np: "Mind Eraser, No Chaser" - Them Crooked Vultures

Before taking off to enjoy lots of food and the long holiday weekend, I thought it would be a good time to get a few thoughts out on some recent-ish releases before we get well into year-end wrap up season when December rolls around.

Them Crooked Vultures - Them Crooked Vultures (DGC/Interscope)
We all know by now that rock supergroups rarely, if ever, live up to the hype and potential. The better ones serve as entertaining detours from the members' main projects and the worse ones are understandably lost in the sands of time. As fantastic as this particular project sounded on paper, Dave Grohl + Josh Homme + John Paul Jones = OMG, my instincts were telling me to brace more for the latter when the album finally came out. Mainly because, well, the combination sounded too good to be true and that usually signals the death knell for supergroups. As it turns out, however, this is actually pretty good. Essential? No. Definitive? No. Best mainstream rock album of the year? Possibly. Things definitely rotate more around the Homme/Queens of the Stone Age axis than anything else, but Grohl and JPJ certainly make their distinctive marks. If you have no problem with meandering riff-fests featuring thunderous drums, huge bass lines, and the odd mandolin solo - you'll probably get a kick out of this.



Weezer - Raditude (DGC/Interscope)
I've long ago made peace with the fact that we're never going to get another Blue Album or Pinkerton, I'm fine with that - those particular albums meant a lot in a particular time and place that can never be recreated. But now I need to accept that these guys aren't even going to give us another Maladroit or Make Believe. It's just not in them, Rivers has moved on to a different place entirely. Not sure exactly where that place is, maybe a universe where he considers himself king of the Top 40. Last year's Red Album gave us about three decent to kinda good songs and a huge pile of steaming crap. Ditto for this year's Raditude. And, surprisingly, the song featuring Lil Wayne isn't the worst. I think I'll save that particular distinction for Patrick Wilson's "In the Mall". Download "(If You're Wondering If I Want You To) I Want You To", "Put Me Back Together", and bonus track "The Prettiest Girl in the Whole Wide World" and save yourself from the rest of the mess.



Converge - Axe To Fall (Epitaph)
Just how good can one band get? Converge could have called it a day after 2001's genre-defining Jane Doe (a cathartic napalm blast of an album that should already be in the collection of any fan of heavy music) and cemented their reputation as one of the decade's best. But no, they followed that up with two albums (You Fail Me and No Heroes) that damn near as good, particularly the latter. Still wasn't enough for these guys. They had to go and ring out the decade with an album even better than Jane Doe. Seriously. The band is as ferocious as ever, but spent much of the album spinning off into multiple different genres and proving that they can excel at nearly every single one of them - sludge, doom, shoegaze, buzzsaw metal solos - they're all here. Of particular interest are the final two tracks, both stylistic departures that are no less successful than the rest of the disc.

np: "More Stars Than There Are in Heaven" - Yo La Tengo

At this point it seems Yo La Tengo have settled into a steady groove of releasing albums that are good enough, but aren't quite as mind-blowingly awesome as this trio can be. That is, as good as the band was back in the 1990s. I mean, look at that run of albums from 1993-2000:

Painful (1993)
Electr-O-Pura (1995)
I Can Hear the Heart Beating As One (1997)
And Then Nothing Turned Itself Inside-Out (2000)

On just about any given day I could argue any one of the four as my favorite YLT album of all-time. It's a pretty noteworthy run of albums, one that cemented them as one of the leading lights of indie rock. Unfortunately the band hasn't quite scaled the same heights since. Both 2003's Summer Sun and 2006's I Am Not Afraid of You and I Will Beat Your Ass were frustratingly inconsistent, the latter ending up the stronger of the pair by far. Each had moments and the tour around IANAOYAIWBYA was wonderful, but I never find myself reaching back for either very often.

So I was disappointed when this year's Popular Songs ended up being just as frustrating - albeit for a slightly different reason this time around. Song for song, this is probably the band's best long-player since 2000, but is crippled by a horrible running order. It was a bad idea to dump all three of the 10 minute plus tracks at the ass end of the album, wearing out attention spans and detracting from three strong compositions. By the time you reach the 16 minute closer, "And the Glitter is Gone", it becomes a downright challenge to finish things. I think it would have made for a much better flow and more enjoyable listening experience to juggle these tracks with the poppier front section. When the songs come up on shuffle, I enjoy most of them, but sitting through the album is a chore. I don't think this is a problem of an overlong run time either, because ATNTIIO ran five minutes longer and never felt like it was overstaying its welcome.

At any rate, Popular Songs gives us another batch of quality tunes, just a shame that the album isn't all it could be. I highly recommend you check out their set on Pitchfork.tv's Don't Look Down though, really makes these songs sound great.

np: "Wrong Answer" - Municipal Waste

The retro thrash movement is several years and hundreds of bands old by now, but we may now just be getting to the part of the trend that reveals which bands are in this for the long haul and which ones are going to disappear back into the ether. 2009 has seen releases from three of the standard bearers, as far as I'm concerned. Warbringer's Waking Into Nightmares and Skeletonwitch's Breathing the Fire both showcased tremendous growth for each band and are among my most listened to metal albums of the year. My favorite retro thrash release, however, came from Virginia's Municipal Waste. They came to my attention via 2007's The Art of Partying, which was decent enough retro thrash but the overload of songs dedicated to partying and beer drinking never really sat well with me - even though the riffs were powerful as hell. I much prefer my thrash metal lyrics to trend towards the dark and supernatural, thankfully Municipal Waste moved in that direction with Massive Aggressive. Song titles like "Wolves of Chernobyl", "The Wrath of the Severed Head", and "Mech-Cannibal" show where their heads were at this time. The riffs are even better this time around and I fully appreciate that band realizing the inherent silliness of this micro-revival and the way they keep tongue planted firmly in cheek. Just check out this suitably cheesy and gory video for "Wrong Answer":

np: "Singing Joy to the World" - Fruit Bats

Sometimes a song can be really lovely in spite of itself. This is such a song. If I were to see the lyrics to this song printed out before hearing it, I'd probably have tried my best to stay far away from it. Loneliness cliches, Three Dog Night references, no thanks. But damned if it isn't a beautiful song that caught me totally unaware one night driving home from my former job. Here's a particularly lovely acoustic version from an in-store performance:

(for the record: this song's parent album, Ruminant Band, is all-around pretty lovely)

np: "Summer Jam" - Set Your Goals

Guilty pleasure admission time - I've always had a bit of a weakness for the right kind of pop-punk, even though I've drifted away from it over the years. There used to be a point about ten years ago where I was familiar with pretty much every band that appeared on the Warped Tour stage, even if I only liked about a third of them. I've long since given up on following that scene with any kind of regularity, but every now and than a band bubbles up and grabs my attention. A few years ago it was Paramore (whose Hayley Williams actually shows up with these guys to, er, rap), rightfully so - it seems quite a few had the same revelation about them. This year its a six piece out of the San Francisco Bay area, Set Your Goals. I'm not sure that they are really even that great of a band, but a few of the songs from This Will Be the Death of Us hit me in the right spot. They are certainly much better when they shy away from the hardcore shouting and breakdowns and stick to the meat and potatoes pop-punk. Not gonna top any lists and I'm not sure they'll be memorable two years from now, but for right now - they hit my pop-punk nostalgic soft spot.

np: "Song About A Man" - Deer Tick

Deer Tick was one of 2009's pleasant discoveries, an indie folk band from Providence, Rhode Island led by one of the greatest voices of the year - John McCauley. Despite the relative overload of bands milking similar territory right now (Fleet Foxes, Band of Horses, etc.) these guys certainly bring their own take well worth hearing. Theirs brings a bit more of the backwoods Appalachia feel to it than what you might find in that of their West Coast contemporaries. McCauley's croon drew me in immediately, he sounds like a young Steve Earle at times, but its the delicate melodies that kept me coming back for more. Here's a pair of songs they performed live on KEXP this year, both are great but its the second that has become my favorite track of theirs.

np: "Thirty-Three" - Smashing Pumpkins

About fourteen years ago this month I was spending ridiculous amounts of time on the second floor of Flagg Hall, pulling all-nighters and generally trying to keep my head above the ever-rising waters that is the workload of a first year design studio student in architecture. Looking at its release date of 10/24/95, I can guarantee that Mellon Collie and the Infinite Sadness served as the soundtrack to the balance of that Fall semester. I'm bringing this up now because I'm spending some time with the album again this week in anticipation of those new Pumpkins tracks I mentioned a few posts ago. If you haven't given this one a spin in some time, I suggest you do so, the entire thing stands up remarkably well. However, one small suggestion. Assuming you have the entire album loaded into iTunes or your other favorite mp3 player, I think you should queue the album up in the alternate vinyl tracklist Billy came up with. With each slab of vinyl given over to a different "feel" (for lack of a better word), it gives an entirely new impression of a classic album. You'll need to grab the "Tonight Reprise" from The Aeroplane Flies High and grab the "Infinite Sadness" rarity to complete the final side (not really essential to the experience, I don't think). Of course you may already have the vinyl, in which case just toss album one down on your turntable.

Album 1, Side 1 - Dawn
1. "Mellon Collie and the Infinite Sadness"
2. "Tonight, Tonight"
3. "Thirty-three"
4. "In the Arms of Sleep"
5. "Take Me Down"

Album 1, Side 2 - Tea Time
6. "Jellybelly"
7. "Bodies"
8. "To Forgive"
9. "Here is No Why"
10. "Porcelina of the Vast Oceans"

Album 2, Side 1 - Dusk
11. "Bullet with Butterfly Wings"
12. "Thru the Eyes of Ruby"
13. "Muzzle"
14. "Galapagos"
15. "Tales of a Scorched Earth"

Album 2, Side 2 - Twilight
16. "1979"
17. "Beautiful"
18. "Cupid de Locke"
19. "By Starlight"
20. "We Only Come Out at Night"

Album 3, Side 1 - Midnight
21. "Where Boys Fear to Tread"
22. "Zero"
23. "Fuck You (An Ode to No One)"
24. "Love"
25. "X.Y.U."

Album 3, Side 2 - Starlight
26. "Stumbeline"
27. "Lily (My One and Only)"
28. "Tonite Reprise"
29. "Farewell and Goodnight"
30. "Infinite Sadness"

np: "Brownout in Lagos" - Oneida

Really just about any of the fifteen tracks that make up the latest triple-disc Oneida opus could be pulled out and positioned as a "highlight", but tonight this track is hitting me especially hard. A slight shift in direction from their typical output, this features a higher reliance on electronics and vocals, giving the track an intense dub feel that doesn't otherwise appear in their discography. A standout track from one of the year's standout albums.

• Brownout in Lagos by Oneida

More Oneida music on iLike

np: "His Spacetruck is Strange" - Guided by Voices (as Wig Stomper)

And there we have it, off on another GbV bender. Stopped by a local shop on Friday (Secondhand Tunes... highly recommend them if you are in the area) and found, much to my surprise, the third volume in the Guided by Voices Suitcase series - for a surprisingly cheap price. I couldn't pass it up, 100 more songs by one of my all-time favorite bands? Sold. The previous two Suitcase collections (the second of which contains the track above) were obviously hit or miss affairs but, as with much of Bobby Pollard's material, the hits are so very much worth wading through the filler. It becomes really easy for me to fly off on a Pollard spree, because there is seemingly always something new to discover. With the possible exception of the albums I've ingested quite completely (Alien Lanes, Bee Thousand, Do the Collapse) - I'm always discovering a new bit to love. So here's to another 100 chances of finding another gem! I'm particularly excited by disc number four, billed as GbV acoustic songs recorded between Bee Thousand and Alien Lanes. In celebration, here is the video for the first ever GbV track that I obsessed over:

np: "Welcome to the Occupation (Live in Dublin)" - R.E.M.

I have to admit I have a weird, weird relation ship with these guys. I've never been the biggest fan, but they've put out plenty of albums that I absolutely adore and I've always kept an eye on what they have been up to. Unfortunately, for about the last decade (yes, pretty much since the departure of Bill Berry), that hasn't been much good at all. Anyway, a brief history of my long and complicated love affair with R.E.M.

Up until about about 1992, they were just another ubiquitous radio singles band that I never really embraced. Living out in the middle of central Illinois with no college or alternative radio meant I was only subjected to the most mainstream of their hits, which meant pretty much "Stand", "Shiny Happy People", "Losing My Religion", and "It's the End of the World...". I hated the former two with a passion and had the other two ruined for me by overplaying. It wasn't enough to make me ever want to seek out more. I knew they had a pretty well respected past, but I figured they were just of another time and I'd missed the boat. I was fine with that.

