Music

Best Albums of 2011

Brett McCracken — Sat, 17 Dec 2011 15:37:48 -0800

It’s December, which means one thing for a guy like me: list making. I’m starting my “best of the year” series on my blog with my picks for best albums of the year. Here they are: my top ten list and honorable mentions for the best music of 2011. (You can listen to all 15 hours of this music on Spotify here).

10) Panda Bear, Tomboy: In his sophomore solo effort, Animal Collective’s Noah Lennox (aka Panda Bear) simplifies (if that’s the right word) from the sprawling ambitions of Person Pitch and yet creates an album that is equally layered and beautiful and I daresay more cohesive than his groundbreaking debut. Listen now: “Slow Motion,” “Friendship Bracelet.”

9) The Antlers, Burst Apart: Slightly more upbeat than their morose-but-beautiful debut, Hospice, The Antlers’ latest is an eloquent, moody, subtle pop album that sounds like something out of a foggy/jazzy David Lynch nightclub movie scene. Listen now: “French Exit,” “Putting the Dog to Sleep.”

8) M83, Hurry Up We’re Dreaming: This double-disc album from French singer/songwriter Anthony Gonzalez is simply epic. Lush, grand electronic anthems abound, alternately melodic, experimental, upbeat and somber. Listen now: “Midnight City,” “Steve McQueen.”

7) Girls, Father, Son, Holy Ghost: No album surprised me more this year than this one, full of so many pleasant twists and turns that you won’t even mind the few times it goes off the rails. It’s retro, rough-edged beach pop with a lot of soul. Listen now: “Honey Bunny,” “Jamie Marie.”

6) James Blake, James Blake: London-based producer James Blake offers a gorgeously subtle collection of dubstep ballads in this self-titled album, one of the best debuts of the year. Listen now: “Limit to Your Love,” “Measurements.”

5) Radiohead, King of Limbs: Radiohead’s latest didn’t make as big of a splash as their albums usually do, perhaps because we’ve come to expect masterpieces from them and this album feels somewhat less grandiose and significant. But make no mistake: Limbs is an incredibly well made record. Cohesive, relaxed, atmospheric, jazzy, a masterful collection that feels effortless and natural for a band completely at ease in their own skin. Listen now: “Morning Mr. Magpie,” “Codex.”

4) The War on Drugs, Slave Ambient: What is a true American rock sound in 2011? With their new album, The War on Drugs offer a stunning answer to that question. It’s an album that channels Dylan/Springsteen at the same time that it blends minimalism, electronica, shoegaze and punk in seamless fashion. An album for the road, for skylines of cities and big horizon sunsets, Slave Ambient is a poetic treasure of ambient nostalgia. Listen now: “Your Love is Calling My Name,” “Come to the City.”

3) Washed Out, Within and Without: “Glo-fi” and “Chillwave” may be an ambiguous genre descriptors, but Washed Out embodies it the best of any band, and Within and Without is their crowning achievement. The music is 80s, shoegaze, ambient, and yes, washed out. But mostly it’s just lovely. A dreamy, moody, sometimes danceable record for the morning after. Listen now: “Amor Fati,” “You and I.”

2) Fleet Foxes, Helplessness Blues: There are no finer melodies anywhere in music this year than on Fleet Foxes’ sophomore effort, Helplessness Blues. Expanding ever so slightly on the anachronistic folk balladry of their stellar debut album, Fleet Foxes offer a collection of songs here that are somber, poetic, nostalgic and just downright wonderful. It’s easy on the ears and soothing for the soul; a gourmet comfort-food album you return to more than most. Listen now: “Helplessness Blues,” “Someone You’d Admire.”

1) Bon Iver, Bon Iver: More daring, more accomplished, more significant in every way than the gorgeous masterpiece For Emma, Forever Ago. This self-titled album floors you on first listen and grows from there. There’s something so raw, elemental and earnest about Bon Iver’s music. Only Justin Vernon (the genius behind Bon Iver) could make a 90s power ballad (complete with a Kenny G-esque saxophone solo) feel like the natural, unironic culmination of his body of work and also, perhaps, the most sensible musical expression of our largely nonsensical musical moment. Listen now: “Holocene,” “Beth/Rest.”

Honorable Mention: Real Estate, Days; St. Vincent, Strange Mercy; Low, C’mon; Destroyer, Kaputt; Wilco, The Whole Love; Feist, Metals; Jay-Z and Kanye West, Watch the Throne; Viva Voce, The Future Will Destroy You; TW Walsh, Songs of Pain and Leisure; Paul Simon, So Beautiful or So What, Cut Copy, Zonoscope.

