Essential Albums of 2016

Spacin’ - Total Freedom (Richie)

Early on in 2016, well before the onslaught of musician deaths and American turmoil, Philadelphia’s Spacin’ released their second LP.  Considering they’re a band that spun off from Birds Of Maya, I knew it was going to be a big record for me.  As the year progressed (and worsened), the album’s stature grew sizably.  Total Freedom is one of the purest expressions of positive rocking I’ve heard in a long time.  I found myself going back to this record in search of a feeling.  It has the greatest vibe.  Their trademark lo-fi production is met with repetitive glam rock/proto-punk riffs, minimalist percussion, and plenty of psychedelia.  On their cover of MC5’s “American Ruse” they really sound like the Velvet Underground raging on the Quine Tapes.  Does it get any better than that?  Both recorded and live, the feeling is real, very groovy, and lacks any shred of pretension.  I can’t wait to see where Spacin’ takes us next.  

Gun Outfit - Two Way Player (Wharf Cat)

Hot on the heels of their 2015 LP Dream All Over is Two Way Player, a beautiful EP from Olympia, WA’s Gun Outfit.  They pick up right where they left off, further honing their modern brand of Americana rock.  It is delicate and clear, yet very soulful and lush, kind of like the more recent Kurt Vile records.  Two Way Player has more of a west coast vibe though, like a really subdued Meat Puppets II or if The Notorious Byrd Brothers was recorded today.  The lead vocal combo of Carrie Keith and Dylan Sharp is better than it has ever been, as is their guitar interplay.  I love the Lucinda Williams cover (“King Of Hearts”); it really fits well with the rest of the songs.  At just under 20 minutes it’s over just a little too soon, but I favor the “all killer no filler” approach.  

Melvins - Basses Loaded (Ipecac)

The Melvins: still crazy after all these years.  The hits just keep on coming.  What a long strange trip it's been.  No cliche can do this band justice, as after 20+ years of being together, the sound isn’t tired.  They’ve slowly developed and mutated over the years and as a result, are able to still produce great tunes.  On Basses Loaded, Buzz & Dale are joined by several guest bassists, including Steven McDonald (Redd Kross), Jared Warren (Big Business), Jeff Pinkus (Butthole Surfers), Trevor Dunn (Mr. Bungle), and Krist Novoselic (Nirvana).  Dale Crover even plays bass on a few tracks for good measure, and the Melvins are supplemented by auxiliary drummers Coady Willis (Big Business) and Mike Dillard (original Melvins drummer).  Novoselic also plays accordion on a track.  So as you can see, this must have been quite the hootenanny in the studio.  The record does not disappoint at all, with the Melvins still sounding like “the Melvins” but incorporating a bit more of a, dare I say, classic rock feeling.  “Choco Plumbing” seems like a demented take on Kiss, and they nail a weird cover of the Beatles song “I Want To Tell You.”  Interspersed are tracks like “Captain Come Down” and “Phylis Dillard” which sound like a fresh take on Houdini era Melvins.  Make sure you purchase the CD version instead of the LP, so you don’t miss out on the closing track, “Take Me Out To The Ball Game.”

Pinkwash - Collective Sigh (Don Giovanni)

Pinkwash are a two piece noise rock band from Philadelphia.  On their debut LP, Collective Sigh, they execute their complex yet melodic take on the genre perfectly.  The guitar tones are sick, the drumming is heavy and I really like the addition of a keyboard to fill out some of the songs.  This band really reminds me of Big Business, or Floor at times.  It’s difficult to be heavy, technical and catchy at the same time, but Pinkwash are able to pull it off with no problem.  Their weird riffs even groove at times, such as in “Halfmoon.”  The songs are executed with precision, and this record demands our respect.  