Enter the winter of 1992-93, where I had recently started delivering for a tiny local pizza joint. We had two delivery vehicles, both in varying stages somewhere between "piece of crap" and "beat to shit". The Ford Escort had a crappy radio that only picked up two stations - one country and the other a local top 40 station. The other vehicle, an Astro van, was in even worse shape - the muffler was literally sitting in the backseat and the radio worked very sporadically. We usually preferred to drive the Astro van for two reasons. One, without the muffler it sounded loud as hell and two, being an automatic meant that the gear shift never popped loose as it did in the Escort. Anyway, that winter I spent a lot of time driving the van making sporadic rural deliveries. The owner's son had stuck a cassette version of Automatic for the People in the center console and it just kinda sat there. One night, sick of the radio, I popped it in. After that night it didn't leave the deck when I was in the van. Initially I only really liked "Man on the Moon" and "The Sidewinder Sleeps Tonight", but in time pretty much the whole album grew on me.

Fast forward to the fall of 1994. I had just started my freshman year of college and in addition to all the other newfound freedoms, I was loving having a campus alt-rock station and constant access to MTV. One of the big songs being pimped on both at the time was "What's the Frequency, Kenneth?", the lead single from the upcoming Monster. I adored that song. I loved the obscure reference it came from, the backwards solo, the guitar sound, it was great. So I went to the big midnight release party at Record Service (R.I.P.) and bought the album, which quickly became of of my favorites. Now. I realize this album is pretty much universally reviled by the serious R.E.M. fans and has become bargain bin fodder the world over. I don't get it, it's a taut bunch of guitar-driven rock tunes. It was the perfect album for me at the time. Though I have cooled on it slightly over the years, it remains my second favorite album.

My first favorite? The band's follow-up to Monster, New Adventures in Hi-Fi, a sprawling record that showcase a wide variety of sounds. It remains my most played album of theirs. After I fell in love with this album, I scoured the used shops and started picking up cheap copies of their older albums - Green, Out of Time, Reckoning, Fables of the Reconstruction, and eventually Murmur. I found something to like on all of them, particularly Murmur, but none of them grabbed me in the way Monster and New Adventures did. But that was okay. I did end up really loving Murmur, but none of the other early ones completely clicked for me.

Then came Up, the 1998 album that was the first without longtime drummer Bill Berry. It was, alright. I feel like the loss of Berry forced them to redefine their sound in a hurry and they did a lot of experimenting. Somtimes it worked ("Daysleeper", "At My Most Beautiful", "Lotus"), but more often it did not. And that's pretty much where my brief affair with R.E.M. tailed off. I bought Reveal and tried to convince myself that I loved it, but it quickly sank into the back shelves of my collection. Around the Sun was just awful and I don't think I ever spun it more than twice after I first bought it. The advance press on Accelerate and it being a "return to form" hooked me and it was a surprisingly fun listen, but wasn't enough to rekindle my affair.

Why bring all this up? I'm currently listening to their recently released Live at The Olympia, a two-disc document of their five night stand in Dublin that served as "working rehearsals" for Accelerate, and falling for the band all over again. Since these shows were testing ground for the new material in progress, they are pretty heavy on Accelerate tunes. But what makes these so special is what made up the rest of the setlist - tons and tons of early material and obscurities. I mean, hell, there is four songs on here from Chronic Town! And even better? None of the ubiquitous big hits. There's no "Everybody Hurts", no "Shiny Happy People", no "Losing My Religion" - it's like an obscurists dream! More importantly, the band sounds fantastic, like they are just loving being up on the stage. It's a great document and one that should really be given a chance, particularly if you'd cooled on the band given their lackluster 2000's output. Seriously, give this a chance and you may find yourself falling for Michael Stipe all over again.

np: "Crystalised" - The xx

I haven't really had a chance to talk about this band yet, which is a shame because their debut album has certainly been one of my favorites of the last few months. Icy, cool, minimal pop with dueling male-female vocals. Lovely sounding stuff and one of those bands that is really hard to pin down in any one genre. It was announced this week that one of the original four members, keyboardist Baria Qureshi, has left the band due to exhaustion and the band will continue on as a trio. Time will tell how this will affect their sound, as I'm not sure just how much input Qureshi had in writing their tunes. Glad to see they are continuing on, I'd hate to lose such a promising young band mere months after their debut album gets released. Check out a few of the album's highlights.

R.I.P. Idolator

I never got around to dropping a link over in my sidebar, but Idolator was one of the regular music blogs I visited from time to time. I won't claim it was a daily stop because honestly, about half of the pop stuff they covered I could care less about, but when I did it was generally a good read. Sometimes a little heavy on the snark, but even that was typically balanced out by the kind of intelligence and thought that is all too uncommon in today's big hype blogs. Former fearless leader Maura Johnston, always a fun read, parted ways with Idolator on Monday and the site pretty much went directly into a tailspin. The two new writers Robbie and Becky have done little but regurgitate press releases and bash out gossip-less gossip in a style that would probably make a seventh-grade paper editor pause. It's rare to be able to watch a beloved blog crash and burn in almost real time. A few choice nuggets courtesy of the new content providers (I really can't call them "writers" at this point):

Oh, well. At least some Amerie posters and album samplers were given away at the album release party thrown at San Francisco’s Gus Presents Social Club the other night, right?

Rihanna was honored as one of Glamour Magazine’s Women of the Year last night, beginning her speech by crying and admitting “I’m PMSed, sorry.” So this is the new face of PMS? A gorgeous, exotic pop star? I guess now guys can stop complaining when their girlfriends get bitchy once a month in the hopes that they turn into Rihanna.

Is my review bias? Mmm, perhaps, since I happened to be sitting three rows behind Billie Joe Armstrong and Tre Cool and stared at the back of their heads during song breaks, but that rockstar spotting was just the icing to an already awesome show. [Fantastic use of grammar in that first sentence.]

Another day, another super hot but kind of creepy thing Shakira does with her body. Shaks (we’re on a nickname basis) performed “Give It Up To Me” on Letterman last night, showcasing her usual body contortions, but with one new addition: dreadlocks. [Shaks? Really? Shaks? Don't we already have one Perez Hilton?]

You get the point. I'm sure there are some people that love this gossipy style of music news reporting, but I don't think any of them were regular Idolator readers before this change. Such a shame to see the site sink to these depths.

