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22 December 2023
Feign enthusiasm once again, dear readers. It’s time to patronize Wayne, Watchman, and I as we tell you our favorite CDs from 2004. Get those Amazon wish lists ready, bitches! If you want to be cool as Carlito, you gotta listen to this shit.
VINABELLA ROSSELLINI:
Man, there was a lot of great fucking music released in 2K4. Probably because we’re living in pretty miserable times, where civil rights are violated about as often as altar-boy buttholes, and our poor excuse for a government could care less about the welfare of human life, liberty, and happiness. When times are tough, art fucking rules!
For me, it all begins with Victor Rice’s In America, mostly because I can’t remember if it came out last year or this year. Not that it matters. I run this section. Rules don’t apply to me. I do know that one of the first things I heard this year was Jolie Holland’s Escondida, which was probably my absolute favorite record of the last four years. I don’t think she’s written a bad song, and no one has as sweet a voice as she does.
Then there’s Bjork, who someday I will make babies with. She made Medulla, and knocked your fucking socks off with just her voice! From Iceland to the Bronx, we go to Victor Ruggiero, and his solo acoustic album, Alive At The Ladybug House. That fulfills my required annual praise of something Slackers related. He writes a lot of really bittersweet songs, but nothing nearly as bittersweet as \"Empire Of Light\" from Tin Hat Trio’s Book Of Silk. That song will make you smile and cry. Yes, even you.
The rest of my favorites: Loretta Lynn’s Van Lear Rose, Wale Oyejide’s One Day, Everything Changed (which just plain transcends what an album is supposed to be), Renaissance man Mos Def’s The New Danger, and The Maroons\' Ambush.
I suppose last, but certainly not least, is Saul Williams\' self-titled album. Man, just when you think you know something to say, Saul comes in and makes you look like watered-down Grape Nuts. Watchman will probably have it on his list, too.
NIGHTICUS WATCHMANICUS:
I must agree with the Vinnie, this has been a damn good year for music. Not just quick flashes of amusing stuff, but the kind of long-lasting albums that continue to amaze for years on end and from all ends of the spectrum. Any year that features new releases by The Cure, Skinny Puppy, and Rasputina is a great one.
First off, Just Like Blood from Tom McRae is a great collection of melancholy acoustic guitar, cello, and drums; haunting songs about heartache and death, but never whiny. I didn’t think you could outdo Tom’s 2001 self-titled album, but luckily I was proven wrong by this amazing release. It\'s like Nick Drake and Tim Buckley rolled into one for the 21st Century.
As I mentioned before, Rasputina returned this year with Frustration Plantation. If it’s possible to wear out a CD, I will with this disc. The Ladies\' Cello Society created another great album, balancing humor and beauty the way no one else can.
Even though I’ve been waiting almost a year for the full-length, Error’s self-titled EP continues to kick major ass. Brutal, intense, and merciless, in a mere six songs, Error buries entire careers of bands that thought they were heavy and dangerous. Hopefully we’ll soon see what kind of havoc a full album of Error music can do to the world. This is the only EP worth your time this year.
I was fortunate to get Brazil’s A Hostage And The Meaning Of Life; a stunning full-length debut of cinematic rock combining the power of punk and the complexity of prog to create a new movement in music. Brazil presents an expressionistic view of a dystopic world which could either be the present day or a warning of our near future. Unlike most bands who present a dark version of the world, Brazil always gives us a glimpse of hope through brilliant lyrics and mature compositions.
Although there were many truly great albums released this year, 2004 was the year my soul was stolen by Saul Williams. I was fortunate to have Vinnie play a little of Saul\'s self-titled CD for me, and instantly I was hooked. There is simply nothing else like this in the world. I don’t even know what to call this style of music-- part spoken-word, part rock, part literature-- so we’ve taken to calling it \"grippo\". In the span of mere minutes, worlds are torn down and rebuilt, everything is questioned, and your mind is filled with imagery that would take lifetimes to capture on canvas. In a breath, Saul can blow your mind. In a whisper, he can change perception. Saul eloquently spelled out everything that I dislike about hip-hop and somehow made me appreciate it more at the same time. If every musician put this much thought and energy into what they did, the world would be a better place. I know this word has been said so many times it has lost its meaning, but Saul Williams by Saul Williams is truly a masterpiece.