Andy Stott - Too Many Voices (Modern Love)

British electronic music producer Andy Stott blessed us all this year with his fourth album to date, Too Many Voices.  This record is striking from the get go, with a beautiful black & white cover image of a ballet class.  It serves as a good testament to the music inside, which is modern, yet aware of the classics that came before it.  With Too Many Voices, Andy Stott has beefed up his past format of hazy, minimalist techno with more vocal samples, bass heavy beats, and instrumental layering.  To me, this is Stott simultaneously at his most accessible and experimental.  By adding more to the mixture, he has created a sound that is easier to latch onto, and way more danceable.  I could picture hearing this record in a techno club just as easily as I could picture it on NPR.  It provides withdrawn, low key funk as well as plenty of modern electronica experimentalism.  Some tracks, like “Selfish,” even have an industrial feel to them.  Too Many Voices has a druggy crystalline dancefloor vibe that stays dark without being goth or coldwave, and will have you grooving in no time.

Axis:Sova - Motor Earth (God?)

I have to wonder if there is some sort of cosmic connection between Spacin’ and Chicago’s Axis:Sova.  This is their third LP, but the first I’m hearing them, and both bands have extremely similar vibes.  However, Axis:Sova bring enough of their own flavor to this platter to make it feel like their own.  In Motor Earth you will find scorching boogie guitar leads, a drum machine, and an all around great rock & roll time.  Sometimes the drum machine creates a chill Krautrock vibe, but it mostly serves as a robotic overlord that demands constant rock riffage from the guitarists.  That’s not to say this is a pretentious noodlefest; Axis: Sova have plenty of soul.  A lot of the songs call to mind Endless Boogie, or Wooden Shjips if they shredded instead of glided.  Regardless of whether you’re a shredder or a glider, this is a rock record that anyone who has a clue about what a good time is will enjoy.  

Rakta - III (Iron Lung)

I’m kicking myself as I write this review and blast Rakta’s new LP, III in the confines of my New Jersey home.  Hailing from Sao Paulo, Brazil, Rakta toured the east coast this past year, and played in this state.  I regrettably missed it, but rave reviews about their live performance prompted me to purchase III, which is one of the coolest records I’ve heard in a long time.  Rakta combine strong rhythmic drum beats over driving bass lines, with layers of echoey vocals and spacey synths.  There is definitely an 80s post punk thing going on here, but Rakta has a way more psychedelic feel to them than most other bands I’m familiar with from that genre.  It has an icy vibe, accented by Carla Boregas and Maria Paula Aurora’s dual vocals, which vary from distorted shouts to Nico-esque drones to eerie wails as found in “Violência Do Silêncio.”  This album flows really well as a whole; the music never really seems to stop.  The closing track, “A Busca Do Círculo,” is a phaser-driven psychedelic jammer that’s what I imagine Hawkwind could have sounded like if they were good in the 80s.  Hopefully they come back to New Jersey soon!

Mike & The Melvins - Three Men And A Baby (Sub Pop)

This is an unorthodox record to include on a best of 2016 list, as this album was mostly recorded in 1999.  It’s a collaboration between the Melvins and Mike Kunka of Godheadsilo that was shelved for over a decade until the Melvins put the finishing touches on it in 2015.  Kunka fits in nicely with Dale & Buzz, and brings enough of the noisy Godheadsilo vibe to the table to justify having his name in the title.  As far as Melvins records go, this one is on the grungier, upbeat side, but still includes the heavy percussion and weird psychedelics they’re known for.  This record is not top five Melvins material, but is still a must-listen for even the most casual Melvins fan.  If it wasn’t for the plethora of solid Melvins releases between 1999 and 2016, I’d be asking “Where the hell has this been?”  