As mentioned on this post a couple days ago, I recently wrote a review for the new Flaming Lips album and it has gone up at a completely new outlet for me, Metro Pulse. You can read it here.

np: "Apathy's Last Kiss" - Smashing Pumpkins

It appears that a new Smashing Pumpkins album is imminent. Well, I suppose album is a bit of a misnomer. Let's call it the new Smashing Pumpkins project. And I have to admit that despite my recent misgivings about the band I once loved more than pretty much any other music out there (detailed in length here), the format of this thing could work out to be pretty cool. Apparently Billy and whomever is actually in the band this month are gearing up to release the first song of Teargarden by Kaleidyscope (I know, right?) as an absolutely free digital download in the coming weeks. But this isn't one of those hook 'em in with the first track free and make 'em pay later, no. The entire 44-track album is to be available as free digital downloads, with a new track to follow about once a month. The real money will be made by packaging physical bundles of the songs as limited-edition, collectible EPs every 7 or 8 songs. And if I know nothing else about Pumpkins fans, they will happily cough up cash at any opportunity to buy product. So it'll probably work, as long as Billy is able to maintain momentum on the project. I'm just happy that I'll be able to keep an errant eye on the band's new work without paying out the nose for it. Considering the Pumpkins are little more than a Corgan vanity project at this point, free is about the only price I'm willing to pay for new music in 2009. But hey, if they can convince me otherwise, I'll be a satisfied fan once again. The free download trick just may be enough to gain back some of the lost goodwill.

np: "Powerless" - The Flaming Lips

Embryonic is a treat, to be certain. An unexpected slab of brilliance that will add another bright, shining star to the shimmering galaxy that is the Flaming Lips discography. At the very least it rates right up there with Clouds Taste Metallic and In A Priest Driven Ambulance as their three best albums. But more on that when my review goes up shortly. For now I want to share what I believe to be one of the standout tracks from the album. Actually this song represents the middle third of the the three-track run that cemented this as one of my favorite albums of the year. For those of you still missing Ronald Jones, the fantastic guitar work here should give you another reason to give the band another chance.

np: "Public Display of Dismemberment" - Slayer

One of the most essential American metal groups of all time unleashes their tenth(!) studio album, World Painted Blood, on the world today and it is quite the scorcher. This particular two minutes and thirty-five seconds of hellfire is one of the more obvious highlights. Dave Lombardo attacks his kit with the same fiery abandonment as usual, but at speeds I really didn't think he was capable of anymore. Toss in a dissonant solo and you've got proof positive that this band is far from washed up.

np: "Surprise Stefani" - Dan Deacon

Dan Deacon can be a lot to take. He's kind of like that hyperactive genius kid that everyone knew in grade school, the one nobody could stand to be around. Not because he was annoying per se, but just because he'd rather invent new ways to make every game "more awesome" than actually just playing the game. Always bouncing from idea to idea, barely allowing anyone within earshot to take a breath. Deacon's live shows are certainly no exception, between songs he is breathlessly exhorting the audience to split down the middle, form circles, do crazy dances, count backwards, etc etc. It's nothing less than exhausting.

For me, Deacon's recorded works suit me just fine, where I can take him on my own terms without the hippy-dippy mumbo-jumbo and the annoying fans. Where I can appreciate the Baltimore musician for what he really is at heart, a truly outstanding and inventive modern composer.

Take "Surprise Stefani", the sixth track of his 2009 release Bromst, as a perfect example of his compositional skills. It starts out calmly with a modulating vocal sample that is quickly joined by some slow, spacey synths that wouldn't sound out of place on an early-80s science fiction soundtrack. Just as you start to get lulled in, everything drops out to be be replaced by layers upon layers of chopped up and manipulated vocal samples over sparse, droning keyboards. It's briefly disorienting, but pretty soon you become too overwhelmed to notice. Your ears are busy trying to pick out just one vocal melody or rhythm to latch onto, but it's a worthless exercise - there is just enough variation in each layer to have you jumping at each twitch. It's a neat trick and repeated listens reveal just how structured this is, this isn't mere chance and chaos. Eventually the vocals drop off and the focus turns to the drums and twinkling xylophone, one of Deacon's signature moves. Listening to this section on headphones is even more of a trip, as the modulation jumps from channel to channel. Finally the drone drops out and the last twenty seconds leaves us with bright, shiny and surprisingly tuneful xylophone.

It's difficult to express the experience of hearing this song in words, one would be far better served giving this one a spin for themselves. The point of this entry is to call attention to that aspect of Deacon's music that seems to be overlooked when the attention is on his live antics and cartoon vocals. Namely, Deacon is a composer more than he is your typical "indie" musician. His work pulls almost directly from the minimalism of Steve Reich and the looped oscillations of John Adams, and should almost be approached in a similar way. That's how his work has clicked for me at any rate, maybe that approach will work for you. I'm still not going anywhere near his live show though.

np: "Sleepyhead" - Passion Pit

Okay, this song is a little old now, but it just snuck up on me this afternoon and revealed itself as one hell of a great little tune. I found Manners, the debut full-length by Boston's Passion Pit, to be fairly spotty on initial listen. It seemed like the type of bedroom synth-pop being done by lots of other bands in more exciting ways. Spinning it again after some time off I'm finding it a little stronger, none as much as this particular track. Swirling, joyous, and whimsical - a hard combination to pull off without sounding too twee, Passion Pit nails it though. A great beat and a solid hook, but its the tinny chipmunk thing winding throughout that seals the deal for me.

np: Muse - "Unnatural Selection"

I'm beginning to wonder if I'm one of the last non-diehard fans to "get" Muse. I keep reading review after review of the new album, The Resistance, ridiculing the band for taking themselves too seriously and for lacking a sense of humor. Really? I mean, are these critics listening to the same band? I'm thinking the critics are the ones lacking a sense of humor, since they seem to be the ones completely unable to "get" this band. Of course Muse are over the top. Of course the lyrics are ridiculous sci-fi hysteria paranoid technobabble. That's entirely the point. I firmly believe that Matt Bellamy and the boys are perfectly aware of how ridiculous they are. That's what makes them so damned lovable. They aren't a great band, no. But they fill that stadium-packing niche that Billy Corgan abandoned nine years ago to go... well, whatever the hell it is he decided to go. Muse don't play rock shows, they put on spectacles. And in an era of record label cutbacks and shrinking budgets, what could be more antiestablishment than wanting to perform rock music laced with clarinet solos (clarinets for god's sake!) while dancers hang from helicopters skids? That's awesome. Embrace the ridiculousness.

