Arthur Russell – “Answers Me”

Year: 1986

Album: World of Echo

This has been a hell of a weekend right? I don’t have the time, energy, or Tidal subscription to process the new Kanye album, but I will share Arthur Russell’s “Answers Me” that Kanye sampled on “30 Hours.” It’s such a strange and formless atmosphere that sounds more like a sketch than a final song, so it’s a testament to Kanye’s ability as a producer to use this song to create this:

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Valentine’s Day Is Coming Up, So Here’s A Sad Chet Baker Song

Nothing says Singles Awareness Day Valentine’s Day like a sad song with the word VALENTINE in it. This song was actually written by Richard Rodgers and Lorenz Hart, but you might recognize the Etta James version which Kanye West samples.

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Interview With Joe Hertler (of Joe Hertler & The Rainbow Seekers)

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In the hands of a lesser band, Psychedelic-Motown-Folk would sound like a noisy mess of clashing sounds and bad, overly indulgent ideas. But in the hands of Joe Hertler & The Rainbow Seekers, it’s the only way to describe their wonderful blend of feel-good Motown vibes and acoustic introspectiveness. Joe Hertler writes and sings the songs, but the Rainbow Seekers add their own distinct personalities to the mix. Their new album Terra Incognita (February 17th via Bad Mascot Records) continues their trend of blending various genres together while discovering new ways to tell the stories that we can all relate to.

I got the chance to talk to Joe Hertler over the phone about his songwriting process, what it’s like to write and perform with such a large band, local music scenes in Michigan, what makes Kanye West so great, his former life as a DJ, and much more.

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Where did the name Rainbow Seekers come from?

Back before we were an actual band, we were just hanging out as buddies and fellow musicians at this studio, and there was a record by Joe Sample called Rainbow Seeker and it’s a cool fusion jazz record that heavily samples a lot of really big hip hop albums. It was a great record that we were listen to a lot at the time, especially back then when we were working a lot with other hip hop artists and putting together analog beats – that’s how our band came to be initially. But the front cover of this record just shows this very stoic and lofty picture of Joe Sample standing there with a rainbow behind him, and he just looks like a totally badass, and I remember thinking, “Man, it would be really cool to be called the Rainbow Seekers.” Two or three months later we were a band and the name Rainbow Seekers was the name we chose.

Do you like Edward Sharpe and The Magnetic Zeros?

I do! He’s probably a top ten “If I could tour with anyone” kind of artist.

You have that Edward Sharpe sense in your writing, like in “What It Feels Like To Drown” and “Ego Loss On Grand River Avenue”. But then with that, there are also songs that straight up sound like Motown and funk songs, like “Feel”. And then there are some songs that sound like Edward Sharpe covering Motown songs, like “No Money (Jetski)”. You also remind me of Edward Sharpe in the sense that your band feels more like a collective of distinct personalities instead of just a band backing up your music.

I appreciate you saying that, because it’s the truth. Sometimes I feel unfairly credited that my name is right before the band because there are a lot of distinct personalities in this band. My vision for this band was to have that, where each person could express themselves in the way that they wanted to, stylistically or musically. It’s cool because I feel like our listeners key into all of the band mates. It’s quite the mix of musicians with a lot of different influences coming together as the Rainbow Seekers.

Was that your intention, that you started this band thinking that you wanted it to be a collective of very distinct personalities? Or was it just you saying, “Hey, I need a drummer and a guitarist,” and then eventually you got all these different musicians together and it just became the Rainbow Seekers?

I can put it like this: when I was starting out, I was writing folk singer-songwriter kind of stuff – like a guy alone with his acoustic guitar, which is what you call now “Folk music”. Yet I see music as a very social thing. It’s communication, like elaborate musical communication. I just feel like it’s one of those things that’s shared with other people.

I never really liked playing solo, and I’m a pretty social person as it is, and I always wanted a band. My mentors early on would go like, “Someday Joey you’ll have a band for this,” and eventually I found the guys for it, and they quickly became some of my best friends. I see music as something that’s very social and meant to be shared with other people, both in terms of the audience hearing you and the community within the band.

I don’t think I ever want to go back playing solo; some things are meant to be shared with other people and to be connective.

A lot of times when I listen to folky solo acts (i.e. Bob Dylan), it does tend to turn into “Watch me describe my feelings and don’t interact”. Your music seems to be a different approach to be more engaging.

The thing is, [my music] is nothing unique or special. I feel like the stuff I write about is stuff that everyone has felt before, and I hope to engage people with my band mates and with everyone who comes to our shows.