A couple other albums deserve mention here. Kevin Tihista\'s Red Terror\'s Wake Up Captain follows the tradition of his previous outings: gorgeous masterpieces of amazing songwriting and incredible depth. Nick Cave’s Abbatoir Blues/The Lyre Of Orpheus continues to blow me away with its darkness and beauty. I could also tell you how much I liked The Snake The Cross The Crown’s Mander Salis, but I used up my word count on their name.
WAYNUS ANUS CHINSANGUS:
Of course I\'m doing my part of this last. Hmmm... let me look over Vinnie and Watchman\'s suggestions here first.
Ahhh... Vinnie\'s picks. Yes, yes. Jolie Holland. Good. Victor Ruggiero and Tin Hat Trio. Right. I wasn\'t sold on the greatness of Wale Oyejide, but ol\' Vinnie can\'t be right all of the time. Mos Def? Most definitely. And Saul Williams. Good one to go out on.
Now on to Watchman. Mmm-hmm... Rasputina, okay. Oh, Error and Brazil are both good. Yes. More appropriate stroking for Saul, and a little bit of Nick Cave. Good stuff.
Well, both Vinnie and Watchman hit their marks with their picks. In fact, they did such a good job, I\'m just gonna agree with them and instead tell you how good of a movie the sequel to Anaconda (Anacondas) was.
You see, it starts off with this company in New York that believes they\'ve found the pharmaceutical equivalent to the fountain of youth. What\'s that? You don\'t want to hear this? You really do want to have my musical opinion forced down your throat because I\'m so awesome and \"in the know\"? Well... okay.
First, I can\'t remember what the fuck came out this year and what didn\'t. I\'ve said to Vinnie three times now that Lyrics Born\'s Later That Day was my favorite disc of 2004, and he\'s reminded me three times that it came out in 2003. So just know that going into this.
First, I really liked Nirvana\'s Nevermind. Just kidding. I\'m not that out of it.
Here we go, in no particular order!
Blues Explosion - Damage!: One of my favorite bands of all-time comes back again with yet another hard rockin\' album. And this time they\'ve brought DJ Shadow and Chuck D with them!
Lateef & The Chief: Maroons - Ambush: So funky, so lovely, so sexy, and so goddamn thorough. Lateef and Chief Xcel are in top form on this collaboration, and the production on it is bulletproof.
The Black Keys - Rubber Factory: More dirty than a two-dollar ho, these two kids from Ohio create a sound like none other. And they do it all with just a guitar and drum kit!
Tha Fruitbat - Tha Fruitbat: One of the many beauties to come from Lunaticworks in 2004. It\'s a dark and evil drum-and-bass cacophony of noise.
Martina Topley-Bird - Anything: Sultry and soulful, this Tricky-accompanying singer has gone solo and created a beautiful record of haunting vocals. I would kill a small pet to be able to hear her voice.
Various Artists - The New Mixes: Quincy Jones & Bill Cosby Vol. 1: Quincy Jones\' The Original Jam Sessions 1969 remixed and remastered by current day artists. Any time you mix Sixties-era Quincy Jones and Bill Cosby with modern day Los Amigos Invisibles and Mix Master Mike, you\'ve got yourself a damn fine stew of sound.
Rjd2 - Since We Last Spoke: I have to admit, I\'m amazed this wasn\'t on Vinnie\'s list. (VINNIE\'S NOTE: I totally forgot this came out in 2004.) (WAYNE\'S NOTE: Whatever, loser!) Rjd2 came back in 2004 to follow up his debut full-length, Deadringer, and prove that what he did for the DJ world the first time around was no fluke. And Since We Last Spoke is proof positive that he\'s not only here to stay, but that he can do it again and again and again.