Beautiful Christmas Gifts

Chris Tomlinson — Sat, 10 Dec 2011 14:59:58 -0800

The English have the 12 days of Christmas in song. The high churches have the 24 (ish) days of advent. At Crave Something More, and here at Conversant Life, I’ll be writing a series called the “21 Days of CSM Christmas.” Starting December 5 and finishing on Christmas Day, I will write once a day about all things Christmas, in the hopes that we will all continue to see Jesus as the greatest satisfaction to our soul’s deepest cravings.

Day 6: Beautiful Christmas Gifts

We know this: Christmas is about giving. “For God so loved the world, that he gave his only Son, that whoever believes in him should not perish but have eternal life.” Jesus was the greatest of gifts. But God still gives gifts today.

He gave Christopher Duffey, born premature, blind, and autistic, and adopted at 15 months, the gift of singing.

And He gave us the gift of Christopher Duffey. Enjoy.

HT: Justin Taylor; John Knight

For the rest of the 21 Days of Crave Something More Christmas, go here.

Stuffed Animal Baby - Ruckus in the Barn

Phil Towne — Wed, 11 May 2011 22:21:08 -0700

The Psychology of Worship

Christopher Faris — Wed, 11 May 2011 12:17:21 -0700

After having spent many years of my life leading worship (high schools, colleges, vocationally, etc), a problem that was always personally vexing were the 2 camps warring with one another – classic vs. modern. Anything the worship leader did was immediately met with criticism. Then in the late 90’s, there was a blending of the two that begun to erupt, and it was good. It would be modern worship leaders playing hymns with their modern musical arrangements, which was usually “Be Thou My Vision” or "Come Thou Fount of Every Blessing" by way of Coldplay B side. It seemed to satisfy theology heads –they got to sing words that were penned in a poetic, longer-than-30-second made up journal entry that repeated constantly, but it gave the modernist digital delay guitar effects ever present in their songs. The warring factions were at peace.

I know we will forever be divided on how we worship in song, and I am contented that it will never be fully resolved. That’s because music is a subjective medium – you and I can both listen to “Joyful, Joyful, We Adore Thee” by the same "Passion Band" worship leader and have entirely different opinions that are equally right. You may love it, I may loathe it, but it’s okay (Unless I tithe more…Just kidding).

So, today while cleaning my home, scrubbing the tub and reflecting on a film I watched the night prior (The Illusionist - 2010), I heard David Crowder singing “Amen” over and over again. And then, as I type this very moment, there is a woman singing “Hallelujah!” over and over again. They are both singing different hymns while utilizing the repetition of a single word in the song. But it occurred to me that the reason the blending works so well is because of the various facets that are involved in singing worship music: The cognitive knowledge of the words mixed with the emotional release that the tone provides. In other words it’s not only what you say, it’s also how you say it.

It is much the same in communication generally. Communication is broken down into 3 parts that make a whole – the content of the words (often the least important, save for when a lawyer is present), the tone in which they are spoken (instantly reminding us of our parents), and finally the body language/posturing in which the content is delivered (Finger points and all). Remove one of these elements and it changes the whole dynamic.

Worship borrows from these 3 forms of communication. In worship we stand, sit, kneel, dance (haha, just kidding – no one really dances), raise our hands, etc. We sing words of various depth (“Oh how He loves us” vs. “My name is written on His hands, My name is written on His heart, I know that while in heaven He stands, no tongue can bid me thence depart”). The content being important, but it strikes the listener/worshipper with various external responses. Finally there is the tone, which is the feeling of singing loudly or quietly. All of these elements combine to be a part of our worship. All of these elements are important in communicating with God.

The rub then, is that some of us find more value in different elements of the communication over others. Sometimes the feeling derived in opening ones mouth and singing “Hallelujah!” over and over again expresses something that a cognitively more challenging lyric cannot. Sometimes, singing “Hallelujah!” over and over again makes me want to jump out of a stained glass window due to tedium and boredom. With posture, if I sit while worshipping while others are standing, perhaps it is because the words I am singing cause a more reflective response. All these elements are important in the totality of the worship experience.