Most of your music is very uplifting, but lyrically you have a range – one minute you’re talking about spending all your money on a Jetski and then the next you’re singing about what it feels like to drown. In terms of songwriting, is there a specific aim that you have for your lyrics, or do you write the music first and then you let the music dictate the words?

It usually starts with concepts that I have in my mind a lot, and then I start writing out lyrics. I keep a journal and I’m always writing stuff down and letting them digest for a while. Sometimes I use songwriting as a way to make sense of some things as well, so if something bad happens it could take a really long time for it to come out in music, but there’s time to learn and explore the topic.

What will usually happen is that I’ll write four or five songs about the same things with similar lyrics, but then I’ll boil them down to one or two good songs, or at least songs that I could bring to the band. As far as what they’re actually about, it’s all about what’s on my mind at that point.

That’s funny you mention “Jetski” and “What It Feels Like To Drown”. “Jetski” is a really happy song, but I was so broke at that time. I was doing my student teaching then, and I remember selling my guitars to buy gas money to make it to the school I was teaching at, I was so incredibly broke. So this happy song came from this time, since I tend to be a guy who laughs at the pain of the world. It was a silly way to cope with being desperately broke.

But then “What It Feels Like To Drown” is about a really happy moment. I was hiking with an old girlfriend of mine in this absolute beautiful area and this is song is about being drowned in a moment and being taken back by the moment that you’re in and the beauty of it. It’s actually one of the happiest songs for me on the record, and it never gets old to play. So there are different ways to express yourself and that a sad song doesn’t always have to sound sad or a happy song doesn’t have to always sound happy.

The genre description on your Facebook page describes your music as “Psychedelic Post-Motown Pop with a Slide of Funk, Folk, and RnB”

Haha it’s because we don’t know who we are! Our new music is even more far stretched and polarizing. I just know that I want music that I can take to a live show and play it and have it be so much fun, but I also want people to feel something. I want it to be an emotionally connective experience, but I also want to make music for the lonely guy late at night with his headphones on to get something out of listening to the record. I want more slower, acoustic songs on the record juxtapose to the uplifting funky tracks.

So are you intentionally trying to create music that incorporates so many different genres, even if at times it’s almost contradicting, or is it that when you write music it just happens to sound like a blend of so many different genres?

Personally I think it has to do with the way I write music. Human emotion is so broad and diverse and dynamic, and I want to express that full range. You only have an hour-and-a-half to play a show, and in that time you want people to feel a wide range, happy, sad, and everything in-between. I owe a lot of that to my band.

I write songs on organ and guitar, and they often come off as very folky. Even my funk songs at first sound folky when you play them on an acoustic guitar in a coffeeshop. But then I take the songs to the band and I don’t tell them what to do. I might say like, “Here’s the overall arching vision of the song,” but ultimately the band might turn my folky song into a funk or pop song. I might define the structure or the general vibe of the song, but then they take it to a whole new level, and I love them for it. It’s such a liberating thing to have this trust that I have with my band mates. I know I can give them something and know that they’re going to do a good job.

Now with that said, if you ever have a very specific idea for a song and you give it to your band and they play around with it and they give you back a totally different song that either doesn’t click with you or doesn’t match your vision, how much trust do you still have in your band with that particular song?

It’s weird actually. Like the first time we tried “Jetski” it just wasn’t vibing, but the band knew that. We’re not all the best talkers, but we communicate through music and I think that if something’s not working then we know. Honestly, there are a couple of guys in the band who are better than me at saying “That’s not right,” and they’ll knock me down too, and I trust them. A lot of it is just finding that initial groove and the foundation of that song. Once you find that, along with the initial emotion behind the song, that’s when things start to come together.

It’s amazing how, when you’re writing a song, you know within five minutes you know you have an amazing song, and then it takes you five months to actually make it work.

Haha yeah it can take a long time. Especially now that we’re touring, it’s harder to have a really fresh idea and take it to the band. At first it was like, “Hey guys I just wrote a song, let’s try it now,” but now I have to build up this bank of songs in my head for like two months. It’s different, but it’s still working.

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Speaking of touring, what’s it like to tour with so many musicians? I can imagine that’s quite a task to try and get everyone and their gear from one city to the next while also trying to feed everyone.

Our tour manager is a miracle worker haha we’re all easily distracted and can act like a bunch of butterflies, some of us worse than others. We have a manger that always makes sure we have a place to sleep and that we’re getting to places on time.

A while back, our band manager used to take bets on how late we’d be. We became notorious for being one of the latest bands in Michigan, it was so bad haha when you’re a young band you don’t realize the importance of such things. We have people keeping us professional now and making sure that we do our part. They take care of us a lot.