Purling Hiss - High Bias (Drag City)

Purling Hiss has been a hard rocking project for almost a decade and have another hit with their new record, High Bias.  I’m hearing some new influences creeping in one this one, which is always a good thing. High Bias rages pretty much the whole way, save for “Follow You Around,” which still rages but in a melodic pop song kind of way.  It’s a great tune that gets stuck in my head constantly.  It’s followed by “Teddy’s Servo Motors,” which gets the guitar clinic back on track, as it contains one of guitarist Mike Polizze’s more hypnotic riffs.  His shredding is still present as well, with occasional streams of whammy bar feedback.  This is definitely moreover a “song” album than a “jamming” album, and Polizze continues to show he can not only jam better than most, but also writes great songs.  The band does provide a long jammer in the closer, “Everybody In The USA,” which boogies  extremely hard in a vintage Purling Hiss type of way.  

Steve Gunn - Eyes On The Lines (Matador)

Matador Records released 2016’s Eyes On The Lines, so I’m glad to see Philadelphia’s Steve Gunn is getting the national attention he deserves.  Gunn continues to channel Stephen Malkmus as well as fellow Philly head Kurt Vile with intricate songs that rock, but not too hard.  Gunn’s personality never dominates the record; it’s just another ingredient in the stew.  Everything on this record seems so calculated yet natural and unforced, which reminds me of Courtney Barnett, or the more recent Lee Ranaldo solo efforts.  I’d also point any modern Deadhead who’s in search of “somethin’ real, man” to this album, as Gunn’s songs have a very human, Jerry-esque feel to them.  

Darkthrone - Arctic Thunder (Peaceville)

What more can be said about Darkthrone?  As one of the cornerstone bands of the black metal genre, they really have nothing left to prove.  Yet Fenriz and Nocturno Culto continue to pump out the quality jams year after year, proving that they’re true heads who we all could learn a thing or two from.  Arctic Thunder continues in the same vein as 2013’s The Underground Resistance in that it’s heavily influenced by early heavy metal and thrash.  A lot of these tracks sound like blackened versions of Motorhead or Celtic Frost songs, in their own Darkthrone way.    This is a really cool style and should be more than enough to compel you to purchase this disc ASAP.  The only question left to ask is...Is the album title a reference to the snowmobiling arcade game?

Fond Han - Sham Cloud (Exploding In Sound)

You never really know what you are going to get with a Fond Han live show, from solo acoustic sets to a four piece band, to everything in between.  I have to say, this current setup is my favorite by far, and this album is a great representation of it.  I’m really impressed by the expertise in the vocal delivery, as well as the intricacies found in the guitar and bass lines.   So many emotions are being conveyed at the same time that this album is a lot to handle, in the best way possible.  On “New Alright” or “Shammed,” the feeling is one of ramshackle despair, and juxtaposed with the subtle beauty of the guitar lines, it is something to behold.  It’s a pretty original sounding record, so it’s hard to pinpoint exact influences.  Some of the songs have an early Modest Mouse vibe (less wacky and pretentious though), others like “Cali Cruiser” feel right at home with the rest of the Exploding In Sound roster, while others sound like early 2000s Load Records.  If that doesn’t sound like your thing on paper, I’d still give Sham Cloud a chance.  It blew my mind, and I think it could blow yours too.  

Heron Oblivion - s/t (Sub Pop)

Heron Oblivion is a new project based out of San Francisco, featuring Ethan Miller and Noel Von Harmonson (formerly of Comets On Fire) and Meg Baird (formerly of Espers and Watery Love) and guitarist Charlie Saufley.  The sound falls somewhere between the two former bands, merging the Sandy Denny-esque stylings of Espers with the blown out psych rock of Comets On Fire.  This recording is a little more restrained than I thought it would be, but that’s not to say it doesn’t reach levels of sonic madness.  Von Harmonson’s guitar leads are particularly scorching, and a neat contrast from Baird’s pastoral vocals which sound better than ever.  Her drumming here is similar to in her style in Watery Love: steady and minimalist.  It works really well with the rest of the band, and I really like the vibe they have going.  “Rama” feels like it could be a mid-70s Crazy Horse outtake, and the first half of “Your Hollows” would fit right in on Liege And Lief.  Hope this isn’t a one off project, I really think they have something great going here.  

