Tim Clarke’s 2022: Light at the end of the tunnel?
The Smile photo by Alex Lake
I don’t want to curse anyone by saying it out loud, but could 2022 be the turning point after a truly horrendous couple of years? For me, the very fact that two-fifths of Radiohead put out an excellent album already makes this year notable. However, I was also lucky enough to get great new albums by favorites Big Thief, Dry Cleaning, and Aldous Harding. Plus, this year I’ve seen more live music than the previous two years combined. Here’s to 2023 continuing this upward trajectory of more great music, both recorded and live.
1. The Smile — A Light For Attracting Attention (XL)
Any Radiohead-related project is guaranteed to pique my interest, but one involving Thom Yorke and Jonny Greenwood? Having said that, even I was surprised at just how good A Light For Attracting Attention turned out. Veering from spectral balladry to twitchy post-punk, there’s not only variety here, but also a satisfying narrative arc, some great playing from all three members, plus the exciting prospect of another Smile album in the near future.
2. Big Thief — Dragon New Warm Mountain I Believe In You (4AD)
Dragon New Warm Mountain I Believe In You by Big Thief
After giving us two albums in 2019, Big Thief returned with a double album of surprising diversity and consistently high quality. At its best (“Little Things,” “Sparrow,” “Simulation Swarm”), DNWMIBIY feels like Big Thief could go anywhere from here, and if the rumors are true, there are as many more songs on the cutting-room floor as made it onto this 20-track monster. Here’s to another Big Thief album in 2023.
3. Dry Cleaning — Stumpwork (4AD)
Dry Cleaning’s second album in two years catches this inimitable London band on a roll. There’s enough musical evolution from last year’s New Long Leg to ensure this isn’t just more of the same, though Florence Shaw’s lyrics and delivery are as funny as ever. Plus, Tom Dowse continues to be one of the most inventive and tuneful electric guitarists of recent years.
4. Black Country, New Road — Ants from Up There (Ninja Tune)
Ants From Up There by Black Country, New Road
Much like Bowie passing away soon after the release of Blackstar, Isaac Wood leaving Black Country, New Road soon after the release of Ants from Up There is the kind of artistic move that feels preordained. This is a massive, ridiculous, intricate, and deeply moving album, and one that I doubt the remaining members of the band will top in Wood’s absence.
5. Stephen Becker — A Calm That Shifts (NNA Tapes)
Apparently, Stephen Becker worked on his solo debut for years between playing in countless other bands — and you can hear it. A Calm That Shifts is the kind of debut that spotlights a talent who has been quietly working in the margins of other people’s music for a long time, refining his craft. This is the kind of expansive folk-pop that has the songs, subtlety, and depth to slowly win you over.
6. billy woods — Aethiopes (Backwoodz Studioz)
Aethiopes by billy woods
It’s rare I listen to hip-hop at all, let alone hear an album that blows me away, but getting billy woods’ Aethiopes in the Mid-Year Exchange was a revelation. I haven’t been this excited about a hip-hop album since Cannibal Ox’s The Cold Vein, way back in 2001. On Aethiopes, woods paints vivid pictures of urban desolation, set to producer Preservation’s woozy patchwork of old blues and jazz samples.
7. Aldous Harding — Warm Chris (4AD)
It’s hard to know how to take Aldous Harding’s shapeshifting vocal persona. On Warm Chris she’s more playful yet more seriously committed than ever to all the roles in her songwriting, making for some deliciously disorientating pop music. Perhaps not as consistent as her last full-length, Designer, but certainly as charming.
8. Living Hour — Someday is Today (Next Door)
Though it includes my favorite song of the year in “Feelings Meeting,” Living Hour’s third album has plenty of other great songs. “Feelings Meeting” stands out as a thrilling shoegaze masterstroke, while most of the rest of the record is the kind of narcotized dream-pop Beach House do so well.
9. Daniel Rossen — You Belong There (Warp)
You Belong There by Daniel Rossen
God knows when we’ll next get another Grizzly Bear record. Until then, Daniel Rossen’s solo debut will more than suffice. On You Belong There, his guitar playing is immaculate, and he doesn’t spare any indulgence on the arrangements either, layering instruments liberally across these stridently morose compositions.
10. Skullcrusher — Quiet the Room (Secretly Canadian)
Quiet the Room by Skullcrusher
It’s been a long time since I’ve heard an album playing in a record store full stop, let alone one that’s prompted me to ask at the desk what’s playing on the turntable. So it was with Skullcrusher. It immediately reminded me of Grouper, but less shy and less smothered in hazy melancholy. Quiet the Room is still a deeply introverted record, but one whose sounds are unafraid to shine, mainly thanks to Big Thief producer Andrew Sarlo’s sterling job at the desk.
Another excellent ten (in alphabetical order):
Oren Ambarchi / Johan Berthling / Andreas Werliin — Ghosted (Drag City)
Ellen Arkbro & Johan Graden — I get along without you very well (Thrill Jockey)
Disassembler — A Wave From A Shore (Western Vinyl)
Goon — Hour of Green Evening (Demode)
Gwenno — Tresor (Heavenly)
Horse Lords — Comradely Objects (RVNG Intl.)
