Welcome back to the greatest show on the internet!
The SMA’s have returned!
Duh – Sowing’s Music Awards? It’s cute that you pretended to forget – it’s only the biggest name in sputnik user profile, end-of-year, blog-based award shows. It’s kind of a big deal.
So anyway, after a one year absence, the SMA’s are back in full force to rock your world. Forget the Grammy’s – they’re a joke. Teen Choice Awards? God help us. This is where you want to look for the best music of 2018: A place where only exceptional music earns the spotlight, and only the very best wins (Well, unless it’s one of the worst of the year categories – a brand new feature! But I won’t give anything else away.)
There’s a plethora of fun categories this year, but no award is more coveted than the seriously cool shit AOTY trophy [pictured below]. Low Roar, Sufjan Stevens, and Yellowcard (lol) have all come away with it before, and last year it would have been Manchester Orchestra. In the meanwhile, we’ve seen distinguished nominees such as Radiohead, The Antlers, and Fleet Foxes walk away empty-handed. It just goes to show that I don’t give a shit, and this is my show.
I’m still accepting offers to host the show. Judio (remember him? wasn’t he a contributor or something?) still has permanent dibs, but seeing as…
Now this is just creepy. There’s such an unsettling vibe to this whole thing, from the band name to the artwork to the massive industrial groove beat that throws me all the way back to The Downward Spiral. Oh, and those shrill, shouted vocals, followed by by the low, distorted Frank the Rabbit (Donnie Darko) spoken passage. Yikes. This thing just feels monumental. I get the feeling from the tracklist that there could be some serious political vibes on this thing as well. The band itself has 25k Facebook likes, so this is very much a fringe “under the radar band” (sure, they don’t have hundreds of thousands of followers)…but they have only released one album (as far as my knowledge and a cursory google search can tell) and it was all the way back in 2010. Apparently, Gate of Grief has been 7 years in the making. I have a feeling it will be well worth the wait, and one of those albums that catches everyone off guard when it comes out of nowhere. Consider me as hyped as I’ve been for anything so far in 2018.
It’s been a hectic 2018 for everyone’s least favorite mod, and it’s proven to be a rather large undertaking to keep up with everything I’d like to do around here. But because I already tried retiring (twice), I’ve decided to go the opposite route this time and just push my nose even harder against the grindstone and hope that real life/work/marriage makes way for the obvious priority: the Sputnik blog.
My 4 fans here (5, if Irving is reading this) will remember that at the beginning of the year, I vowed to divorce mainstream releases in favor of reviewing exclusively under-the-radar albums. To be fair, I never expected to make 100% good on this promise because the alluring potential of a surprise Taylor Swift Reputation Pt.2 album always looms large — so I’ve compromised. I’m still going to cover as much new obscure material as I can (hence this Hype Machine series), but I’m also still going to review the super popular stuff that brings me joy. Because at the end of the day, who gives a fuck.
It’s been since February since I’ve had time to do something other than train hard at my new real life job, so here we are months removed from Sowing’s Hype Machine #2 — which featured the likes of The Republic of Wolves, Endless Heights, and Lo Moon (all of which…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Billy Swan – “I Can Help”
27 January 1975 (1 Week).
Parallel to novelty songs are one-hit wonders; not always novel, yet always desperately grasping at the tendrils of good taste, and always indebted to whatever timeframe birthed them. Consider Billy Swan; a country troubadour who nevertheless saw “I Can Help” succeed as his only hit, better yet a hit that only lasted a week at the top of the charts. At no point does it dwell in the margins of camp, though it nevertheless sounds like a mid-‘70s record, all acoustic jangle and line-stepping waltz.
Compositionally, Swan admits that the whole thing came together in less than an hour; the lyrics are plucked at random, as evidence by the barrage of platitudes and odes to…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Daryl Braithwaite – “You’re My World”
6 January – 20 January 1975 (3 Weeks).
Perhaps one of the most underrated delights of exploring a history of Australian pop music is that I can accord some attention to songwriters that have either had a minimal presence in the US and the UK, or just plainly didn’t make much of an international dent to begin with. Daryl Braithwaite is one of those performers; having fronted Sherbet, he produced some of Australia’s biggest anthems including “Summer Love” and “Howzat,” whilst topping the charts in his own right with “One Summer” and “The Horses.” As an inductee to the ARIA Hall of Fame, he’s a national treasure; to those North of the equator, he’s Daryl Braithwaite.
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Carl Douglas – “Kung Fu Fighting”
16 December – 30 December 1974 (3 Weeks).
Perhaps the best argument against the posterity of the charts and certain song’s placement within them is that they often fete cultural moments that are decidedly one time only. Of course, there’s nothing wrong with the virtue of being inane and mindless; however, when oriental riffs become lodged into critical discussions like this, it’s hard not to condescend to the source material. Which is a literary way of saying: this thing hasn’t aged well.
