All posts by Marisa

Marisa
Gripes

Your Sad-Bastard Christmas Songs of 2014

When it’s seasonally appropriate, I love all types of Christmas music. I don’t care if it’s the hokey Andy Williams stuff or the cash-in “Last Christmas” covers or the well-meaning but wrong-headed charity songs that don’t realize that it totally does snow in Africa because there are mountains. But if there’s a particular sub-genre of Christmas music I love the most, it’s sad-bastard indie rock that’s only tangentially about Christmas.

If you didn’t realize that was a particular sub-genre of Christmas songs, I direct you to some of my favorites: “Xmas Cake” by Rilo Kiley (on perhaps my favorite Christmas compilation ever), “Christmas TV” by Slow Club (from an amazing Christmas EP that has the best “Christmas, Baby Please Come Home” I’ve ever heard), “It’s Christmas So We’ll Stop” by Frightened Rabbit (which looks like it’s free right now if you have Amazon prime), plus any of those Sufjan Stevens Christmas originals (though I’m especially partial to “Get Behind Me, Santa”). And even though “Christmas Number One” by the Black Arts (aka Black Box Recorder and Art Brut) sounds mostly happy, it does sort of criticize the way holiday music is slapped together in August in hopes of making money in December (and it laments the loss of Top of the Pops).

So, every year, I seek out more sad-bastard indie Christmas music to add to the ever-growing playlist. Here are the best selections for 2014.

Continue reading Your Sad-Bastard Christmas Songs of 2014

BEST TV OF 2014: Nobody Will Watch ‘Peaky Blinders’ with Me but Everyone Should

When Peaky Blinders debuted across the pond, it seemed like it was tailor-made for me—and possibly only me. I can see why other people wouldn’t seek it out the way I did, because they might not share:

  1. My love of Boardwalk Empire, which I think exceeds most people’s, at least until that deadly fourth season.
  2. My demonstrated, um, interest in Cillian Murphy.
  3. My love of what’s rapidly becoming my favorite genre of TV and movies, which I can only describe as “Don’ You Go Rounin’ Roun to Re Ro” (or British petty crime thingies that seem like they have “a lot of killing over a very small amount of money”).

So, yeah, I resigned myself to watching the first season of the show—about a gang of toughs trying to seize control of the horse-race betting racket in post-WWI Birmingham—as a solo venture.

Everything changed for the second season. It was available on Netflix almost right away, so it didn’t require as much effort to watch. The show expanded its focus to interest people other than me and only me (and by “expanded its focus,” I mean “added Tom Hardy”). More people were watching Sherlock than ever (at least on my Twitter feed), so they were more used to checking out BBC shows for quality entertainment. And…I’m still the only one I know who watches Peaky Blinders. D’oh!

But someone out there should watch this with me. Here’s why.

Continue reading BEST TV OF 2014: Nobody Will Watch ‘Peaky Blinders’ with Me but Everyone Should

BEST MUSIC OF 2014 RECAP!

For our coverage of the Best Music of 2014, we…

crowned St. Vincent’s St. Vincent as the best album of the year, doing a track-by-track analysis of her greatness (and also a quick study of her magnificent hair).

…also celebrated four other albums as the best of the yearTeeth Dreams by The Hold Steady, The Voyager by Jenny Lewis, Complete Surrender by Slow Club, and Lost in the Dream by The War on Drugs.

…called out the best-of-the-best, our very favorite songs from our very favorite albums, including “Blue Moon” by Beck,  “Goshen ’97” by Strand of Oaks, “Nothing but Trouble” by Phantogram, “Lazerray” by TV on the Radio, “Seasons (Waiting on You)” by Future Islands, “Your Love Is Killing Me” by Sharon Van Etten, and “Lights Out” by Angel Olsen.