I recognize that the corporate element of worship is of most importance. But the value of the different communication methodologies is an unconscious motivator behind much ofthe worship debate. Some of us find more value and therefore more “worshipfulness” in a physical response over a cognitive one. Dancing can express joy for some more than singing "Joyful, joyful, we adore Thee!" Both sides struggle to resolve that all are expressions of worship that have varying degrees of expression to the other person. Because music and expression are subjective to the person, dissatisfaction is inevitable.

The irritability started to hit me a week or two ago at church while listening to a song of worship. It had an aggressive amount of digital delay, droning bass, and warm/soothing key tones to bathe the experience. I don’t like this style anymore. It bores me to tears and generates very little desire to sing with much feeling. We all know you love Coldplay, The Fray, and U2 and you can play guitar in a way that mimics The Edge. What once was imaginative and interesting has become tired and too easy. Not only is the music doing almost nothing for me anymore, but the lyrics are getting more and more disappointing (if I hear the word “story” one more time I am going to jump out of that stained glass window…again).

I then realized I am becoming the critic I once loathed. I don’t want that because I recognize that it is rooted in a subjective experience of music.

But while listening to David Crowder sing “Amen” 400 times during a hymn I began to realize that the feeling of singing can be as expressive as the content itself. It shouldn’t be the rule, but perhaps it is okay to enjoy the feeling of singing a single word in the way shouting feels good when I am angry, or whispering feels calming when I am nervous. It is accessing a different part of communication to God – a tone which indicates a feeling. Content is associated with intelligence, while tone with passion. Perhaps that is why I love hymns so much – the two naturally blend in ways that make me want to raise my hands and jump out of my chair before getting on my knees and confessing I am a sinner in the tangible presence of a Holy God.

Take Care, Take Care, Take Care

Brett McCracken — Mon, 02 May 2011 09:05:22 -0700

What a weekend. Highs, lows, drama, love, death, destruction, trending topics, presidents, princes, terrorists, tornadoes, Twitter. Let’s take a moment to breathe… Another weekend in the world.

On Friday morning, as the U.S. South reeled from the second deadliest tornado outbreak in American history, the world turned its eyes to Westminster Abbey to enjoy a moment of old school romanticism. A prince marrying a princess. All the hype may have frustrated some, but the event seemed to me to be a rare occasion of hope and idealism in a world so mired in cynicism and malaise. It was a beautiful, happy day. In a world of so much tragedy, there’s clearly a hunger–an almost eschatological instinct– for images of regal, grandiose love and peace. The Royal Wedding offered a vision of this for millions around the world.

On Sunday night, another event caught the attention of the world–this one wholly unexpected. Osama Bin Laden–villain of our times–shot dead by U.S. Navy Seals. A long sought justice served. Like the crowds elated in the London streets on Friday, crowds of Americans could be seen celebrating in Times Square, Ground Zero, & outside the White House. Though this occasion (a death) is certainly more solemn than the happier occasion of a wedding, both events filled a deeply human, elemental emotional longing: for love, for peace, for justice.

Both events were redemptive moments for the world. In the case of the wedding, it was a healing moment of sorts for a world which, 14 years ago, mourned with Prince William as he walked behind the hearse of his prematurely dead mother, Princess Diana. Out of tragedy, a new hope. Similarly, the death of Osama bin Laden is the 10-years-later bookend to the tragedy of 9/11. Out of tragedy, justice.

On Saturday night, in between these two historic events, I attended an Explosions in the Sky concert in a one-of-a-kind venue: Hollywood Forever Cemetery. It was quite the experience. A huge crowd of several thousand fans reclining on blankets in the cemetery, looking up at the stars while listening to the instrumental post-rock symphonies of Explosions in the Sky.

If you’re familiar with the band (you might have heard their songs on Friday Night Lights), you’ll know their music consists of highly emotional, slow-building guitar anthems that ebb and flow with dynamic contrasts of extraordinary proportions. As I lay on the blanket Saturday night, the cool L.A. night winds blowing the tall palms back and forth, the music of Explosions in the Sky seemed to capture so much truth about the dynamic, unsteady, solemn and beautiful nature of the universe. As the band played wordless songs from their recently released album, Take Care, Take Care, Take Care, it was abundantly clear that there is something truly beautiful about the cycle of tension built… and tension released. Dissonance resolved. Chaos reined in.

Lying in that cemetery on Saturday night, listening to the live performance of “Your Hand In Mind,” holding the hand of my girlfriend, feeling the cold night air and keenly aware both of the vitality of existence and the immanence of death (we were in a graveyard after all)… it all added up to something transcendent; something galvanizing. And now, reflecting on all that has transpired through this week and weekend, it feels even more galvanizing.

