Favorite Albums of 2016

2016 has been a strange year. A seemingly disproportionate number of musicians and actors have shuffled off this plane of existence. Sure, every year, people are born and people die. But to lose so many musical icons in the span of 365 days? It is hard to imagine though we've lived it, starting with the loss of David Bowie just two days after his 69th birthday in January.

In spite of all those tragedies, 2016 has at least given us several musical gifts to get us through the tough times. Below are my favorite albums of the year, though not necessarily in any sort of order of favoritism.

David Bowie - Blackstar

The genius of this album was apparent to me even when the lead, self-titled single had been the only thing released in late 2015. Embodying the spirit of Bowie in terms of unabashedly reinventing the rock icon, Blackstar was less about rock and roll and more about experimentation, a touch of jazz, many nods to the past, and a farewell that no one could have predicted (I felt he was saying goodbye by the end of the album, but more that this would be the last album and that he'd spend time with family and relax...not that he'd return to the stars so soon). Bowie is one of the few, maybe even the only one, who could turn their death into art. To this day, fans are still finding hidden Easter eggs in the Blackstar vinyl packaging with suggestions that there are many others that people have yet to uncover. It's painful to think this is the end, but I can't think of a more beautiful and touching parting gift from a truly unique artist to his fans. "There's a Starman waiting in the sky..."

Savages - Adore Life

I cannot sing the praises of Savages enough. Dubbed a post punk revival band, I scorn the label for it brings up images of bands like The Bravery, Franz Ferdinand, and Modest Mouse, which may have some musical nods back to the dark 80s genre, but are more influenced by it than anything else. Savages, on the other hand, dish out an English post punk formula that would have fit in perfectly alongside the likes of Joy Division, Siouxsie and the Banshees, and Bauhaus had they been making music in the early 80s as their predecessors were. Savages, to me, are the all-female version of Bauhaus - Jehnny Beth with the same sort of stage presence and theatrics as Peter Murphy, Ayse Hassan carrying the songs with a strong, gorgeous bass guitar turned deep lead, Fay Milton pushing each song along on the rhythm seat, and Gemma Thompson ripping out the same textural art guitar flourishes that Daniel Ash was so known for. Their second album, Adore Life, builds on the successes of their 2013 debut album while adding in a little more experimentation and, in places, slower and more reflective numbers, such as the album's title track. For the complete experience, be sure to catch these bad asses live - an incredible performance from start to finish full of so much raw energy it's unbelievable. It'll be a treat watching what they do next.

Peter Murphy - Wild Birds Live Tour

I've said it before and I'll say it again - it somehow isn't a year if I can't write something about Peter Murphy! In this case, Cleopatra finally gave life to an old House of Blues performance from the ($10 he's shuddering as I write this next bit) Godfather of Goth that took place in April 2000. While official video of that show has circulated YouTube for some time, and numerous bootlegs of the audio have circulated for even longer, Cleopatra finally decided now was the time to give it both a CD and double LP official release. Complete with Peter's interrupted "Indigo Eyes" (where his hand cramps up and he goes "I'm so gothic I'm dead!"), it's about time this show saw the light of day. Now if we could just get a live DVD of the video they took, we'd be golden...

Gary Numan - Here In The Black

It's been a very busy year for synth pioneer (arguably) Gary Numan. Numan has been crowd funding a new album via Pledge Music that brings fans along for the ride from the very beginning, something that is rarely done on Pledge Music (most bands run short campaigns to sell albums that are already finished...here, Numan is starting at the very beginning of writing and recording a new album, offering anecdotes from the studio and sharing rough demos periodically). The new year also brought his live show from the Hollywood Forever Cemetery during the Splinter tour to life. Released as a gorgeous set of picture disc records with an accompanying CD/DVD combo, you get a look at some of the recording of Splinter and most (but not all) of the performance from the Hollywood Forever. Despite some delays, the final product was gorgeous and masterfully done. Now to wait for that new album!

Iggy Pop - Post Pop Depression

The last few Iggy Pop albums have been lackluster at best, feeling like poor attempts to rekindle either the successes of the Stooges or of his early albums. Post Pop Depression, thought to be Pop's final album, is the strong note the proto-punk pioneer needed to go out on. Solid from start to finish, it's an album that doesn't try to hide the fact that Pop has gotten older. It embraces the change and evolution, drawing in enough from the past to pay its respects without trying to imitate or match it. The pairing with Queens of the Stone Age/Eagles of Death Metal member Josh Homme works perfectly, as each compliments the other and their two styles meld nicely. I hope this isn't the end of the music from Iggy Pop, but if it is, this was a damn fine album to go out on.