…stumped for our favorite songs that didn’t come from our favorite albums, including “I’m Not Part of Me” by Cloud Nothings, “Bury Our Friends” by Sleater-Kinney, “Water Fountain” by tUnE-yArDs, “Mr. Tembo” by Damon Albarn, “Lariat” by Stephen Malkmus and the Jicks, “Bright Eyes” by Allo Darlin’, “Backseat Shake Off” by The Hood Internet, and “Scapegoat” by The Faint.

Is there a Spotify playlist for all this?” you ask. Of course there’s a Spotify playlist.

TRACK MARKS BEST OF 2014: “Scapegoat” by The Faint

My love for this song is boundless, but my reasons for loving this song aren’t very deep. It’s just a burst of energy. The drums start off running; the vocal kicks in and match their pace. Just when I think I’m going to start to get tired of the shouty vocal, the melody suddenly gets catchier. (“We don’t even need to know each other.”) Then it takes a break for some laser noises and the chorus, and it’s over in two minutes.

I can’t pretend that I relate to what this song is about. Clearly there’s some control issues going on. (“We’re not actors in your movie.”) There’s also some betrayal. (“You say you’re a scapegoat…no! Turncoat.”) I don’t fully feel the nuances of all of this, but it’s loud and it’s angry and it always makes me want to stand up and run around, and sometimes that’s really all I need.

TRACK MARKS BEST OF 2014: “Bright Eyes” by Allo Darlin’

This week, SportsAlcohol.com writers are recounting the best music of 2014. Today’s Track Marks focus on individual songs from albums that didn’t make our individual best-album lists.

I’m pretty in the bag for any song that has the same bones as “Bright Eyes”: a sweet, upbeat tune that trades off boy and girl vocals. But “Bright Eyes” is an especially well done version of this kind of thing, even without any of the direct references to Bonnie Tyler or Connor Oberst that the title promises.

The subject is pretty typical for a song with boy/girl vocals: One of the singers is looking for a romantic relationship, but the other demurs. (“You go to great lengths to tell me this is not a romance.”)

The charm of “Bright Eyes” is that it’s the most positive version of this situation possible (and sounds like it). It’s not really an unrequited romance. It’s more a friendship that’s on the cusp of tipping over into something else, but luxuriating in the pleasure-delaying moment just before it happens: “What’s the hurry? Don’t you see, the best part’s in not knowing. We can take our time; you don’t have to worry.”

The chorus asks “Do you believe in fun?” then answers, “I surely do.” And it certainly does.

TRACK MARKS BEST OF 2014: “Lariat” by Stephen Malkmus and the Jicks

This week, SportsAlcohol.com writers are recounting the best music of 2014. Today’s Track Marks focus on individual songs from albums that didn’t make our individual best-album lists.

I contend that Stephen Malkmus and the Jicks is one of those bands, like the Strokes, that manages to have one amazing song—and possibly only one amazing song—on every album. On Wig Out at Jagbags, that song is “Lariat.”

“Lariat” might even be better than most of the other album highlights in that it actually seems to be about something. (I love “Gardenia,” but I still swear that it’s just a string a disparate commonly used expressions, like “curb appeal” or “damning with faint praise.”) Even better: That something is music.

I like hearing about Malkmus’ “Mudhoney summer” or living on the Grateful Dead. I might not agree with his assertion that the ’80s was the golden age of music, but I’m pretty sure the statement “we grew up listening to the music from the best decade ever” is something that all music fans have said at some point in their lives. For me, it was the ’90s—the decade of Pavement—which I admit doesn’t have the same ring to it or double meaning as the ’80s/ADDs, but thinking about the music of that era puts me in the same mood that “Lariat” does.

And yes, Malkmus. People do look great when they shave.

TRACK MARKS BEST OF 2014: “Mr Tembo” by Damon Albarn

This week, SportsAlcohol.com writers are recounting the best music of 2014. Today’s Track Marks focus on individual songs from albums that didn’t make our individual best-album lists.