Ours is a world of ups and down. On any given day, or weekend, there is joy and heartbreak, fear and hope, sickness and death. What we can do is abide, faithfully, in hope, love & charity, working for renewal… and taking care of those around us, taking care of ourselves, taking care of the world.

Lady Gaga's Alien Logic

Brett McCracken — Wed, 16 Feb 2011 10:16:48 -0800

Watching Lady Gaga’s Grammy performance of her new single, “Born This Way,” was sort of like watching Species while pondering the end of western civilization.

Nothing about Gaga makes much sense. Her meticulously crafted, over-the-top essence is founded on a fetishizing of head-scratching chaos, postmodern meaninglessness & “just dance” hedonism. Whether she’s sporting a dead-Kermit dress, bloody pieces of cow, or mutated shoulder blade prostheses straight from Syfy’s Face Off, Gaga prides herself on being an outrageous parody of shock-art subversiveness. In everything she does, Gaga makes a headline-grabbing “statement,” the substance of which is usually just a declaration of the primacy of “anything goes” surrealist circus fun.

The interesting thing about “Born This Way,” the anthem to go along with Gaga’s recent foray into pro-gay rights politics, is that it tries to make a statement of objective meaning even while it bombastically insists on a universally binding, “only you can determine what’s right for you” subjectivism.

The message of “Born This Way’ is that no matter what you are (gay, straight, bisexual, Kermit, an alien with horns and a Batman bubble butt), you should love yourself and embrace it all. “There’s nothing wrong with loving who you are,” sings Gaga. “Cause he made you perfect, Babe… God makes no mistakes.”

OK, Gaga. Even if I agreed with your illogical philosophical assertions about everything and everyone being perfect just as they are (which I don’t), how do you expect anyone to take seriously your “this is the right way to believe” political/theological statements when they are couched in a persona so thoroughly, amusingly dismissive of normative truths or general sense-making?

Among its many problems, “Born This Way” heralds the self-defeating message that no one can tell anyone else who they are or what they ought to be, even while it assumes the privileged mantle of moral authority to assert this apparent truism in the first place.

All logical inconsistencies aside, the song is just a bleak, hopeless celebration of nothingness. If the abiding truth of reality is that everyone in the world (including me) is exactly as they ought to be–every last broken, frail, misguided, treacherous one of us–then the world is a far darker place, and virtuous existence a far more futile endeavor, than any of us previously imagined.

But I believe, because my experience proves and my faith compels me to believe, that none of us are, or were born, just as we should be. Quite the opposite actually. From the get go we are selfish and sinful, out-of-sorts and awkward, prone to wander. To throw up our hands and say that all is well, we are “born this way,” is false to our very nature and tragically bereft of a theology of hope. “Born this way” is a self-satisfied approach to life that believes itself to be freeing, but inadvertently undercuts the things (repentance, redemption, reconciliation, moral formation) that bring about true human flourishing.

Advent Playlist

Brett McCracken — Sun, 05 Dec 2010 00:00:13 -0800

It’s the second week of Advent, 2010, and I’ve put together a playlist of songs that feel appropriate to this moment. They are songs that represent both the darkness of the world and the power of the penetrating light. They are songs about waiting, hoping, and dwelling in the now-and-not-yet. I’ll be listening to them with plenty of hot cider and a hopefully quieted soul, beckoning Emmanuel to come and ransom this captive creation.

Jonsi – “Hengilas”
Coldplay – “We Never Change”
Cat Power – “Where is My Love”
Julie Lee – “Hope’s the Thing With Feathers”
Low – “Closer”
Mumford and Sons – “After the Storm”
The Antlers – “Kettering”
Pedro the Lion – “The Longest Winter”
Jars of Clay – “In the Bleak Midwinter”
Hem – “Strays”
Mindy Smith – “Follow the Shepherd Home”
Sun Kil Moon – “Gentle Moon”
Sufjan Stevens – “O Come, O Come Emmanuel”
The Walkmen – “While I Shovel the Snow”
Over the Rhine – “White Horse”
Sara Groves – “O Holy Night”
Sarah McLachlan – “Silent Night”
Dustin O’Halloran – “Opus 23″
Hem – “Almost Home”
Bifrost Arts – “Salvation is Created”
Over the Rhine – “The First Noel”

Engaging the Hip Hop Culture

Daniel Hodge — Tue, 30 Nov 2010 07:41:18 -0800

This is the third and final segment in my interview with Bobby Duran on The Soul of Hip Hop. Here we talk about engaging an unreached people group that is more spiritual and global than you might think.