np: "The Ego's Last Stand" - The Flaming Lips

I've known for a couple weeks now that Embryonic is a pretty great record. What I discovered last night, however, is that it is also a great record for walking around in the crisp October air contemplating the curveballs that life throws us. See, yesterday I found out that I was going to become yet another statistic in this stagnant American economy. I was laid off from my job yesterday afternoon with very little notice and tossed into the uncertain freefall that is unemployment. After a few hours of letting things sink in and talking things over with my wife and family, I decided I needed to get a little air and went for a walk. I instinctively reached for my iPod and threw it into my pocket on the way out the door. After tying my shoes, I popped the earbuds in and started scrolling through the 'Artists' tags... and... well, shit. Now what. What do I want to listen to? An old favorite? Something uplifting? Something soothing? Distracting? Eventually I settled mainly on the last option and figured this would do the trick. Did it ever. It was almost (I say almost, because I don't know that I could EVER pick the perfect song for the perfect moment even if I had years to plan it) the perfect thing to listen to as I walked around the neighborhood. And not just because Wayne was singing "see the leaves / they're dying again" as I kicked my way through piles of them. The whole air of uncertainty and confusion resonated very deeply within me, particularly these lyrics to the third track, "Evil":

I wish I could go back / go back in time
But no one ever really can go back in time / go back in time
Oh I would have shown you / those people are evil
And they'll hurt you if they can
I never understand

Not so much the "people are evil" part (although, yes, there was a little of this too), but more the "I never understand" lament. I didn't understand, hell I still don't. It was one of those moments during which music helped me to gain a deeper insight into what I was feeling, even if I hadn't had time to explore those feelings fully myself. I won't say The Flaming Lips made me feel better about my situation, of course they didn't. But they didn't really make me feel any worse either. They just made me feel, and that felt pretty important in the moment. And really, how much more can we expect from music?

np: "Spank-A-Lee" - Herbie Hancock

Two updates in one evening, wow! Actually I just wanted to do a little plug for a very good friend of mine, Dan over at Cubicle Dad. This very brave soul has decided to tackle the 2010 Chicago Marathon for a variety of reasons and I suggest you head over to his site to follow his journey. Here's wishing Dan nothing but encouragement and success as he embarks on this year-long quest, I certainly have tons of respect for anyone strong enough to tackle a marathon. Hell, the thought of driving 26 miles in downtown Chicago gives me pause - let alone running them! Good luck Dan!

np: "Butterfly" - Herbie Hancock

Rumors of this blog's death are completely untrue! Please ignore if you hear any of them. As I was pretty much expecting, studying for my ARE is eating up nearly every non-working, non-sleeping minute I have and something had to fall by the wayside - and I decided updating a blog that hardly anyone reads would be the least painful cut. Anyway, the ARE is progressing well and I'm hoping to be wrapped up by next March. Hopefully that doesn't mean that via//chicago will sit unloved in the corner, I plan on trying to squeeze in an update or two because I certainly haven't slowed down on my intake of great music. 2009 has unleashed some wonderful things that I hope to delve into on this very page. So consider this a promise of things to come. For now, I'm back to studying.

Best Albums of 2009... so far, so good... so what!

Now that we've reached and subsequently passed the halfway point in 2009, time to sit back and take stock of the best music January through June had to offer.

1. Mastodon - Crack the Skye (Reprise)
Another winner from the best American metal band going right now. Prog in all the right ways, surprisingly melodic and still fierce as hell.

2. Sunn O))) - Monoliths & Dimensions (Southern Lord)
The dark drone metal masters create an album that defies easy categorization, incorporating everything from acid jazz to choral music to conch shells (no really).

3. Animal Collective - Merriweather Post Pavilion (Domino)
By sharpening their songcraft and absorbing lots of dance rhythms has allowed the Collective to give us one of their most listenable and blissful albums yet.

4. Dinosaur Jr - Farm (Jagjaguwar)
The reunion rolls on, with an album that just might even surpass the original trilogy that gave these guys their killer reputation. Every nook and cranny is packed with hooks and crunchy Crazy Horse solos.

5. Wilco - Wilco (the album) (Nonesuch)
It doesn't break any new ground for the band, but serves as a terrific summary of everything they do well - from Tweedy's intimate lyrics to sonic playfulness that reveals boundless depth in these seemingly simple pop songs.

6. Dirty Projectors - Bitte Orca (Domino)
One of the most pleasant surprises of 2009, this is one of those albums that sneaks up on you and demands your attention. "Stillness is the Move" might just be single of the year.

7. Coalesce - Ox (Relapse)
Nothing better than having the veterans kick back with an album a decade later than positively obliterates the countless imitators the band has spawned.

8. Sonic Youth - The Eternal (Matador)
Much like the new Wilco, this album serves as more of a band sampler than a dipping of toes in a new pool. Still, Sonic Youth reflecting is leaps and bounds above most bands half their age.

9. The Pains of Being Pure at Heart - The Pains of Being Pure at Heart (Slumberland)
Endlessly derivative, but still the some of the best thirty-five minutes of pop pleasure this year has blessed us with.

10. Yeah Yeah Yeahs - It's Blitz! (Interscope)
For a band that built its early reputation on skronk and intensity, its somewhat surprising that their best album yet nods more to the dancefloor than the dark corners of post-punk.

11. Kylesa - Static Tensions (Prosthetic)
Thanks to two fantastic drummers, this is one of the heaviest and most intense sounding metal albums of the year. Just when I thought sludge had little new to offer...

12. Phoenix - Wolfgang Amadeus Phoenix (V2)
After a stunning SNL performance that turned heads, Phoenix finally shows the masses what tuned in fans have known for years - namely, these guys got hooks upon hooks. "Listzomania" and "1901" are both pure pop magic.

13. Nomo - Invisible Cities (Ubiquity)
Who knew some of the grooviest Afro-beat in the 21st Century would come from Ann Arbor, Michigan? Well, those of that have been following these kids through four fantastic albums knew.

14. Handsome Furs - Face Control (Sub Pop)
I was a big supporter of this duo's first album, but I'm glad to see that an even better follow-up has led to some much deserved attention. I've had at least seven of these songs stuck in my head at one point or another this year.