VINABELLA ROSSELLINI:
Man, there was a lot of great fucking music released in 2K4. Probably because we’re living in pretty miserable times, where civil rights are violated about as often as altar-boy buttholes, and our poor excuse for a government could care less about the welfare of human life, liberty, and happiness. When times are tough, art fucking rules!
For me, it all begins with Victor Rice’s In America, mostly because I can’t remember if it came out last year or this year. Not that it matters. I run this section. Rules don’t apply to me. I do know that one of the first things I heard this year was Jolie Holland’s Escondida, which was probably my absolute favorite record of the last four years. I don’t think she’s written a bad song, and no one has as sweet a voice as she does.
Then there’s Bjork, who someday I will make babies with. She made Medulla, and knocked your fucking socks off with just her voice! From Iceland to the Bronx, we go to Victor Ruggiero, and his solo acoustic album, Alive At The Ladybug House. That fulfills my required annual praise of something Slackers related. He writes a lot of really bittersweet songs, but nothing nearly as bittersweet as \"Empire Of Light\" from Tin Hat Trio’s Book Of Silk. That song will make you smile and cry. Yes, even you.
The rest of my favorites: Loretta Lynn’s Van Lear Rose, Wale Oyejide’s One Day, Everything Changed (which just plain transcends what an album is supposed to be), Renaissance man Mos Def’s The New Danger, and The Maroons\' Ambush.
I suppose last, but certainly not least, is Saul Williams\' self-titled album. Man, just when you think you know something to say, Saul comes in and makes you look like watered-down Grape Nuts. Watchman will probably have it on his list, too.
NIGHTICUS WATCHMANICUS:
I must agree with the Vinnie, this has been a damn good year for music. Not just quick flashes of amusing stuff, but the kind of long-lasting albums that continue to amaze for years on end and from all ends of the spectrum. Any year that features new releases by The Cure, Skinny Puppy, and Rasputina is a great one.
First off, Just Like Blood from Tom McRae is a great collection of melancholy acoustic guitar, cello, and drums; haunting songs about heartache and death, but never whiny. I didn’t think you could outdo Tom’s 2001 self-titled album, but luckily I was proven wrong by this amazing release. It\'s like Nick Drake and Tim Buckley rolled into one for the 21st Century.
As I mentioned before, Rasputina returned this year with Frustration Plantation. If it’s possible to wear out a CD, I will with this disc. The Ladies\' Cello Society created another great album, balancing humor and beauty the way no one else can.
Even though I’ve been waiting almost a year for the full-length, Error’s self-titled EP continues to kick major ass. Brutal, intense, and merciless, in a mere six songs, Error buries entire careers of bands that thought they were heavy and dangerous. Hopefully we’ll soon see what kind of havoc a full album of Error music can do to the world. This is the only EP worth your time this year.
I was fortunate to get Brazil’s A Hostage And The Meaning Of Life; a stunning full-length debut of cinematic rock combining the power of punk and the complexity of prog to create a new movement in music. Brazil presents an expressionistic view of a dystopic world which could either be the present day or a warning of our near future. Unlike most bands who present a dark version of the world, Brazil always gives us a glimpse of hope through brilliant lyrics and mature compositions.
Although there were many truly great albums released this year, 2004 was the year my soul was stolen by Saul Williams. I was fortunate to have Vinnie play a little of Saul\'s self-titled CD for me, and instantly I was hooked. There is simply nothing else like this in the world. I don’t even know what to call this style of music-- part spoken-word, part rock, part literature-- so we’ve taken to calling it \"grippo\". In the span of mere minutes, worlds are torn down and rebuilt, everything is questioned, and your mind is filled with imagery that would take lifetimes to capture on canvas. In a breath, Saul can blow your mind. In a whisper, he can change perception. Saul eloquently spelled out everything that I dislike about hip-hop and somehow made me appreciate it more at the same time. If every musician put this much thought and energy into what they did, the world would be a better place. I know this word has been said so many times it has lost its meaning, but Saul Williams by Saul Williams is truly a masterpiece.
