The new album by Lay Low Moon is called On This Day Last Year. It is an interesting title for an album, and made me wonder where I was last year at this time and the year before that. In this day and age of “on this day” in Facebook land, much of the mystery of our memories has been removed. Still, I have no idea where I was on this day last year. The year before I was attending the last Fred & Toody show I’d ever attend (of Dead Moon fame). Fred Cole got cancer in 2017 and died late in the year. So, I was thinking about that today – I had no idea that the show I was at would be the last time I’d see them. I wonder what I was thinking when I took pictures of them and took in the music? Gone with the winds of time I suppose. So, we’ve established that I love the title of Lay Low Moon’s new album. How about the music?
My background with the band Live coincides with my discovery of “alternative” music in the early 90’s, my desire to seek out bands that did things their own way, and a mentor who helped introduce me to many bands that I still love to this day. The band cut a record in the late 80’s while still in high school under the Public Affection moniker, fell in with Jerry Harrison of the Talking Heads and released their masterful debut as Live in 1991, Mental Jewelry (still my favorite). From there the band became more and more popular, selling tens of millions of records along the way. Throwing Copper, Secret Samadhi, and The Distance to Here all were records that helped solidify Live as a household name. From there, the band experimented with their sound (V), released a somewhat underappreciated album (Birds of Pray), and released an album with some strong songs but overall didn’t showcase the band’s strengths (Songs From Black Mountain). The band went on hiatus, followed by solo albums, one-off projects, and a Live album cut with Chris Shinn of Unified Theory fame. A reunion of the original four members seemed to be an impossible scenario.
Liverpool’s Sunstack Jones have long been one of my favorite indie bands over the last 5 or 6 years. Hints of 60’s psychedelia, nods to 90’s Britpop, and meticulous attention to detail make for an engaging listen. The band operates as a collective, something that has been part of their modus operandi since day 1. Christopher Jones is on vocals / guitar joined by Richy (drums), Lorcan (guitar), Dave (vocals / guitar), and Jules (bass). The band have a number of releases to their name, all evoking nostalgia, coastal drives by sunset, and life’s regrets. The latest self titled LP takes these traits and perfects them.
I first fell in love with Mudhoney in the summer of 2013. You could say I was about 25 years late to the party. I’d owned their records and liked them. But it wasn’t until I was at my first Mudhoney show at the Sub Pop Festival in Seattle that everything clicked for me. The perfect unholy alliance of garage rock, punk, and grunge. Fortunately, Mudhoney play a ton of local shows and I’ve had the opportunity to meet members of the band, catch their live show over a dozen times, and even appear in one of their music videos. Digital Garbage is the band’s first album in 5 years and reflects the uncertain times in which it was recorded.
One of my favorite indie acts over the last few years has been England’s Curry Quiche. They found that sweet spot blending hooks with social commentary – not unlike The Clash. Lyrically, they cut to the core of the issue while making the listener sing along – it doesn’t get better than that. After 2017’s Behind the Machine I was dismayed to hear that the band had disbanded. Fortunately, 2 of the members regrouped as Beached. The intent with Beached is to go down a more commercial, more electronic path. The theme of their debut album, Footprints in Time, is time & relationships. How does it compare to Curry Quiche? Very well, as it turns out.
In the late 90’s I found myself outside of Toronto’s Horseshoe Tavern desperately trying to listen to a sold out Super Furry Animals show. The Welsh band were about to release another masterpiece in the form of Guerilla and were playing a mix of hit songs and yet to be released songs. Sadly, the sound was almost imperceptible from the street and I went on my way walking around the city. It was a sign of things to come, unfortunately – each time Super Furry Animals or Gruff Rhys solo came to town I’d either have a show lined up already (Black Sabbath being the most notable) or simply couldn’t make it. That’ll change this October when I finally take in a Gruff Rhys solo show in an intimate venue. He’ll be supporting his latest solo album, Babelsberg one of the finest records he’s been involved with, solo or otherwise.
I used to love Kanye West – it’s true. Through his 1st four albums he never failed to entertain me, make laugh, and with 808 & Heartbreak, make me feel real emotions. I wrote him off before most people (how’s THAT for know it all hipster statement) and was bewildered as he increasingly became more outlandish. I was also baffled at the accolades he received for each album that was released – I’d give them cursory spins and write them off, never to listen to them again. I was wrong. In recent months, Kanye West has come out as a Donald Trump supporter (or did he?), questioned the role of slavery in US history, and pretty much turned off a large majority of the audience who loved him. I’m not sure if it is all an act or if these are legitimate feelings. But I couldn’t shake the notion that people turning their back on Kanye West now were overlooking the bizarre antics and statements he made during his peak popularity. Maybe I’m wrong, I don’t know. But from the moment I played ye I was entranced. This is the sound of a man hurting inside. Confusion. Poetry. Maybe because it coincided with losing a friend to suicide, I’m not sure – but ye hits me in a way that no Kanye album has for years. Continue reading