Nick Cave And The Bad Seeds - Skeleton Tree

How do you deal with grief, sorrow, and despair? Everyone handles these slightly differently and Nick Cave sought to explore those feelings and resolutions through the latest Bad Seeds album, Skeleton Tree. The album's theme, however, hit very close to home and very suddenly when Cave's young son died tragically. While most of the album was already completed prior to the accident, Cave went back and re-wrote portions to incorporate what he and his family were going through in the face of that loss. While it's hard to say how much of any one song relates to the incident, it's easy to feel the despair and heavy chested sorrow through the music. Taking a page from Leonard Cohen's book and crooning and speaking more than singing, this is an album that must be digested over time for its meaning to really hit home. Nick Cave and the Bad Seeds head out on tour early next year to support the album.

Leonard Cohen - You Want it Darker

Leonard Cohen has gone a long way from his hit classic "Hallelujah". Where his songs tended to be somewhat upbeat, You Want it Darker held true to its title, presenting darker themes, both lyrically and musically. Either from age and loss of his singing voice or to drive home the title's point even more, Cohen drops the singing in favor of somber spoken word, adding to the morose musical landscape. Deeply troubled by the passing of a long time friend, Marianne Ihlen, as well as numerous health issues within the last few years, Cohen wrote this album as a farewell of sorts, focusing on themes of death, religion, and the occasional bit of humor. Following interviews where Cohen claimed to be ready to die (then taking back what he said days later), 2016 passed cruel irony over Cohen with the 82 year old icon passing three weeks after his final album was released. We wanted it darker, and we definitely got it.

Mark Gemini Thwaite - Volumes

Though this gem probably won't be found on any major year end "best of" lists (though it should), former Mission/Peter Murphy/Gary Numan/Tricky/etc. guitarist Mark Gemini Thwaite ventured into a relatively unknown territory - a solo album. Not traditionally a singer, Thwaite opted to collaborate with several friends (and vocalists) to stitch together a debut album that highlights the diversity of Thwaite's playing abilities and musical interests. Though the numerous lead voices throughout the album may take some listeners a little more time to get used to, the album is solid in its music composition and vocal pairings. From the modern and brilliant ABBA cover of "Knowing Me, Knowing You" (featuring HIM's Ville Valo) to the infectious number "The Reaping" (with Ashton Nyte), Thwaite's solo album is catchy and makes a solid argument for why musicians should branch out into these kinds of projects more often. Currently touring with Ricky Warwick and the Fighting Hearts, we'll have to see what all MGT has in store for us in 2017.

Black Sugar Transmission - In The City's Arms

Speaking of other Peter Murphy guitarists, 2016 brought a glorious gift from Andee Blacksugar - a brand new double album. Pairing a bit of pop aesthetic to brilliant rock guitar solos, Black Sugar Transmission albums have always been a delightful mixing of experimentation with flair. In The City's Arms is a bit more experimental than his previous material, bringing in more industrial vibes ("Machinegun Sun"), heavier rock ("Puzzle"), and even a ballad here and there ("In The City's Arms"). A champion of self-produced music, Blacksugar proves you don't need a label or huge fancy recording studio to churn out quality music. You can pick up this work of art and his prior albums through his Bandcamp page.

Preoccupations - Preoccupations

When I first saw someone talk about Preoccupations earlier this year, they described it as a melding of Bauhaus and Joy Division. Obviously I had to check it out. Formerly known as Viet Cong, the electronic noise rock outfit's second album is solid. Though I'd say the sound is less a melding of Joy Division and Bauhaus and more of a melding between And One and Joy Division. To each their own, right? Regardless, Preoccupations along with the likes of Savages give hope for the future of dark art rock.


What albums did I miss? What are your favorites from this year? Let us know in the comments!

Music Review: Iggy Pop - Post Pop Depression

Iggy Pop, the godfather of punk, has been a longstanding treasure to the music world, actively making music for the last 45 or so years. From The Stooges, a group who were unbelievably ahead of their time and remain largely influential, to a rather long and illustrious solo career that has meandered over a myriad of genres - blues, garage rock, new wave, and even jazz. In spite of his popularity, most of Pop's recent solo efforts have mostly been overlooked, with 1993's American Caesar being perhaps the last Pop album the larger audience paid attention to. Post Pop Depression is Pop's seventeenth solo album and his newest album since 2012's jazz and blues album of French covers, Après. In what may be Pop's final album, Post Pop Depression brings out the best of Pop's long and varied music career.

