forest Swords, “The Weight of Gold”

Always nice to heart from Forest Swords! I’d like to hear a new album from him, actually, although I suppose the wait between the first two albums is about what we’ve waited since the second album. So maybe soon! I’ve convinced myself!

Negativland, “Either Or”

True False, the 2019 record from Negativland, is something of a return home for them, although without some dearly departed members. It’s based around the same kind of collage work that they used on their biggest albums, and the sound is in the same vein as those records. For people like me who have been listening to them for decades, it’s comforting in a way to hear it. But, of course, as befits Negativland, it’s not wholly comforting, as the material on the record is mostly downer stuff around the media’s negative effects on the well-being of society and our own minds. As always, it’s a thoughtful record, and the world would be a better place if something like Negativland was more prominent.

The Arsonists, “Underground Vandal”

The Arsonists’ debut album, released in 1999, was very much a throwback record. Not just in sound, but in the way it was created. By 1999, hip-hop had moved into an era of producers being stars separate from rappers. But the Arsonists did everything as a group, including the production, which was unusual for the time.

Times New Viking, “My Head”

There’s something so abrasive and unhinged about Times New Viking’s particular racket that listening to them really kind of scrambles your brains. Strip away the fuzz, the overdriven amps, the squalls and washes of feedback, and what you get is pretty simple pop songs at the center. Personally, I don’t find the artiface all that convincing, so this is the only album I ever picked up from them.

Zion I, “Radio”

Zion I always incorporates other styles of music into their hip-hop, and here, we’ve got something that kind of sounds kind of like conventional adult contemporary rock. Maybe there’s a reason other bands haven’t tried this sort of thing much?

Elvis Costello, “Party Girl”

From the extras on the deluxe reissue of Armed Forces, I sort of wish that the first bit here turned into the live version of “Surrender” from Cheap Trick. Or, uh, “Jimmy James”, which used the sample from the live version of “Surrender”.

De La Soul, “Church”

After the lackluster Art Official Intelligence: Mosaic Thump and the uneven AOI: Bionix, I was wondering if De La Soul were done. The answer was answered definitively by the next album, The Grind Date: no, they were not done. At least part of that was the production they got on the record, with good work from folks like J Dilla, Mad Lib, and 9th Wonder (who is on this track). It’s not groundbreaking in the way their early work was, but it’s a just a solid record all the way through.

Here’s today’s music.

Norska, “Too Many Winters”

Portland band Norska combine elements of doom metal with parts of noise rock, which means I am very much interested in their ideas and would like to subscribe to their newsletter. And it pretty much delivers on that promise, with the stretched out songs of doom and guitar patterns of noise rock. The various side projects of Yob (their bassist Aaron Rieseberg is in Norska, their singer is in VHOL for example) continue to explore what metal can do when cross-polinated with other genres, an exploration that gets me excited.

Yet another year-end roundup! This time from Pitchfork, so prepare to be enraged! And [here’s today’s music].(https://www.youtube.com/playlist?list=PLexe714An2QjMniBJQbnevydhM3HcuMaL)

Flop, “Asthenia”

Lost among all the other Seattle bands of the early 90s, Flop was never the slightest bit grungy so they never broke it big. They did, of course, end up on a major label, but the majors were signing every band who had even toured through Seattle in those days, so that’s not that surprising. Instead of being grunge, Flop evoked the power pop bands of the Pacific Northwest, bands like the Posies and the Young Fresh Fellows. With Kurt Bloch (The Young Fresh Fellows, the Fastbacks, tons of producing credits) behind the boards, they even had some real continuity with all the other great bands in that tradition. And their first record, & The Fall of the Mopsqueezer, is an absolute gem, one of the best power pop records in my entire collection, a fuzzy piece of genius.

Yesterday, I actually briefly had six songs in the post. I only discovered it when I was going to put the entries in the index. I have one job! I only need one hand to count! Anywhere, here’s today’s random count of songs (hopefully five!).

Preston School of Industry, “History of the River”

When Pavement broke up, Stephen Malkmus went solo (later adding a backing band called The Jicks), and Scott “Spiral Stairs” Kannberg founded Preston School of Industry. He put out two records under that name, neither reaching anywhere near the heights of Pavement (but, to be fair, neither has Malkmus). They’re both decent records, but they’re missing the spark that really elevated Pavement.

Five Songs International took a break yesterday, which is going to happen occasionally. I’m going to try to never miss two days in a row, but I’m sure that’ll happen as well. But I’m back today with some new tunes!

Ulver, “The Spirits That Lend Strength Are Invisible”

From black metal beginnings, Ulver has wandered around unpredictably among various styles, with seemingly the only thing tying some of them together is a penchant for drama. This piece, from Atgclvlsscap (and yes, I had to cut and paste that), finds the band working in an ambient mode, obviously far away from the black metal thunder of their origins.