Case/Lang/Veirs - s/t (Anti-)

In 1987, Trio was released as a collaboration between three of the biggest female voices in country music, Emmylou Harris, Dolly Parton and Linda Ronstadt.  Case/Lang/Veirs feels like a modern take on this concept, with Neko Case, K.D. Lang and Laura Veirs singing together in supergroup trio form.  While all three have their own distinct voices, no one sticks out as the dominant.  The way the three voices work together so well sets this album apart from most other modern alt-country efforts, in my opinion.  In “Blue Fires,” Veirs and Case sing gorgeous back ups while Lang takes the lead; they create harmonies that bring a tear to the eye.  This song is also a good example of the sound achieved on this record; it’s very modern while simultaneously sounding classic.  Case sings lead on several of the songs, and her voice is still one of my favorites in existence.  The instrumentation is lush and full, with the trio backed by drums, keyboards, bass, horns, strings, and pedal steel.  Veirs and Lang also contribute guitar playing to the record.  It’s amazing how cohesive this album is, considering it’s the first meeting of these three minds.  Supergroups are typically a novelty item, but Case/Lang/Veirs are the real deal and I hope there are plans for another record.  

Drive-By Truckers - American Band (ATO)

For those of you who stopped reading before this review started, it’s time for you to give a band with the name “Drive-By Truckers” a shot.  They’ve been around for about 20 years now, and while their discography may be a little inconsistent, they’ve got one of their best ones yet in American Band. I’ve always heard a bit of a Neil Young influence in their past albums, but this record is a pure Ragged Glory tribute.  They’ve nailed the signature N.Y. guitar lead sound, complete with tremolo bar and bent strings.  I hear the Rolling Stones too, specifically on “Kinky Hypocrite” I’m really reminded of Exile On Main Street.  Lyrically, this is band’s most political record to date; Patterson Hood and Mike Cooley are full of righteous anger and address many issues, including immigration, gun control, addiction, for-profit churches, and racism.  “What It Means,” is the band’s tribute to Trayvon Martin and is heart wrenching.  What’s great about this album is it doesn’t come off as preachy, but moreover as an articulate southern testimony to how fucked the USA is.  It may make you want to reach for a beer at 10 AM, but hey, might as well, right?

Glazer - Amplified Mind +2 / Repeat Sequence (self-released)

New Brunswick, NJ’s Glazer has been raging on some powerful, weird, yet catchy rock now for a few years, and have really found their sound in two excellent cassette EPs they put out in 2016.  The second, Repeat Sequence is a four song tape they put out in support of this year’s tour of the midwest.  The band splits songwriting duties between the four members and while we get some new flavors, this release is still very “Glazer.”  “Sleep The World,” gets the tape started, and is the most “classic” Glazer sounding tune, with a early 90s alt-rock sound in the vein of Pavement or Dirty-era Sonic Youth. “Structured Lifestyle,” is more a more aggressive sound, reminding me of late 80s Touch and Go records, or perhaps the heavier Pile songs for an up to date reference.  “The Cosmic Truth,” is heavier still, with an opening dirge that reminds me of Pissed Jeans, complete with whammy bar guitar leads.  It kicks into an upbeat bridge that feels like Milk Music if they ditched the weed for seltzer.  Word on the street is that Glazer have been working on a full length throughout the year, so be on the lookout for that tasty platter in 2017.  

Lucinda Williams - The Ghosts Of Highway 20 (Highway 20)