Cate Le Bon — Pompeii (Mexican Summer)
Market — The Consistent Brutal Bullshit Gong (Western Vinyl)
Shearwater — The Great Awakening (Polyborus)
Winged Wheel — No Island (12XU)
Tim Clarke
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woke up and someone spilled vanilla extract all over my dash, so as punishment you strange little beasties are getting all the VANILLA FACTS i know:
vanilla is the 2nd most expensive spice in the world (2nd to saffron)
which is why more than 99% of what we call "vanilla extract" is actually vanillin (vanilla's dominant flavor compound) and is not extracted from real vanilla.
luckily, even professionals struggle to tell the difference when it comes to things like baked goods. but there is a distinct difference in non-heat treated products like vanilla ice cream. real vanilla has a more complex, individualized flavor profile.
why is vanilla so expensive? because it is a ridiculously delicate & demanding crop. complete primadonna.
vanilla beans come from vanilla orchids. these crazy flowers bloom for A SINGLE DAY and have to be HAND-POLLINATED in a process that is exhausting, delicate, and requires specialist knowledge passed down over generations.
then, if you're lucky, you get vanilla beans.
which then require months of further specialized treatment.
the entire process takes about a year and can go wrong at any stage
vanilla has been cultivated for over 800 years (possibly much longer). the first known cultivators are the Totonac, an indigenous people of Mexico.
the Aztecs used it as a sweetener to balance out the bitter taste of cocoa. it was popular in a drink called xocolatl--the precursor to modern hot chocolate!
it is only pollinated by a very specific orchid bee!!!
which is why no fruit could be grown outside of Mexico until the 1800s
Edmond Albius, born into slavery, invented the pollination method we still use today--launching a global industry when he was just 12 years old.
today, the majority of the world's vanilla is grown in Madagascar
if you want real vanilla, read the labels carefully--it's harder to find than you think!
in conclusion, those tiny black specks you see in fancy vanilla ice cream? those are vanilla bean seeds! itty bitty orchid seeds!!! they are delicious and also a PRISSY BITCH!
(src)
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Living Hour — Someday is Today (Next Door)
Photo by Meghan Marshall
Someday is Today by Living Hour
Canadian dream-pop quartet Living Hour have become a force to be reckoned with on their third album, Someday is Today. The band’s prior releases, though lovely, felt a little reluctant and liable to get lost in the shuffle. Right from Someday is Today’s first single, “Feelings Meeting,” a collaboration with Jay Som, Living Hour have found a new way to express themselves that’s more confident and emotionally stirring. Kitted out with colossal shoegaze textures and a couple of sets of truly gorgeous chord changes, “Feelings Meeting” sits proudly among the finest songs to be released in 2022. This sense of scope and grandeur is also found on second single “No Body,” but the tempo is slower, the atmosphere more spacious and subdued. Together they comprise an impressive introduction to Living Hour 3.0.
Though it’s initially disappointing to find there’s nothing else on Someday is Today that quite matches those first two singles, there’s still plenty here to enjoy. Opener “Hold Me in Your Mind” is a dead ringer for prime Beach House, its reedy organ tones and patient chord changes immediately transportive. “Lemons and Gin” deftly combines slowcore aesthetics and country guitar flourishes into a subtly intoxicating brew. “December Forever” is one of the album’s catchiest tunes, peppered with addictive rhythmic details. And “Curve” rounds out the album’s first half with squally guitars and a climax in which the song’s fabric seems to be dissolving.
Though “No Body” and instrumental “Memory Express” close out the album with elegance and finesse, a run of tunes in the album’s second half struggle a little to sustain the listener’s attention. On “Hump,” Sam Sarty sings in a lower register that doesn’t sit particularly well with her airy vocal range. “Miss Miss Miss” mischievously appropriates what sounds like the drum machine pattern from Marvin Gaye’s “Sexual Healing,” before building into the nagging but slightly baffling refrain of “Waiting in line in the bathroom.” And though “Exploding Rain” is a pleasant, wistful tune, it feels lacking in atmospheric heft compared to the album’s more compelling productions.
Despite its uneven presentation, Someday is Today is a beautiful, evocative record, whose charms invite and reward repeat listens. It’ll be interesting to hear where Living Hour head next.
Tim Clarke
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I’m thinking about Mahito’s great great uncle maintaining and preserving a peaceful and beautiful thing in a way that to an outside observer looks tedious and unimportant, hoping to pass the duty off to a successor but ultimately he cannot find one and dies with it.
I’m thinking about the specificity of the blocks being made and handled with care, not with malice or ill intent.
I’m thinking about Hayao Miyazaki, a bastion of beautiful 2d hand drawn animation who refuses to retire.
I’m thinking about a world where animation is so rarely made with love over profit and efficiency.
I’m thinking about how, though the old man didn’t see it, the next generation still hangs onto a piece of that beautiful, tedious thing and takes it with them because it feels important.
I’m thinking about Mahito being told he should forget, but no. He shouldn’t.
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