I've seen at least three variations of the same exchange on my social media feeds. After a fan raves about the new Bob Mould album, one of his pals dismisses the positivity by suggesting that Hüsker Dü was superior. Who has time for nostalgia when F*cked Up just released Glass Boys? Without ever sounding like it's aping its predecessors, F*cked Up combines the melodic rage of Hüsker Dü with Pete Townshend's rebellious theorizing. I'll blow the dust off my collection of Hüsker Dü vinyl on the SST label once I've had my fill of Glass Boys, but I don't anticipate that happening anytime soon.
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I reviewed Rockfest on Saturday. And for the record, my report noted the Aaron Lewis incident that subsequently became a meme.
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My notes on Sunday's performance by Ingrid Laubrock and Tom Rainey are at Plastic Sax.
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Here's a new video for a track on the Gee Watts album I reviewed at There Stands the Glass on April 12.
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A cameo by Music Millennium's Terry Currier makes Bob Mould's "I Don't Know You Anymore" my favorite music video of 2014.
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Not surprisingly, the new compilation Wheedle's Groove: Seattle's Finest In Funk & Soul 1965-75 is excellent.
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Just when I begin to think that I'm completely over mainstream jazz, Theo Croker's AfroPhysicist saves the day for swing. RIYL: Dee Dee Bridgewater, your father's jazz, Roy Hargrove.
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Blu's Good to Be Home may be a good album, but I just can't deal with the knob-twisting production. RIYL: 9th Wonder, annoying modulation, Digable Planets.
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The release of Me. I Am Mariah… The Elusive Chanteuse is testing the limits of my love/hate relationship with Mariah Carey.
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Black Stone Cherry's blend of Southern rock and metal has long appealed to me, but the new album Magic Mountain isn't very good.
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A few tantalizing moments on Meshell Ndegeocello's Comet, Come To Me cause me to marvel that she's not more popular than Prince. The worst moments remind me of why she remains a cult artist. RIYL: Janelle Monáe, arty dance music, Daft Punk.
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The guys in Parquet Courts put great records in their bags.
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Owen Pallett's In Conflict is an accessible entry point for anyone looking to investigate the avant/pop/classical composer's work. RIYL: Ned Rorem, art galleries, Arcade Fire.
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It's nice that Dave and Phil Alvin put their differences aside to perform the songs of Big Bill Broonzy on Common Ground.
(Original image by There Stands the Glass.)
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