marathonpacks’ Year-(Fri)end Bonanza, Volume VI: Nate Hileman

Lykke Li Youth Novels
I wrote this mid-march after seeing her at SXSW. A trusted coworker’s interest tipped me off to pay attention. While this was clearly written during the early listening, excitement and all, I remain convinced:

“Where do i sign up for this one?”

Indeed, still more than a little bit infatuated. Her performance bowled me over; she’s a natural entertainer, and i say this in reference to a performance where she mostly danced in place. for proof look here (mute it — it’s blown out). Her music is the only thing that has subsided my unending anxious terror of our species’ future at the hands of this. If you want to help me stop that thing, listen to Lykke Li….smile, dance, and be happy for yourself.

I’m not normally the type to proselytize smiling or dancing or being happy for one’s self. Did you see that guy kick it? Climbing down a bed of rocks? Up a hill?! Through snow? Carrying weights? Jumping over a “hazard”?! Oh no, I think I may be freaking out again.

Jeremy Jay A Place Where We Could Go
Several years ago i was introduced to Jeremy Jay by a friend with golden ears. What i heard then in those early recordings (”You Came From A Far Away Land”) recalled dark Echo & the Bunnymen tones with an appreciation for space. I’ve been waiting for a year, though. Going back to last fall’s Airwalker EP and this spring’s full-length sibling A Place Where We Could Go, this has been a Jeremy Jay year for me. His EP soundtracked the winter/spring transition so appropriately–the cold melodies patiently pacing an echoed Bowie/Richman vocal. Opening both releases with very short intros lent well to his unique dreamscape world, and indeed, the LP is a dream narrative filled with lampposts, dark green velvet curtains and living dolls. Spending far too much time analyzing these worlds, I grew convinced the song titles read together formed a poem. Having met him briefly, I understand even more is yet to be released. I look forward to many more Jeremy Jay years.

Reggie Watts
Imagine walking into a packed comedy club during sxsw to escape the bullshit to encounter this. What Reggie Watts does defies categorization. He’s incredibly intelligent, dryly hilarious and a gifted composer and singer.

War on Drugs Wagonwheel Blues/Kurt Vile Constant Hitmaker
War on Drugs primarily consists of Adam Granduciel and Kurt Vile. Though I came to Kurt Vile’s solo release without knowing his involvement with WoD, I quickly made the association. It’s hard not to, honestly. Hitmaker’s standout opener “Freeway” could have easily joined the opening tracks of Wagonwheel. Those first WoD songs, “Arms Like Boulders” and “Taking the Farm” embrace an understanding of American ecology, bi-coastal terrain and the power struggles both personal and metaphysical contained therein. It’s no surprise Granduciel and Vile are big Dylan fans, evidenced by engaging wordplay and cadences. Unlike any album this year, Blues kick-started a toe-tapping good time.

Crystal Stilts Alight of Night/Vivian Girls s/t
A cavalry of promising young bands to close the year. I’m grouping them here, not solely due to a linking band member but because they both seem to drink from the same pool of sound. Of the two, I enjoyed the Crystal Stilts far more, though the Vivian Girls wrote a couple standout songs I’m sure I’ll keep coming back to. It’s a bit more intriguing to anticipate what may come next from Vivian Girls, as they seem to be earlier in the process of “putting it all together.” Watching several performances from Crystal Stilts at CMJ, I can imagine them playing large stages in the next couple years.

Donovan Quinn & the 13th Month s/t/Golden Birthday Infinite Leagues
I personally regard both of these releases in a manner separate from my role as casual listener/fan. Instead of being a static spectator from the outside, i witnessed the tree rings accumulate as these records aged, and eventually saw release. Both are well worth the investment for anyone with the free time to spend with my humble musings. Tip-sheet includes: DQ’s “Take the Cross Off the Mantle” and “Dark Angel”; GB’s “Hold onto Love” and “A Kiss Away”.

M83 Saturdays=Youth/Cut Copy In Ghost Colours
One sunny afternoon early this spring I walked back into the office from a smoke break to M83’s Saturdays=Youth being played loudly from across the room. Within the next week I first heard the Cut Copy album. For a while there, as Chicago thawed, I questioned my hardheaded resistance of electronic music. I admittedly consume very little of thise type of record, but when it’s good, I try to pay attention (LCD, AC, etc). While the M83 record may’ve been better intended for a younger listener, there’s nothing like reminiscing with new wave.

With a similar sentiment, In Ghost Colours did new wave redux with a much faster pulse. I imagine if this band is playing on New Year’s Eve the audience is in for a memorable evening.

Paul Westerberg 49:00
Always appreciative of his music, this release harkened back to the first Grandpaboy recording on Vagrant. I recently replaced my copy, partially due to having listened to this 49 cent one-track online release. I don’t care if Paul Westerberg ever decides to enter another proper studio to record, I’ll be happy taking his straight-on rock and roll in this unedited and unfettered fashion. It’s like tuning stations on Westerberg Radio.