Having said that, it wouldn’t have aged well even if society decided that the main riff for this song is just slightly offensive retrospectively. Regardless of all of that discussion, it’s a…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Olivia Newton-John – “I Honestly Love You”
18 November – 9 December 1974 (4 Weeks)
It’s possible that “I Honestly Love You” invented the tired cinematic trope of the ironic soundtrack choice. When it appears in Jaws, Alex and his dog disappear; all the while, Olivia Newton John hums on the radio, soft, lulling, delicate, and unassuming. The song was barely a year old at the time, but its subverted and mismatched application makes it feel as if were always somewhere there, tucked away in the scenery.
In part, that’s because this is the 1970s, and this is Peter Allen, so the nostalgia felt is integral to the composition. Heard as it were, it’s a plainly inoffensive and lilting performance from John, who, removed from Grease…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Stevie Wright – “Evie”
12 August – 16 September 1974 (6 Weeks).
I don’t much care for nostalgia; I especially despise nostalgia that puts the burden of ambition on the present because, supposedly, those in the past were the only ones brave enough to pave the way for ill-thought, impulsive, and indulgent expression. In the context of “Evie,” it’s nostalgia for the plodding, mammoth rock songs of yesterday, and the particular way in which extended suites are apparently not attempted in this modern scene (although the success of songs like “Runaway” certainly challenge that notion, but rockism is only a minor point of contention in this dialogue). Rock songs— specifically, ridiculous and unnecessarily long rock songs— have always had an audience, as “Stairway to…
I must confess that this is not my idea; having recently come across Tom Breihan’s ‘The Number Ones’ column for Stereogum, and in turn, Tom Ewing’s ‘Popular’ column for Freaky Trigger, I felt inspired to approach the format from my own geographical perspective; that is, review every single to reach number 1 on the ARIA Charts/Kent Report, and assign a numerical grade from 1-10. In the interest of brevity (and some pertinence), the column shall begin from July 1974, the date in which the initial Kent Report was first published commercially, and work forwards from there. Dependent upon time constraints and general interest, publishing of these articles will, similar to Ewing and Breihan’s columns, be daily. And now…
Paper Lace – “Billy Don’t Be A Hero”
17 June – 5 August 1974 (8 Weeks).
In the heat of Vietnam, “Billy Don’t Be A Hero” became associated with a reflexive opposition to the condemned Indochinese conflict; pop culture had gone to such great heights to illustrate the crude, imperialistic, and toxically masculine overtones of the war, and, at least for Australia who had contributed more than 7000 military men and had approximately half of them return dead or injured in 1971, the opposition resonated. Not least of all because Vietnam vets were soon being spat on and excluded from RSL clubs and parades; hostility toward military presence in Vietnam lingered long after the conflict, as it did in the US and elsewhere.
The first month of 2018 proved to be a little slow for under-the-radar releases, as it typically is for any music in general. When We Land’s Introvert’s Plight was a pleasant surprise, offering up a very consistent indie-rock record that contained moments of lush folk amidst more sprightly, upbeat melodies. I initially gave that a hype rating of 7 (70%), and it actually earned a 3.8 (76%). On the other hand, EDEN’s Vertigo was underwhelming in just about every way. It did have some unique draw-ins, but they were never successfully strung together in a way that would make it worth revisiting. That album came in just short of it’s 5 (50%) projection, garnering just a 2 (40%) in my recent review of it. All The Luck In The World’s Blind Arcade is still set for a 2/23 release, and it’s very much near the top of my radar. Expect a review for that album soon after it drops!
Anyhow, it’s time for another batch of albums that I have at least some level of interest in. If you’ll recall, I am limiting my 2018 reviewing scope to artists who could be categorically “under-the-radar” – be it on Sputnik or in general. Some of the below artists do have more name recognition that what I’d typically aim for, but none of them are by any means popular and will likely only end up with a handful of reviews across the greater web. Thus, without further ado, here’s Sowing’s Hype Machine…
Long Island alt-rock/indie outfit The Republic of Wolves have made new details available surrounding their upcoming third LP, shrine. The record now has an official release date of March 27, 2018, and will feature the below artwork and tracklist. There will be three bonus tracks on the album as well, with titles that are as-of-yet TBD:
01. The Canyon 02. Bask 03. Sundials 04. Birdless Cage 05. Mitama 06. Dialogues 07. Northern Orthodox 08. Colored Out 09. Ore 10. Worry If You Want (Yume)
Two of the songs from the above tracklist have already been released. “Mitama” and “Northern Orthodox” can be heard here. A version of “Birdless Cage” was also created for NPR’s Tiny Desk Contest, although it allegedly differs from the version that will appear on shrine.
“Mitama“
“Northern Orthodox“
Additionally, for those who haven’t been following the most recent developments, the group has also been releasing studio updates regarding the album. These installments can be viewed below:
To be fair to CHVRCHES, I’m not entirely sure what progression for them sounds like. Does it sound like some backwards adoption of analogue synths and sound collage as an experimental form? The alternative to that would be to go bigger, less subtle, and more infectious with their pop songs, and I don’t know if they’re capable of that. They’ve already perfected vague ennui and a handful hooks for a few years now, and so the success of their songs relies almost entirely on their quality, rather than they do the scope or breadth of their ambition.