15. Isis - Wavering Radiant (Ipecac)
Ever wonder why critics still refer to all young post-metal bands as NeurIsis? Because these guys helped set the template and are still marking out territory all their own.

16. The Decemberists - The Hazards of Love (Capitol)
Stripped down to basics, this is a sweeping concept album about love, magic and forest animals. In no way should it be one of the most engaging albums of the year, but it is. Kudos guys.

17. Wooden Shjips - Dos (Holy Mountain)
Detractors call these guys repetitive and boring, but they're missing the point. They may be a one note band, but when it comes to kraut-infused psych, its a great effing note.

18. Tombs - Winter Hours (Relapse)
Climactic bombast without the slow build, these guys are like the Michael Bay of post-metal. And I mean that in the most positive way possible.

19. Sunset Rubdown - Dragonslayer (Jagjaguwar)
Another great album for fans of quirky pop infused with lots and lots of prog rock, these guys continue to surprise.

20. Grizzly Bear - Veckatimest (Warp)
The best easy-listening album of 2009! Really, its a compliment. A breezy listen that hits all the right pleasure centers.

21. Black Lips - 200 Million Thousand (Vice)
For all the talk about these guys' wild stage shows, people tend to forget just how tuneful and melodic they can get in the studio. Of course it gets drenched with a fine layer of sleaze, but still.

22. K'naan - Troubadour (A&M)
Really confused as to why this dude isn't mega right now. Too thought-provoking for those still figuring out what the hell Lady Gaga is singing about? To me, this lives up to all the hype Wyclef never delivered, mixing world music, hip-hop, and intelligent, thoughtful lyrics in a compelling manner.

23. Lindstrom & Prins Thomas - II (Eskimo)
Tempting to call this the best electronic record of the year, but that would be about like calling Mastodon the best classical album of the year. This is fuzzed out psychedelia at its peak.

24. The-Dream - Love vs. Money (Radio Killa/Def Jam)
Another entrant in the "should really be massive by now" sweepstakes. Terius Nash is on fire right now, living up to his promise as the Prince of the '00s.

25. Bat For Lashes - Two Suns (Astralwerks)
Who knew we needed a new Kate Bush? Stunningly produced, gauzy pop that winds its way into your head and lodges itself their for weeks on end.

The Honorable Mentions:
Franz Ferdinand - Tonight: Franz Ferdinand (Domino)
Cobalt - Gin (Profound Lore)
Glasvegas - Glasvegas (Columbia)
Conor Oberst and the Mystic Valley Band - Outer South (Merge)
Obits - I Blame You (Sub Pop)
Morrissey - Years of Refusal (Attack/Lost Highway)
Fever Ray - Fever Ray (Rabid)
Mos Def - The Ecstatic (Downtown)
Silversun Pickups - Swoon (Dangerbird)
Neko Case - Middle Cyclone (ANTI-)
Dan Deacon - Bromst (Carpark)

np: "Rocket USA (Peel Session)" - Loop

Given the less than two weeks remaining until taking my next section of the ARE, studying has ramped up to a furious pace and the ol' blog has fallen by the wayside. I know you've been disappointed to click on a link and seeing the Wilco album cover again and again and again (especially if you don't like Wilco), so I figured I'd brighten up your time wasting session by dropping another list on you. Enjoy. Oh yeah, be on the lookout for a special feature for via//chicago post #500!

Songs that have been enthralling me lately:
"Straight To Your Heart (Peel Session)" - Loop (found on 2-disc Heaven's End reissue)
Just an absolutely killer version of an already killer song by a band that has become somewhat of an obsession for me in the past several months. I highly recommend tracking down all four of the reissues of this band's catalog.

"Sing Swan Song" - Can (found on Ege Bamyasi)
Been on a bit of a Can kick this week after discovering some great new (to me) jams from the band's latter days and solo projects thanks to one of my favorite blogs, Musicophilia. Anyway, this is a classic track that never does me wrong.

"Folk Wisdom" - Oneida (found on Rated O)
One of the many highlights from this band's latest triple(!!)-disc release. This album is sure to place high in my end of year rankings.

"Unbreakable" - Michael Jackson (found on Invincible)
Seriously. I'd never even heard this entire album before now, but its not awful! The ballad heavy second-half is a bit of a slog, but the first half is filled with some stellar production from the turn of the century.

"I Want You To Know" - Dinosaur Jr (found on Farm)
Oh Lou and J, so glad you patched things up. This has been one hell of a comeback!

"Sleestak Lightning" - Clutch (found on Strange Cousins From the West)
Such a great, energetic rock tune. You don't even need to appreciate the band to dig this song.

np: "Country Disappeared" - Wilco

This band Wilco, I tell ya. They've got my number. They really do. With each new album that comes out, I fully expect it to finally be the one that feels lackluster or starts to make the band feel a little less essential. I won't be concerned when this happens, its just one of those things that happens to just about anybody who has ever had a favorite band with a career that stretches out a decade plus. Honestly, I've been expecting Wilco to let me down ever since A Ghost is Born was on the verge of release. Really, they were never going to top that 1-2 punch of Summerteeth and Yankee Hotel Foxtrot. Both very very different albums, but ones that totally succeeded in what they were trying to accomplish. The former being a modern day pop album that belied any attempts to dump it into the various subgenres people were itching to file Wilco in and the latter, well, I'm still not entirely sure but it certainly does a hell of a job exorcising that post 9/11 anxiety and dread (yes, I'm well aware of when it was recorded... but, still, wow, a very prescient pop culture artifact). So AGIB didn't have a chance. And it didn't top either of the previous two masterpieces, but it really didn't need to. It didn't even try, presenting an artistic left turn that found the band delving deeper into texture and krautrock without sacrificing the gentle beauty of Tweedy's lyricism or losing the pop knack. It was another resounding success. Really, in what world can any album containing "Spiders (Kidsmoke)", "Handshake Drugs", "Wishful Thinking" and "The Late Greats" NOT be considered a success? Masterpiece? No. Fantastic album? Yes. Sky Blue Sky followed three years later, scaling back a little and sounding like a lost singer-songwriter album from the 1970s. While certainly one of the more single-minded releases of the latter portion of Wilco's career, it is far from the boring trip the detractors will claim. Just listen to Nels Cline's life-affirming guitar solo on "Impossible Germany" again. Point being, it was another success. Not my favorite Wilco, but in generous moments I certainly could argue for it placing in the top three.