Here is the twelfth album from Lucinda Williams, and it’s another robust offering of her brand of alt-country Americana that has gained her such a devoted fanbase.  This one is extremely slow, with the tempo crawling across the first disc of this 2xLP.  Slow is not to be taken negatively, as these songs find Williams in her usual state of introspection, just without any upbeat rockers.  Aging is a repeating theme on this record, and I think it makes sense it’s such a slow, subdued record for that reason.  Williams is coming to terms with getting older (she turned 63 this year), and addresses death multiple times, such as in “Death Came,” or  “Doors Of Heaven,” where she sings “Open up the doors of heaven, let me in / I think I’m finally tired of living.”  The vibe is pretty heavy, but that’s what I have come to expect from Lucinda Williams, and why I love her.  She reminds me of Neil Young; a pensive soul destined to express herself through music until she dies.  All the songs on this one are originals, except for a cover of Bruce Springsteen’s “Factory.”  My favorite track is “Can’t Close The Door On Love,” which sounds like it could have been on World Without Tears, or even Young’s Harvest Moon.  The album closer, “Faith & Grace,” stretches out into a 12 minute jam that reminds me of Weld-era Crazy Horse.  It’s the perfect record to put on at 2 am after the whiskey is all gone and you’re the only one who hasn’t passed out.  Sometimes that’s not the best place to be, but you can always count on Lucinda to be there with ya.

Merchandise - A Corpse Wired For Sound (4AD)

The first thing that pops out to me about the new album from Merchandise is how they really nailed the 80s production on this one.  The guitar tone, electronic drums, and synthesizers are all hitting that mid-80s studio sound.  I think the band has always been going for this, but it probably took a lot of time and money to acquire all the gear I suppose.  I imagine a song like “Right Back From The Start” would feel right at home played in between Soft Cell or Depeche Mode on the radio.  This album isn’t a rip though, I think it’s a cool modern take on that type of music.  I’m even hearing some My Bloody Valentine in “End Of The Week,” a mid-paced phaser driven tune that is wavy as hell.  I really love the composition of “Lonesome Sound,” with its perfect balance of studio weirdness and scorching guitar leads.  A Corpse Wired For Sound is the best offering from Merchandise in a few years, and I’m glad to hear they’re still doing their thing.  

Acid Mothers Temple & The Melting Paraiso UFO - Wake To A New Dawn Of Another Astro Era (Important)

Acid Mothers Temple are the Guided By Voices of space rock.  They have been around for 20+ years, release multiple albums each year, and stay very true to their sound.  On Wake To A New Dawn… they present 3 songs (jams) that fluctuate from ambient and droney synths to heavy shredding psychedelic grooves.  The band finds itself with a new rhythm section, featuring Satoshima Nani on drums and S/T on bass.  The drums occasionally get funky, and have an overall powerful presence.  It gives the songs a Krautrock vibe that I really enjoy; I can’t remember another albums of theirs where the drums were so prominent.  It’s a refreshing new sound in the cacophonous freakout that is Acid Mothers Temple, and I would love to see this new line-up in the live setting.  

Death Fortress - Deathless March Of The Unyielding (Fallen Empire)

Deathless March Of The Unyielding, the sophomore effort from Death Fortress, shows significant progress in this NJ based studio project.  The trio, comprised of Joe Aversario (Massive Retaliation, Dethroned Emperor, Eternal Fuzz) Tom G. Warrior (ditto minus E. Fuzz) and Shawn Eldridge (Funebrarum, Disma) are playing at their most relentless.  While I really enjoyed their 2014 debut, Among The Ranks Of The Unconquerable, I feel as though this new record is even faster and heavier.  Eldridge’s drumming is intense and way more present; it gives the album a harsher vibe and I like how fast a lot of the songs get.  I should also add the snare has a very natural sound to it, which is something I really appreciate.  Joe’s riffing is furious and expressive, and Tom G. Warrior rounds out the rhythm section with solid bass and vocal contributions.  Death Fortress do a great job of blending the sounds of various waves of black metal on Deathless March Of The Unyielding, but in the end this is a modern sounding black metal album. Rumor has it that album #3 is already written...can these guys be stopped?

Guided By Voices - Please Be Honest (GBV Inc.)