Which is why it is difficult to assess “Get Out,” because on first listen it’s just not very good. The verses aren’t especially memorable, which automatically robs them of a place to put at least one good hook, and the chorus is only memorable because it’s basic, not because it’s familiar. You’ve heard it before, but it’s not nostalgia; it’s just another pop rock song in a litany of others. But fans of Every Open Eye can make the credible case that, as it became clearer and clearer that CHVRCHES weren’t going to be doing much other than writing a few good songs, it slowly revealed itself as a decent enough album. There exists the possibility that the same might happen for “Get Out,” and so I won’t go too hard into its faults (moreover, it being boring). The fundamentals of the song remain the same, however; its melody isn’t impressive, its instrumentation is lifeless, and…
There’s little sentimental to be had about “Spotlight,” because throughout his career, Lil Peep has always sounded like this; awash in syrupy, Xanax-fuelled haze, doing his best to sound just like Blink 182’s Blink 182. The same goes for Marshmello, whose “Wolves” and “Silence” rise and fall in similar fashion to the production delivered here, churning up some of Peep’s emo and pop punk instrumentals and giving them a muted, subtly anthemic undercurrent. It’s probably the closest Peep had come to a pop single before his passing, and its why the song’s opening declaration, that, ‘this time, I’ll be on my own, my friend / One more time, I’m all alone again,’ is ever so slightly more potent. Yes, Peep could be making a farewell, but he’s also saying everything he has already said before, succinctly, and better.
So, chalk it up to kismet or chalk it up to progression, there’s a lot about “Spotlight” that sounds like just another long wave goodbye. There are prophetical lines, and there are clichéd cries for love; there’s a constant, droning melody, and there’s a big, power ballad of a chorus, too. And in between, Peep’s lines never sound uncharacteristic, particularly his drearily declaring that he’s ‘faded,’ or that he’s, ‘all alone again.’ This was and always will be the public image of Lil Peep: a miserable 21-year old, battling with sobriety and dependency, motivated by little other than a desire to feel something, whatever that something might be. At junctures, it could sound empty, and…
I’m glad this isn’t a country song, or a rap song, or a country rap song; I’m glad it doesn’t sound like Joanne, or Forever Young; I’m glad Juicy J, Dave Berman, or Al Gore aren’t rapping on this thing; I’m glad this doesn’t sound like “Can’t Stop the Feeling,” The 20/20 Experience, Future Sex / Love Sounds, or Justified. These are all things to be thankful for.
I’m not glad that Justin’s having his Yeezus moment. It didn’t suit Taylor Swift’s Reputation, as was evidenced by that album’s awkward sounds and playfully muddled production, and it doesn’t suit “Filthy,” which takes Justin’s falsetto and puts it over top of a distended, grand ‘70s rock sample and a screwy, unrelated wobbly bass thing. ‘Hater’s gon’ say it’s fake,’ spits Justin, rolling up the sleeves on his suit jacket and informing us that this ‘ain’t the clean version,’ in case there was any confusion. It’s not as terribly stilted or as unsexy as “Look What You Made Me Do,” this song’s closest recent compatriot, but it’s also overreaching for something entirely weird and unnecessary. Honestly, did Justin not leave N*SYNC a few decades ago? Aren’t we all use to him being sexy? Did he not write a song about bringing sexy back? Did he not release an album whose title alluded to his ability to court, fuck, and marry you? Why must he insist that this particular song is real, or a moment wherein he ‘gets [his] swagger back?’ Has the…
So I have a lofty new years resolution for 2018 in music, and it’s one that my track record of consuming mainstream pop and thriving on the hyperbole of big-name indie-rock releases suggests that I’ll be unable to deliver upon. Regardless, I remain focused and intent on exposing only new/underground artists this year, particularly of the indie/folk/electronic variety. I’ve spent the better part of 9 years on this site covering artists who, for the most part, don’t need reviews from someone like me on a site like this. Sure, there have been your Astronauts, Tigers on Trains, et al sprinkled in – but now I’d like to make that my primary focus. I guess klap will have to review Taylor Swift every time from now on.
In light of this newfound direction in life (on Sputnik), I’d like to make this a somewhat regular blog. I realize that it borrows a lot of ideas (the name hype machine for starters, but Sowing’s Hype Corner just makes me want to punch myself), but it’s the best I can do for now. For each installment I’ll highlight three upcoming records that are not necessarily on most people’s radars, and then offer a quick synopsis, a sample track, and a “hype rating” that I shamelessly borrowed from Has It Leaked. Not that I’ve ever downloaded leaked music.
So enjoy, and hopefully this is the first of many beautiful unveilings that will help to bring hard working, “starving” artists into the sput-light. Look for…