Daniel Hodge Part 3 - "Engaging the Hip Hop Culture" from ConversantLife on Vimeo.

Hip Hop Overview

Conversant Live — Fri, 22 Oct 2010 10:36:59 -0700

Hip Hop is the soundtrack of forgotten streets that defy our forgetfulness. Its tones are sometimes inspired, sometimes enraged, sometimes despairing, sometimes hopeful.

So begins a fascinating new book by Daniel Hodge, a long-time ConversantLife.com blogger and the author of The Soul of Hip Hop (InterVarsity Press). Bobby Duran, Events Production Manager for Urban Youth Workers Institute, sat down with Daniel for a three-part interview that will inform and inspire you (even if you aren't a Hip Hop fan). In this interview, Daniel gives a birds-eye view of this cultural phenomenon. "Rap is something that's done, but Hip Hop is something that's lived," Daniel says. "People have a story and they want it to be heard. How do we engage that?"

Part 1 - "Hip Hop Overview" from ConversantLife on Vimeo.

Albums that changed me

Christopher Faris — Tue, 07 Sep 2010 14:29:26 -0700

Association is a big deal. We all do it – certain films are unwatchable because we associate them with negative experiences, certain places will always be unbearable because of memories they are associated with, and certain music? Well, that takes association to a whole other level.

Part of the reason I love music is for its ability to stir up a feeling inside me. Certain songs make me express joy more directly, as well as sadness, anger, or the unknown. I love wordless music, because the songs retain a certain feeling that words just can’t communicate. Some things are better left projected, or unsaid.

Below are several albums that I have a nostalgic, fond attachment to. Sure, there are many better albums out there, but listening to these albums brings me to foundational places in my faith, my life, and with my friends. Sharing these albums with you is a way of showing you who I am.

The Crucified – The Pillars of Humanity

I was tempted to put other Christian heavy metal bands who are almost as deserving – Deliverance, Tourniquet, or even Vengeance Rising. However, I saw The Crucified play live and it was liberating. Thanks to The Crucified playing in Orange County (Club Post Nuclear in Laguna Beach), I was able to stage dive, experience my first mosh pit, and have fun – all in an environment that was about Jesus Christ. I got my middle school pastor volunteer to drive my friend and I to where The Crucified was playing. We were among the youngest there, but the feeling was unlike anything I had ever felt before. The Crucified recently released a box set with all their music and a dvd with a bunch of live songs. I am pretty sure that in one of the clips, my middle school self is jumping around as they play “Fellowship of Thieves.”

Focused – Bow, Unashamed – Silence

These bands represented something to me greater than the sum of my youth pastors, church experience, or even time spent with historical church reformers. I am a Christian today because of bands like Focused and Unashamed. At the same The Crucified show, these skinny, clean cut guys came out on stage and screamed out these gut felt worship anthems. I even passed my Greek final at BIOLA because the scripture I had to translate on the exam was a passage Unashamed lifted into one of their songs. Memories of ringing ears, crowd sing a-longs, and many dear friends are warmly recalled whenever I listen to either of these two bands, especially their first CD’s.

Mineral – The Power of Failing

I hate Mineral. They are one of the worst bands in the world, if only because they represent everything bad about what emo became – boring, go nowhere songs, whiny vocalists (and I mean WHINY), and otherwise self interested lyrics. Yet, this album holds a special place in my heart because it opened me up to a different type of music within hardcore and punk rock that was better done by Sunny Day Real Estate, Texas Is the Reason, Christie Front Drive, and Jimmy Eat World. However bad emo became, however easy it is to make fun of, hearing it for the first time was something fantastic. I have to give Mineral the credit for that.