Damon Albarn’s had a lot of different musical reputations throughout the years. He was known for making rowdy, frenetic Britpop with Blur, then genre-blending mixed-media hip-hop-rock with Gorillaz, then for doing world music with whatever band/project that was. No matter what he was working on, though, he was always thought of as a serious musician. He’s never really been branded as the guy who makes uplifting, happy music. But all of my personal favorite Albarn songs have been soothing in one way or another.

“Mr. Tembo” fits squarely into this category. It’s light-hearted. When Mr. Tembo starts his trek up the hill, you’re there with him, but you’re confident you’ll both make it to the top. You can put it on a “cheer up” playlist, or listen to it while cooking dinner—it doesn’t really ask all that much from a listener.

The background story to the song is just as mood-lifting. Albarn wrote “Mr. Tembo” about a real elephant, one that had wandered into an airplane hangar in Africa and then was rescued by an elephant sanctuary in Tanzania. Albarn met the real Mr. Tembo, wrote the song for him, and also got to sing it to him once.

This year was a grim one. The news was often bleak. But, whenever you’re feeling blue about how 2014 went down, you can always remember that this is the year that Damon Albarn sang a song to an elephant.

TRACK MARKS BEST OF 2014: “I’m Not Part of Me” by Cloud Nothings

This week, SportsAlcohol.com writers are recounting the best music of 2014. Today’s Track Marks focus on individual songs from albums that didn’t make our individual best-album lists.

When I read about Cloud Nothings, the word that comes up most often is “dependable.” I can sort of see why writers use it to describe the band: They make straight-ahead rock music, no frills. Their songs are consistently good, but not really going to seep under your skin and become one of your very favorite songs of all time.

Until “I’m Not Part of Me.” With this song, Cloud Nothings still adhere to the straight-ahead rock formula, but this time they’ve achieved something greater. Everything about it adds a layer of excitement: the scratchy guitar intro, the way the drums are delayed until they make a triumphant entrance, the way the vocals simple announce “it starts right now,” the way it all builds into a shout-along chorus.

The best lyric, for me, is the one they plucked from this song to become the title of the album: “I’m learning how to be here and nowhere else.” That really hits on something about living in 2014, in an age where everyone always has one eye on their cell phones. But when this song comes on, I find it pretty easy to be in it, and nowhere else.

Should I Throw Out My Moxy Früvous CDs?

When Jesse and I moved in together, we combined our dvds right away, but it took us a few years to combine our cd collection. (Yes, we still have a cd collection—but this post isn’t about getting rid of all our cds, just a few of them.) Jesse said it was because we had so many more duplicate albums than movies; I would say that he was just embarrassed by my Moxy Früvous cds and didn’t want to be associated with them.

At the time, I wasn’t embarrassed by them. Sure, they were nerdy and cheesy. But, even if I don’t listen as much any more, I liked them anyway, and they remind me of a good time in my life. I still love a lot of those songs.

This past week was the first time I’ve been embarrassed to own Moxy Früvous music, and it has nothing to do with sonic nerdery. It’s because former member Jian Ghomeshi, who went on to work at the CBC (I’ve heard him described as “the Ryan Seacrest of Canada”), has been accused of repeated violence towards women.

When I find out deplorable personal information about artists I like or have liked, I never quite know how to process it. Should the life of the artist matter in how you experience their art?

Continue reading Should I Throw Out My Moxy Früvous CDs?

Songs About Werewolves That Are Not By Warren Zevon or Duran Duran, Because Screw That

My favorite kind of holiday songs—and this goes for Christmas, too—are songs that I would listen to anyway, but just so happen to be about the holiday in question. I don’t really want to go “ugh” when a song pops up on a playlist out of season.

With that requirement in mind, here are my favorite songs about werewolves that are suitable for year-round listening.

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Continue reading Songs About Werewolves That Are Not By Warren Zevon or Duran Duran, Because Screw That