Iggy Pop's seventeenth solo album - Post Pop Depression

Post Pop Depression partners Iggy Pop with Queens of the Stone Age front man Josh Homme (also providing the rhythm section for the Eagles of Death Metal), with musical contributions from Queens of the Stone Age's Dean Fertita and Arctic Monkeys's drummer Matt Helders. The beginnings of the writing process revolved around Pop and Homme sending lyrical bits back and forth before the two more formally decided to work together on a new album. Both musicians entered the recording studio in early 2015 with a series of partial songs, allowing them a framework to build upon together. The album itself is a bit of a retrospective journey as Pop looks back on his career and feels his utility is up and all that's left is the legacy. The album's title, Post Pop Depression, captures that looking back feeling and paints it in a somewhat bleak manner. Make no mistake, however. This album is not the dying final breath of someone who should have stopped years ago. Post Pop Depression is, in some ways, a parallel to David Bowie's Blackstar (appropriate as Bowie helped form Pop's early career by writing and producing parts of his first two solo albums).

The album opens with "Break Into Your Heart," a track with a wild west-esque musical vibe, drawing some inspiration perhaps from some of the Eagles of Death Metal work, laced with Pop's still strong croon. In fact, this may be the strongest Pop's voice has been in recent years, full of life, yet controlled. The perfect opening as the stage is set for this album to "get under your skin."

"Gardenia," the album's lead single, comes next, feeling a bit like a throwback to some of the early Ziggy/Iggy work the two pioneered in the 70s. While the song carries that 70s feel to it, there's still that modern, forward moving feeling that Pop has often tried (with varying levels of success) to build into his works. Here, the efforts pay in dividends. Built on one of Pop's usual lyrical themes of sex, "Gardenia" comes together in the right way so as to not cheapen the song (which can't be said about other recent efforts from Pop...I'm looking at you "DD's" from the last Stooges Album!).

Third track, "American Valhalla," revolves around a fuzz baseline that sounds very similar, though perhaps deeper, to Gary Numan's iconic bass/synth line in "Metal" meshed with "China Girl"-esque vibraphone overtones (perhaps another subtle look back?). Skipping over "In The Lobby" (a good song, just nothing terribly standout about it), we come to "Sunday," perhaps the strongest song on the album. "Sunday" combines electric guitar riffs from Homme with a classic disco bass line, creating a dancy little number, somewhat reminiscent of Bowie's 80s period (Let's Dance in particular). Immediately catchy, the song has an abrupt shift after the first four minutes into a classical soundscape. Often this is a transition that leads to utter disaster. Here, the orchestral outro is somehow fitting and pulled off expertly.

"Vulture" meshes a Spanish-style acoustic guitar with bitter lyrics surrounding the idea of death. Pop's vocals bring in an element of Native American peyote lodge and an odd paranoia where you can almost see Pop's eyes shifting nervously, looking for this vulture he croons about.

The most Stooges sounding track on the album, "German Days," brings in that heavy fuzz guitar and bass sound, but isn't matched with vocals of the same ilk. Instead, Pop opts to draw the words out over the fuzz. Certainly an interesting experience and a nod back to the stoner rock days of old.

The second to last track, "Chocolate Drops," is purely decadent (as the title might suggest). Piano chords take the center stage along with tubular bells and Homme's otherworldly falsettos. There is a freedom you can feel in this song, almost like you're flying and leaving behind the weight of the past. Between this and "Sunday," you have my favorite track from this album.

Closing track "Paraguay" opens with a gospel-esque spoken word. More than any other track on the album, this may be Pop's attempt at an artistic farewell, saying that he'll go "where sore losers go / to hide my face and spend my dough." Pop begins to reconcile with his past success and instead of being weighed down by it, he finds a way to let go, move ahead without fear, and go to Paraguay (mind you, not all of this is perhaps a literal account of what Pop plans for the near future, but it's the concept of separating yourself from your past successes so as to not tear yourself apart when you can't match that for whatever reason).

Pop has hinted in recent interviews that this may be the last of Pop's music career, but I hope not. This is Pop's strongest album in years and has the ability to stand fairly strong against even his most applauded albums.

Music Review: Peter Murphy - "I Am My Own Name"

It's been ages folks, but we're back with more music and show reviews for your reading pleasure. A little late to the bandwagon, surely, but as a welcome back to everyone, today's Music Review will be on Peter Murphy's second single off of Lion, "I Am My Own Name."

Peter Murphy, 2014.

Murphy approaches Lion from an interesting standpoint - it will be his tenth album (ninth studio), the follow-up to his successful rock monster Ninth (his prior work has categorically fit under pop rock where Ninth became his first solo album to firmly grasp the rock field and take it by force), and an album born mostly during a time where the singer revisited the vast catalog of his original band, British post-punk act Bauhaus.

"I Am My Own Name" is a healthy dose of everything you expected given the above (a very gutsy, complicated mesh of emotion and freedom), and yet Murphy surprises the listener by throwing in something utterly new and foreign - synthesizers in a Numan meets Reznor-esque produced dance track for the dispossessed.