This is the only GBV album (to my knowledge) that is completely performed by Robert Pollard.  So this is a Pollard solo album, but who really cares at this point?  This is the sort of thing that you’re either on board with or you’re not.  On Please Be Honest, Pollard shows he doesn’t need his usual suspects to produce his signature product, but it surely wouldn’t hurt, as it seems like a cheap cash grab to call this a “Guided By Voices” album.  Regardless, I enjoy this album a lot, and it’s an interesting curiosity for the nerdy GBV fan, considering Pollard played all the instruments himself.  I wouldn’t say this is the most crucial GBV album ever, but like I said before, if you’re on board, you’re on board.  

The Dead C - Trouble (Ba Da Bing)

After almost 20 years of existence and almost 30 albums under their belt, I’m glad to hear New Zealand’s The Dead C still refuse to play their instruments in a traditional manner.  Trouble is another classic Dead C album, a sprawling double LP of five long noise jams.  Like most of their records, this one teeters between “soundtrack to an engine room” and “avant garde caveman jam sesh.”  Side A reminds me of the noisier Flying Saucer Attack moments.  I even think I heard some light vocals in there.  Side B opens up with some upbeat (for The Dead C) drumming over a nicely layered drone that actually evolves into (barely) guitar chords at one point.  You get the idea.  If this is your thing, it’s the kinda album you’d buy without needing to read a review.  But if it’s not your thing, why not give The Dead C a shot?  Trouble is a great representation of what the Dead C has been doing for the last two decades; providing an appropriate soundtrack for the slow demise of humanity.  

Siege Column - Nocturnal Attack Formation / Secret Forces Of The Pentagram (NVNM)

2016 barely had time to take a breath when New Jersey’s Siege Column dropped their debut cassette on this sick sad world.  It’s a new studio project between Joe Aversario (Death Fortress/Massive Retaliation/Eternal Fuzz) and Shawn Madden (Razorheads/DSS) that has me really pumped for some new metal.  On Nocturnal Attack Formation, Siege Column create some great raging thrash in the vein of early Slayer.  They also blast occasionally, and combined with Madden’s vocals and riffing, bring modernish bands like Archgoat or Conqueror to mind.  They do a nice job of balancing new school with the old school, and as a result have a great thing going.  Eight months after Nocturnal Attack Formation came Secret Forces Of The Pentagram, and it did not disappoint one bit.  Siege Column definitely improved on their second release, and did not fall victim to the “sophomore slump,” as they say in the trade.  The first thing that stuck out to me was the production.  This tape is all-around a LOT louder, which is always a good thing to me.  The John Carpenter-esque synth intro is totally sick and goes great before “Final Crush Of Armageddons,” a song that keeps the Slayer vibe going (I’m thinking Hell Awaits-era with tougher vocals.)  There are a lot of weird guitar leads and dive bombs, which weren’t as present on the first tape.  “Angel Countess” has a cool old school heavy metal intro that reminds me of Manilla Road, then kicks back to a grindy thrash blast.  The songwriting is stepped up on this one as well; every song is memorable.  I’ve heard rumblings that Siege Column might make a live appearance in 2017.  I know society doesn’t deserve it, but here’s hoping.  

Sleaford Mods - T.C.R. (Rough Trade)

Ah, another release from these two oddly lovable Brits.  Sleaford Mods is a beats/spoken word duo who’ve been around for about 10 years now.  I’m not sure what genre this is; there are elements of post-punk and hip hop but it’s not explicitly either of them.  I’ve heard several folks compare Sleaford Mods to The Streets, but I think the main difference here is Sleaford Mods are way more pissed and less goofy.  Vocalist Jason Williamson’s working class ire is more palpable than ever, but his words are articulate and poetic.  He can make me nod in agreement, laugh, and sigh all in the same sentence.  Andrew Fearn’s beats are not much different from the last two records, and I appreciate the consistency.  I highly recommend their music videos; they fit the music perfectly.  I also appreciate the EP format from these guys.  While I really enjoyed 2015’s Key Markets, I feel as though it was rushed in response to the critical acclaim of 2014’s Divide And Exit, and had some filler as a result.  All killer on T.C.R. though.  I guarantee this record will have your head bobbing in no time.  