Which brings us to the cheekily titled Wilco (the album). I'm just wrapping up my second full listen and I'm thinking this will be yet another in their string of winners. It isn't better than YHF or Summerteeth (hell, not even Sky Blue Sky), but god-damn if the thing isn't eminently listenable. All the elements of Wilco's career is on display here, from Cline's fiery fretwork to Tweedy's confessional moments to the band's willingness to just play with sound intermixed with some great pop hooks. There's even an (arguable) alt-country song that wouldn't sound out of place on A.M. ("I'll Fight")!

This won't stand up over time as one of the pillars of the band's discography, but as a collection of great tunes well worth spending some time with - Wilco (the album) is an unqualified success. And in my book, any band with a run of albums like this is making a strong case of being the most vital rock band in America right now.

np: "Rock With You" - Michael Jackson

The rumors, allegations and (let's face it) batshit behavior over the last 20 plus years may have tarnished the image, but let's not sit here and pretend that Michael Jackson wasn't the biggest and brightest thing in the world at one point. Like any red-blooded American male of my age (even if they won't admit it), I spent many an hour practicing the Moonwalk in my bedroom while listening to Thriller, pushing the sleeves up on my red and tan two-tone jacket and pretending that the winter glove on my hand was white and sequined. The world certainly hasn't seen a bona fide international superstar like him since, nor are we likely to in this increasingly fractured world of entertainment. Britney? N*Sync? Please. MJ was frickin' worshipped around the world. They didn't call him the King of Pop for nothing.

He certainly battled his fair share of demons over the years and he was never someone I'd trust to babysit, but I'll choose to remember MJ as the larger than life icon he was. The glove. The zippered jacket. Thriller. The Moonwalk.

Pop music has lost one of its brightest lights today and as long as bar jukeboxes continue to blast "Billie Jean" and wedding receptions spontaneously break out into zombie dance parties his influence will still be felt.

RIP Michael

np: "Gibbon" - This Town Needs Guns

Decided to really dive into the promo pile sitting here on my desk, they've been looking at me so very longingly for several months now. So I thought maybe I'd jot down a thought or two as I tear through these albums, partially to let you know what might be worth your time but also to remind myself what might deserve more attention further down the road.

This Town Needs Guns - Animals (Sargent House)
I think the cutesy animal artwork put me off this, expecting more of the tuneless indie rock that I've grown ever so tired of lately. And it IS indie rock, but indie rock that is pretty much right up my alley - all chimey and math-y, it isn't surprising to learn they've shared the stage with another via//chicago favorite, Joan of Arc. The twisting, unadorned guitar lines are mesmerizing, making up for the times when the vocals get a little listless. Not a bad start to the day.

Red Fang - Red Fang (Sargent House)
And we're two for two so far. The influences for this one are all over the heavy music map (and fairly obvious) - Melvins, Sabbath, Motorhead - but things gel enough to make for a pretty cohesive listen. Some chunky riffs and driving tempos, but my favorite is probably "Humans Remain Human Remains", a six and a half minute barnburner complete with organ. Nothing groundbreaking here, but this kind of rock never gets old.

Beat Strings - Fang In Rain (XOXO Records)
Well, we didn't quite make it three for three, although this isn't necessarily a bad album. Its just that this whole Springsteen worship thing is getting a little played out by this point and these kids aren't bringing anything new to the table to make it worth hearing the formula again (unlike, say, The Gaslight Antham, who I think does a much better job of the aching nostalgia thing). Actually they sorta remind me of Marah at times, which, again not a bad thing, just isn't the sort of thing I need in my life at this point. Revisiting this some distant day removed from the indie Springsteen lovefest might allow me to enjoy it with fresh ears. If you can't get enough of this sound though, it is pretty well crafted.

And that's it for today... more to follow soon.

Tuesday Night Shuffle Seven

In which you get another peek into my iTunes collection - seven random tracks plucked out of the detritus by the shuffle feature, warts and all. (by the way, I figured that running a Google Image Search for 'shuffle' would give me lots of hits for the iPod, but why all the vaguely creepy anime?)

Yo La Tengo - "Nowhere Near" (Painful)
Ben Harper & Relentless7 - "Why Must You Always Dress in Black?" (White Lies For Dark Times)
Vaka - "Somersaults" (Kappa Delta Phi)
The Mars Volta - "Metatron" (The Bedlam in Goliath)
Black Moth Super Rainbow - "Raspberry Dawn" (Start A People)
The Smiths - "Stretch Out and Wait" (Louder Than Bombs)
Judas Priest - "Blood Red Skies" (Ram It Down)

np: "Ballroom" - Gui Boratto

With just over a week until my first in the series of seven ARE sections, my priorities have been realigned slightly and blogging has taken a necessary backseat. But since I've wrapped up all I wanted to accomplish study-wide this evening (read three chapters in the review book and practiced the building section vignette), I thought I might try to toss up a bit of a post. And, being distracted as I am, this one will take the form of the post from over two weeks ago - namely a round-up of some thoughts on recent album releases.

Sonic Youth - The Eternal (Matador)
I wasn't sure what to expect with the latest release from, undoubtedly, one of my all time top ten favorite bands. Early signs indicated that perhaps the band would be looking to reinvigorate their sounds with a fresh label (Matador!) and a fresh bassist (Mark Ibold!), always good signs for a creative rejuvenation in my eyes. That certainly wasn't the case here, however, as The Eternal is front-to-back a signature Sonic Youth album that could be mistaken for none other. And, you know, I think that's what makes this such a frickin' great album. Rather than stretching out for the unknown (and I know this is what bugs a lot of the album's detractors), the band reached back and incorporated the elements from previous eras that define them today. Its sorta like a greatest hits with all new material. Some fantastic guitar work, surprising pop melodies, jams that don't wear out their welcome, Gordon's throaty snarl, and two of the best Lee Ranaldo songs I've heard in a long time. Haters may whine that they aren't "growing", but damned if that matters when you let these songs wash over you.