A couple other albums deserve mention here. Kevin Tihista\'s Red Terror\'s Wake Up Captain follows the tradition of his previous outings: gorgeous masterpieces of amazing songwriting and incredible depth. Nick Cave’s Abbatoir Blues/The Lyre Of Orpheus continues to blow me away with its darkness and beauty. I could also tell you how much I liked The Snake The Cross The Crown’s Mander Salis, but I used up my word count on their name.
WAYNUS ANUS CHINSANGUS:
Of course I\'m doing my part of this last. Hmmm... let me look over Vinnie and Watchman\'s suggestions here first.
Ahhh... Vinnie\'s picks. Yes, yes. Jolie Holland. Good. Victor Ruggiero and Tin Hat Trio. Right. I wasn\'t sold on the greatness of Wale Oyejide, but ol\' Vinnie can\'t be right all of the time. Mos Def? Most definitely. And Saul Williams. Good one to go out on.
Now on to Watchman. Mmm-hmm... Rasputina, okay. Oh, Error and Brazil are both good. Yes. More appropriate stroking for Saul, and a little bit of Nick Cave. Good stuff.
Well, both Vinnie and Watchman hit their marks with their picks. In fact, they did such a good job, I\'m just gonna agree with them and instead tell you how good of a movie the sequel to Anaconda (Anacondas) was.
You see, it starts off with this company in New York that believes they\'ve found the pharmaceutical equivalent to the fountain of youth. What\'s that? You don\'t want to hear this? You really do want to have my musical opinion forced down your throat because I\'m so awesome and \"in the know\"? Well... okay.
First, I can\'t remember what the fuck came out this year and what didn\'t. I\'ve said to Vinnie three times now that Lyrics Born\'s Later That Day was my favorite disc of 2004, and he\'s reminded me three times that it came out in 2003. So just know that going into this.
First, I really liked Nirvana\'s Nevermind. Just kidding. I\'m not that out of it.
Here we go, in no particular order!
Blues Explosion - Damage!: One of my favorite bands of all-time comes back again with yet another hard rockin\' album. And this time they\'ve brought DJ Shadow and Chuck D with them!
Lateef & The Chief: Maroons - Ambush: So funky, so lovely, so sexy, and so goddamn thorough. Lateef and Chief Xcel are in top form on this collaboration, and the production on it is bulletproof.
The Black Keys - Rubber Factory: More dirty than a two-dollar ho, these two kids from Ohio create a sound like none other. And they do it all with just a guitar and drum kit!
Tha Fruitbat - Tha Fruitbat: One of the many beauties to come from Lunaticworks in 2004. It\'s a dark and evil drum-and-bass cacophony of noise.
Martina Topley-Bird - Anything: Sultry and soulful, this Tricky-accompanying singer has gone solo and created a beautiful record of haunting vocals. I would kill a small pet to be able to hear her voice.
Various Artists - The New Mixes: Quincy Jones & Bill Cosby Vol. 1: Quincy Jones\' The Original Jam Sessions 1969 remixed and remastered by current day artists. Any time you mix Sixties-era Quincy Jones and Bill Cosby with modern day Los Amigos Invisibles and Mix Master Mike, you\'ve got yourself a damn fine stew of sound.
Rjd2 - Since We Last Spoke: I have to admit, I\'m amazed this wasn\'t on Vinnie\'s list. (VINNIE\'S NOTE: I totally forgot this came out in 2004.) (WAYNE\'S NOTE: Whatever, loser!) Rjd2 came back in 2004 to follow up his debut full-length, Deadringer, and prove that what he did for the DJ world the first time around was no fluke. And Since We Last Spoke is proof positive that he\'s not only here to stay, but that he can do it again and again and again.
artid
2927
Old Image
7_5_yearend.jpg
issue
vol 7 - issue 05 (jan 2005)
section
entertainmental