On your website it says that the purpose of the band is the live show and that playing music is a symbiotic process and not a “High Art operation”. Could you elaborate more on what “High Art operation” means to you?

So there are tons of exclusive scenes in Michigan, and when I was first starting out I never felt included in a lot of these groups. I’m sure part of it comes from the fact that you have to pay your dues, but when I started this project, I knew that I didn’t want anyone to feel excluded, like they weren’t “cool” enough to be at our shows.

I want people to come to our shows and feel welcomed and embraced by the rest of the people there. I think at least in Michigan we’re achieving that. At lot of this comes from my background as a teacher; if people aren’t comfortable or don’t feel safe, then their experience is going to be less and they’re going to take away less. I try to make it this safe and relaxing environment where people can just let go and feel perfectly comfortable and like who they really are. Again, it’s all about connecting with people. That’s really important to me, and I hope that never goes away.

Who are your musical heroes and inspiration?

Someone I really look up to musically is D’Angelo. I love Tycho as well. I used to DJ a lot back in the day and I sort of retired DJing after I opened for him once and decided to focus on my band. It was so great, and Scott [Hansen] is a super nice guy, totally down to earth.

I love the Flaming Lips too. I love how wild their performances are and how long and creative their career has been. It’s something I really admire, that these guys are pushing their 50’s and they’re still doing things that other band aren’t and always trying to make it weird.

What are your thoughts on [D’Angelo’s] Black Messiah?

I love it! I mean, is it Voodoo? No, but I don’t think that it’s fair to compare the two. I still really love it. It’s quite political, but that’s what he’s feeling and I’m totally down for it. My favorite track on the record is actually “Till It’s Done (Tutu)” which is the one with Macy Gray on it. It’s fucking awesome. She’s actually “Tutu” on that song. It doesn’t sound like her initially since she hangs back a lot on her vocals, but it’s definitely her. She’s actually one of my favorites too. I used to cover “I Try” quite a bit – that used to be our main cover for a while.

What are your current covers that you’re performing?

I think we’re going to do “Space Captain” by Joe Cocker pretty soon. I don’t think it’s going to be widely received at first, and some people might think it’s one of our own songs. It’s not a super popular Joe Cocker song, but it’s a beautiful song. I think we’re also going to try and work on New Radicals’ “You Get What You Give” soon.

What would be the ultimate dream collaboration for you?

If Kanye West called me up that would be pretty cool – he did that for Bon Iver, so there’s hope!

Well he’s working with Paul McCartney now, and it doesn’t sound cheesy or bad at all, so you never know! It’s great because it seems like it’s not him showing off to everyone that he’s hanging out with Paul McCartney but rather it’s a true attempt to create some great new music.

I think we can always count on Kanye being Kanye. One of the things that I love about him is that he’s such an open book and that he speaks his mind. He can come off as a total prick, but he still wants to be heard and to be understood, and he’s expressing that through his music. His music is always honest, and that’s why I think he’s great.

Who is an artist or a band that you wish more people knew about?

I have two Michigan bands. The first one is Vulfpeck and they’re made up of a bunch of jazz dudes and they’re the best musicians in Michigan. They were also the band that made that silent Spotify album. The other one is The Soil & The Sun. I really don’t know how to describe their sound except that it is huge, dynamic, and totally wild.

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Headphone Nation’s 100 Favorite Songs Of The Decade (So Far): 2010-2014

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Am I an idiot for thinking that I can only pick 100 songs to share with y’all and not feel guilty about all the other music that I’m leaving out? Is this list completely bias? Am I brain-dead from trying to write about why I love every single song on this list?

The answer is yes.

Reminder: this is a list of MY FAVORITE songs of the decade, not THE GREATEST songs of the decade. There is a key difference. Same rules apply to this list as they did for my favorite albums of the decade so far.

Also make sure to check out the spotify playlist with all these songs at the end of this list.

Alright, let’s begin.

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One Sentence Reviews Of Headphone Nation’s 40 Favorite Albums Of The Decade (So Far): 2010 – 2014

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Congratulations – you made it halfway through the decade. How does it feel? Did you come up with a good nickname for this decade yet? Is it as catchy as “The Noughties”? What were the highlights?

It’s easy to get caught up looking back at a particular year (or years) and try to pick out the few highlights that defined the year out of all the countless events. For any pop culture publication, it’s a cheap, bias way to get more hits, and it usually doesn’t do the year justice to what it was actually like.

But hey, we all love to make these lists, and we all love to read these lists.