The Answer - Everyday Demons (The End)
These Irish kids have managed to cause quite stir with those who dig their rock classic and their ballads soulful. In just three years they've become worldwide sensations, landing a much coveted spot opening for AC/DC and garnering comparisons to everyone from Led Zeppelin to Thin Lizzy (among may others). They've been making an impact in Europe, but it wasn't until this year that America finally got the chance to absorb The Answer in full-length form. So how well do they stack up against their forefathers? Tough question to answer. No doubt they've got chops in spades and a certain swagger that ticks off the Page and Plant checklist, but there just aren't enough times where they open up and just RIP like you wish they would. Everyday Demons is immaculately produced and expertly played, but perhaps that's part of the problem, there just aren't any rough edges to give them the character that defined their obvious inspiration. Still, tracks like "Demon Eyes" and "Evil Man" are undeniable arena-ready stompers that should please the fist-pumping, lighter-waving set. There is bucketloads of potential here, maybe next time they'll have the confidence to cut loose and let the rough edges through. A few less ballads might help as well.

Kasabian - West Ryder Pauper Lunatic Asylum (RCA)
Granted, I've only listened to this once so far and haven't really invested a whole lot of time parsing the lyrics or delving into its subtleties, but this has got to be one of the thinnest, most meaningless records I've heard all year. Nothing, and I mean nothing, grabbed me. No hooks, no big beats, absolutely nothing that made me want to listen to it ever again. "Vlad the Impaler" makes a valiant effort at salvaging the album late in the game, but it ultimately reveals itself to be a third-generation clone of the better singles from album number one. Maybe my fault for expecting something out of the cool album cover that makes it look like a lost psych-rock masterpiece from the late sixties, or the supposed concept that found the band staying in and gathering inspiration from the titular locale, but I'm honestly kinda surprised that an album this limp was released on a major label in 2009. Then again, it went number one in the UK, so there might be something I'm just not getting. But I don't think so.

np: "Heavy Metal (is the Law)" - Helloween

Today's now playing has nothing to do with the rest of the post, just what I'm spinning right now - trying to shake off a gloomy Monday on which my allergies decided to rise up against my sinuses with a furious vengeance. I've spent more time sneezing and sniffling than anything else today, tearing through box after box of tissue. Not fun. Anyway, as part of my vague promise to post more regularly, I thought I would chime in with some thoughts on a few recent albums I've heard.

Sunn O))) - Monoliths & Dimensions (Southern Lord)
Absolutely gorgeous, a stunning achievement. And really, hard to say much more than that. This is the Sunn O))) we've come to know and love, but so much more. You've got the expected bits - doom-y drones, Oren Ambarchi on effects, guest vocals from Attila Csiahr, etc - but also so much more. I've only been able to give it one really good listen (i.e. distraction free on the good headphones) and I know I've only scratched the surface, always a great sign. At points this is as lovely as Black One was horrifying, particularly the closing track "Alice". Highly recommended, not just for metal fans, but for anyone with an ear for experimental music.

Apostle of Hustle - Eats Darkness (arts&crafts)
Basically the complete opposite of the reaction I had to the Sunn O))) album. In other words, and absolute chore to sit through with basically nothing striking me as worth hearing ever again - and I've always really liked Andrew Whiteman's stuff. Gone is much of the Spanish influence that colored the previous two AoH full-lengths, replaced with lackluster tunes and way too many dialogue clips of people like Burroughs and Brakhage talking about war and destruction. I'm pretty sure this is supposed to be some sort of concept album, but I'd be shocked if anyone cared to wade through all the crap to figure it out. These experiments might have been tolerable had there been some strong songs to back them up, but Whiteman just seems to be misfiring throughout. "Soul Unwind", however, is one shining exception - a lovely tune that builds to a shimmering crescendo and would have fit nicely on any of the Broken Social Scene proper discs. Do yourself a favor, download that one and skip the rest.

White Rabbits - It's Frightening (TBD)
I think this will end up being one of those albums that either clicks with me on a random day a couple months from now or just completely falls through the cracks. So far I'm leaning towards the latter. Thing is, it sounds fantastic. Getting Spoon's Britt Daniel to produce the album was a brilliant idea, his sonic fingerprints are all over this and the band has never sounded more engaging. There is a wonderful depth to the recording and I kept losing myself in the space between instruments. But that's the thing, I couldn't be bothered to care about the songs themselves. I don't think I could recall a single vocal melody of lyric 30 seconds after finishing the disc. Maybe this will click for me someday, but as for now it seems only worth hearing for Daniel's touch.

Green Day - 21st Century Breakdown (Reprise)
I've always been a huge Green Day supporter (Insomniac and Warning are two hugely underrated albums, btw), but even I had lower that usual expectations for what was set up to be American Idiot Part 2. And, really, it is. It's another hugely ambitious, vaguely political epic that explores a fairly loose concept centered around a couple of misfits in love making their way in a world gone to pot. But despite the "been there done that" vibe and a weak choice for first single ("Know Your Enemy", a song with like 4 words total), this thing actually works pretty well. It does run a little long and some of the ballads weigh things down a bit, but I'm looking at the tracklist now and damned if there isn't at least five tracks I want to listen to right now - "Before the Lobotomy", "Last Night On Earth", "Last of the American Girls", "Restless Heart Syndrome", and "21 Guns" (a much better second single).

Eminem - Relapse (Aftermath/Interscope)
There really isn't much I can say other than toss off some comment on how far the mighty have fallen. Yes, it really is as bad as you've probably heard. Disappointing beats from Dre, Em rapping in those stupid accents he's been so fond of since The Eminem Show, and shock lyrics that even Marilyn Manson would leave in the recycle bin. I'm all for shocking Slim Shady, but it was much more tolerable when had a little wit and heart to go along with it. Such a waste.

np: "Crying" - Yngwie J. Malmsteen

Yeah, hell yeah, Yngwie. The Swedish maestro himself is currently tossing fiery licks and riffs into my pleased eardrums. How can you resist something with a cover as awesome as that pictured above? I mean, facing down that three-headed dragon with only a guitar and a frighteningly flexible squat? Balls of steel man. I had planned to spend part of this weekend diving into the rapidly growing pile of demos sitting next to me, but the pile of ultra-cheap vinyl I picked up last night is instead sending me straight into a world of eighties metal - the previously mentioned Yngwie, Krokus (Headhunter), Metal Church (The Dark), Helloween (Walls of Jericho), and Judas Priest (Unleashed in the East)! I also picked up the second album from gothers Bauhaus, but I'm saving that one for later. Don't want dour Mr. Murphy ruining the buzz from Malmsteen's tasty licks.

The blog has been on another long hiatus, I apologize for that, but things have been hairy between work and preparing for my ARE (first exam June 24th, wish me luck!) - so I promise to try and update this thing at least a couple times of week. Hopefully I'll also have some exciting news about a new writing outlet, but more on that as it materializes.