Weakerthans - Left and Leaving

There is no better lyrically written album in my mind than “Left and Leaving.” I have memories of being in college at my apartment with my buddy Andrew while this CD played on repeat. I still get new things out of each song. The title track is stunning, but each song has a lyrical gem in it that describes exactly how certain feelings feel. Lines like “In love with love and lousy poetry” exude a carefree, non-judgmental embrace of love and the world that is refreshing. In my mind, Ben Gibbard of Death Cab For Cutie tries to write lyrics that match this album on every record, but he feels miserably every time (“Is this the city of angels or demons” – really Death Cab, really?). If you only picked up one thing from reading this, it’s that everyone should own this album. 10 years later, it’s still as raw and emotionally resonant, not mention musically excellent with songs that range from pop-punk to folk.

mewithoutYou – Brother Sun/Sister Moon

I first heard mewithoutYou from a student at Pepperdine. After hearing the song “January 1979” I remember thinking just how bad the singer was. But then I heard what he was saying. Brother Sun/Sister Moon is their best album – rocking and aggressive enough without being hardcore music. I like to think of it as a more energetic U2 – at least musically. Lyrically, it’s incredible stuff, weaving in stories and analogies about faith I haven’t heard any Christian musician do before or since. You know what Weiss is singing about, but it’s poetic – upfront and honest, while maintaining a certain vulnerability and beauty. I know find the vocals – tonally and lyrically – to be a perfect expression. By far, my favorite Christian band.

The Cinematic Orchestra – Ma Fleur

While this album is inconsistent in places and lacks the groove of “Every Day” or even “Man With A Movie Camera,” it is the most polished and beautiful of their albums. The closer is a knockout that will make your skin get bumpy. The Cinematic Orchestra is like letting a turntable breath at a jazz club – all of the instrumentation is live, with some brief electronic bits, and the vocalists range from jazz experts to indie darlings like Patrick Watson. Yet, the songs without vocals manage to put me in a trance every time. They go great with a good beer and a tobacco pipe while listening to and watching the ocean.

The Mercury Program – All the Suits Began to Fall Off

This is the turning point album in The Mercury Program’s perfect instrumental canon. The album dropped sparse vocals altogether and focused on it’s strengths – mood, drums, and bass. Each album improves on the formula, but the song “Marianas” is among my favorite instrumental songs of all time. Instrumental records have always been my favorite, but the caveat is that the drumming has to be special. The drumming here is most special – perfectly restrained, technically flawless, and absurdly complicated in places. It all goes down smooth and makes me awe. When I saw them live, a group was huddled at the side of the stage just to watch the drumming. Check out their latest as well – “Chez Viking.”

Unwed Sailor – Firecracker

While at a Pedro the Lion show, there was this CD on the merch table that was advertised as having Jonathan Ford (Roadside Monument) and David Bazan (Pedro the Lion) on it. I bought without hesitation. I was initially scratching my head while waiting for vocals, but soon I was converted to instrumentalism. Drumming on track 2 was when I was sold. Drums here by Bazan are nicely complicated without getting too busy. Ford leads the band with his bass playing, and the guitarist has since gone on to play in The Fleet Foxes. It’s only 4 songs, but even after hundreds of plays, I never get tired of them, the lo-fi recording, and the feelings that accompany it all.

Drive Like Jehu – Yank Crime

Aggressive music that is hard to pinpoint. Perhaps the style of the vocals here that are the ultimate win, but “Do You Compute” and “Rome Plows” – as long a song as they are – are perfect exercises in noise, aggression, and emotion. I am shocked a major label picked these guys up, as I am not sure what could have played on the radio. Regardless, as a Fugazi fan, Drive Like Jehu is sort of what I hoped Fugazi would sound like. Jehu is on a different level. The album holds up well today, even if the meandering noise bits get a tad tedious.

Hot Snakes – Automatic Midnight

Same 2 main guys from Drive Like Jehu formed Hot Snakes, and then made something magical. This punk album is a stripped down, no bull, straight forward masterpiece. The songs rarely exceed 3 minutes, image is not part of the band’s style (a direct contrast to Rocket From the Crypt, also featuring John Reis on the guitar), and all of the songs are great. Hot Snakes may have split a couple years ago, and their new bands (The Night Marchers, Obits) may be decent, but Hot Snakes are the perfect combination of the talents we used to know on Drive Like Jehu. Perfect, straight forward, garage “punk n roll” that hits all the right notes.

Punch Drunk Love – Soundtrack

I fell in love with my wife shortly after seeing Punch Drunk Love. The film’s soundtrack manages to capture the imagery of the film – confusion, annoyance, violence, humor, and romance – beautifully. “He Needs Me” is among my favorite songs of all time, and Jon Brion’s remix of it is perfect. Speaking of which, Jon Brion is a genius. If I am ever given a huge amount of money to record an album and could choose any producer, I’d call him first. Apparently he plays weekly in Los Angeles…I should probably get on that.