Steve Hauschildt - Strands (Kranky)

Center your Chakras and polish your crystals, we are New-Agein’ with the newest release from Steve Hauschildt.  Formerly of Emeralds, Hauschildt has been releasing some great solo material ever since the trio disbanded in 2013.  On Strands, we hear Hauschildt continuing on his empyrean synthesizer journey as he drones, bleeps, and bloops his way into infinity.  This album is essential for any fan of Tangerine Dream; I have not heard any artist pay more of a tribute to them than Hauschildt.  This is a good thing, unless you’re one of those uptight “this isn’t music, there’s no guitar or drums” types.  Not that there’s anything wrong with that.  But if you’re ever in search of a soothing, cosmic time, look no further than Strands.  It should do the trick.  

Massive Retaliation - Second Strike (NVNM)

Here we have yet another solid release from the NVNM camp.  Massive Retaliation is the modern evolved form of Dethroned Emperor, a two-piece grind band that blasted their way to oblivion between the years of 2010-2014.  Second Strike is their second tape, and I am really picking up what they’re putting down.  They have expanded upon the sound of Dethroned Emperor, lengthening the songs from 90 second grinders to 4 minute long death metal ragers.  You can tell Joe Aversario and Tom G. Warrior (guitar and drums respectively) have been skronking on some heavy ass metal together for a long time, as this tape is extremely well executed.  As far as sound comparisons, this tape brings to mind War Master-era Bolt Thrower, but with way more blasting.  I also like how they added some bass to the mix as well, which makes everything that much heavier.  These two heshers are always keeping busy, so I’m sure we can look forward to more greatness from Massive Retaliation in 2017.  

Robert Pollard - Of Course You Are (Fire)

Out of the three RP related releases from 2016, this is my favorite.  I’ll get the negative out of the way first….why the hell was this album put out on Fire Records?  Obviously, Pollard needs to find ways to get people to purchase the three to four records he puts out a year, but a solo release on an import label (driving the price of the vinyl up about $10) doesn’t seem like the smartest idea.  But Pollard has been at this for way longer than I have, so who am I to say?  I bought the album regardless of the price, so I should shut up.  Just sayin’ though.  The music on this one is solid and in a similar vein of his solo releases from the past few years.  To me, Of Course You Are has a few more memorable songs than Please Be Honest, so if you only need one Pollard release to get your fix, I’d go with this one.  I really like the psychedelic studio trickery on “Losing It;” the backwards tape loops give it a Revolver-esque pop-psych feel.  It’s produced by Nick Mitchell (Ricked Wicky) who is the only other instrumentalist on the album.  

FURTHER LISTENING…………

Here we have a few more records that I recommend, but just didn’t get around to reviewing.  No disrespect intended at all.  

Mannequin Pussy - Romance (Grunge)

Lux Absentia - Antignosis (Black Metal)

Margo Price - Midwest Farmer’s Daughter (Country)

Survive - RR7349 (Techno)

ESP Ohio - Starting Point Of The Royal Cyclopean (Rock)

Moor Mother - Fetish Bones (Noise/Hip Hop)

Vatican Shadow - Media In The Service Of Terror (Techno)

Sourvein - Aquatic Occult (Stoner Metal)

Oren Ambarchi - Hubris (Drone/Experimental)

Oren Amberchi / Kassel Jaeger / James Rushford - Pale Calling (Drone/Experimental)

The Caretaker - Everywhere At The End Of Time (Ambient)

Demdike Stare - Wonderland (Techno)
Chris Forsyth & The Solar Motel Band - The Rarity of Experience (Psych Rock)

Big Eyes - Stake My Claim (Power Pop)

Qluster - Echtzeit (Ambient)

Sir Richard Bishop / Ava Mendoza - Ivory Tower (Solo Guitar)

Deep Space Sorcerer - Criminal Witchcraft  (Metal)