The song opens with moody electric violin work from current bass guitarist and violinist, Emilio "Zef Noise" China. In a style that classically eludes to the Middle East (which Murphy, who has called Turkey home for the last roughly 20 years, has done on nearly every album, both subtly and dramatically), this soft introduction begs the question of "What is he doing? What does Murphy got up his sleeve?"

The vocals then kick in, smooth at first, but then with an edge, a harsh scream as Murphy declares that he is "[his] own name." The song then gains in tempo, guitars and drums starting as Murphy tells his story of who he is and is not, merely to say that he is his own name, for what that may or may not mean.

"I Am My Own Name" lyrically appears to focus on some of the recent naysayers who have criticized Muphy both professionally and personally. Some such lyrics include at the beginning "No thin Pixie/white and drawn/no shaded shadow...no jaded shock star..." (Apologies for any errors in the lyrics as they've not been published and this is a best guess) The first part about not being a pixie could be a reference back to the Bauhaus song "Crowds" which has the line "A slim Pixie, thin and forlorn," suggesting that he may not be so innocent and gullible, in a sense, as he was when younger and also not depressed as many have been led to think (also in line with the upbeat tone of the music). "No shaded shadow" to perhaps mean he is no longer going to "hide in the shadows" and not do certain things because it is frowned upon, and not a jaded shock star as there is more value in his work than just going for the easy shock that many stars today try for.

Whether these interpretations hold any merit is, of course, unclear. However, Murphy takes us down an interesting journey with this song, proving once more that he can do something incredibly different, yet still make it his own without alienating the listener. One thing is for certain with this song - if it is performed live and no one is moved by it, either physically or emotionally, nothing will move them.


Lion, produced by Killing Joke's Youth, roars to life June 3rd. Murphy kicks off his North American tour to support Lion June 9th in New York and will visit Austin July 29th at The Belmont (regular and VIP tickets on sale now). Finally, Murphy is in the middle of a Pledge Music campaign to fund the release of a live DVD from the Mr. Moonlight Tour. Check it out here and support today!

Music Review: Gary Numan - Splinter (Songs From a Broken Mind)

Today's long awaited Music Review will be over the newest album from new wave/synthpop/electronic musician Gary Numan, 2013's Splinter (Songs From a Broken Mind).

Cover art for 2013's Splinter (Songs From a Broken Mind)

Gary Numan is perhaps best known for his work over the years in pioneering electronic, and to some extent, industrial music. His more recent albums have taken on a darker, heavier tone, but instead of being a one-trick pony, Numan constantly improves upon his style, bringing something new each time around. Splinter (Songs From a Broken Mind) sees Numan once again setting the bar high, and even far exceeding expectations with an album that may come (dare I even say it) in time to be his biggest yet (it certainly is already his best in more recent years, though not to say the other newer albums have been terrible).

Splinter (Songs From a Broken Mind) is Numan's first album since 2011's Dead Son Rising (though most of the songs were from old demos from prior records, so some people consider 2006's Jagged to be Numan's prior album of new material). While this new work was not immediate in release, it perhaps speaks to so much of what has kept Numan preoccupied in the interim. Regardless of whether or not the album is an introspective look at Numan's life these last few years (which has included very personal struggles emotionally, health concerns especially with his wife more recently, and the challenges of becoming a parent three times over, among others), the album exudes the feelings of what remains after the mind breaks, the splinters and shards that one tries to put back together to create some semblance of reality and even the desire to go back in time and prevent this shattering from happening in the first place.

Gary Numan signing lithographs to be sold with bundles for the new album. He took this photo and posted it up on his official Facebook page.

This album melds much of the signature electronic sound Numan has been known for over the years. Fans of his early work with the Tubeway Army will be able to recognize a distant similarity between those songs and Splinter, though some digging through the layers is necessary. Others will quickly find a close similarity between Splinter and much of Trent Reznor's work with Nine Inch Nails (a band Numan has revealed to be one of his major, recent influences that has helped contribute to the darker sound his last few albums have included).

Stand out songs on this album include the heavy synth number (where you can  feel some of that old Tubeway Army style come forward) "Everything Comes Down to This," the first single off the album "I Am Dust," the softer ballad-like "Lost" that proves the turning point in the album and speaks to the title of the album, and the insanely catchy synth/industrial song "Love Hurt Bleed."

Numan is currently touring lightly in the US, opening for Nine Inch Nails in Florida at the end of the month, before heading off to Europe for some additional dates. Hopefully this is just the beginning of a major tour to support this new album as it is surely a treat to see Numan in action on a stage. If you happen to be near a stop on the current tour, you should definitely check it out.

Rating:

5 out of 5

More Information: Official Site of Gary Numan