One of the ways to define a decade is by the most popular (i.e. the easiest to define) musical trends of the time: the 60s were the age of Psychedelia, the 70s saw the height of Big Hair Music (heavy rock and disco), the 80s were the dawn of Indie and MTV, the 90s the mass takeover of Pop music (Grunge-Pop, Britpop, Rap-Pop, Noise-Pop, Trip-Pop, Boy Band-Pop, Riot Grrrl-Pop, it goes on), and the last decade saw the boom of the streaming revolution that we’re still in the middle of. Obviously there were more to these decades than those broad themes, but it gets the job done.

So what is the trend that will define this decade? Is this the age of Doomsday Disco (EDM, Reflektor), Mumblecore (what much of “Indie Rock” has become), or Black Stadium Rock (Kanye West and the realization of his Thriller-sized ego)? Or will we just clump together all this music, much of it angry and noisy, and call it “Great Recession Music”?

It’s too early to tell – we’re only halfway through this decade. There’s no telling to what we’ll be listening to within the next five years and what albums will come to define this decade. So to try and find any sort of pattern in the beginning of 2015 is challenging and probably not necessary.

But like I said, we all love these lists – so let’s have a little fun.

Below is a list of my 40 favorite albums released between 2010 and 2014 and the albums that have defined this decade for me so far. I tried to make things more interesting by describing each album using only one sentence. Of course you cannot properly sum up an entire album in one sentence – but it’s fun to try to anyways!

Please note – this is NOT a list of the GREATEST albums of the decade. This is just a list of my personal favorites, and I hope I introduce you to some great albums that you might have missed in this decade. If this were a GREATEST list, then there would be some albums that I wouldn’t have omitted and some that I would have taken off. For example, Kendrick Lamar’s 2012 good kid, m.A.A.d city is without a doubt one of the best quality albums of the decade, but I have no personal attachment to it – I just like it because it’s good.

There are also lots of albums that I’ve heard are great but I’ve never sat down with and listened to all the way through (Frank Ocean, Grimes, Tame Impala, etc). When I do my inevitable End-Of-Decade list at the end of 2019, some of those albums might appear after I listen to them more.

Also, some of these albums on this list aren’t necessarily “good”, but there’s something about them that I absolutely love or can relate to. Maybe it’s because it’s from a favorite artist, or maybe I have a strong association with that album and where I first heard it or who/what it reminds me of. No matter the reason, these are the albums that I loved the most in this decade so far.

And yes, there’s a good chance that I left out one of your favorite albums. Please forgive me.

This list is in alphabetical order, and click on each album cover for a link to a song from the album.

 

Alright, let’s begin.

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End Of Year Report: 12 Different Perspectives On Music In 2013

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If you’re a fan of mainstream and indie variations of rock music i.e. Arcade Fire, Kurt Vile, Arctic Monkeys and Vampire Weekend, 2013 was a good year for you.

If you’re closer to my dad’s age and was still wishing for that new My Bloody Valentine and David Bowie album or that Replacements reunion back in January, 2013 was a good year for you.

If you’re Pharrell, 2013 was a good year for you.

If you’re Kanye West, 2013 was a good year for you.

If you’re a female pop star and your name isn’t Lady Gaga, 2013 was a good year for you.

If you’re a Lou Reed fan, 2013 was not a good year for you (though you probably went back through all your old Reed records and rediscovered your love for Transformer and “Street Hassle”, so maybe it was a good year).

If you like music, 2013 was a good year for you. 2013 was a good year for (almost) everyone, but there are several different way to look at this past year. Here are 12 of those perspectives as we celebrate the end of a historic year in music.

2013: The Year Of Lou Reed’s Passing

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One of rock music’s most influential poets and explorers passed away in 2013, and fans around the world went back to their Velvet Underground and Transformer records and mourned. It was one of those deaths that united all people to celebrated an incredible life, for Reed was one of those few musicians that nearly everyone knew, even if they didn’t know that song they really liked is called “Walk On The Wild Side” (or that it’s about cross-dressing). Even towards the end of his life, Reed never stopped exploring the possibilities of music, and we’ll miss his sense of wonder and beauty that he found in even the ugliest of places.

Check out these 10 songs that’ll introduce you to Lou Reed.

 

2013: The Year Of Impressive Women

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2013 was a quite a year for women in music. You had Miley Cyrus, Lorde, Janelle Monae, Kacey Musgraves, Beyonce, and Brandy Clark all making headlines and selling tons of records in 2013 (“tons” is adjusted to a modern time when few musicians are selling enough records to keep their jobs). We also had new music from Lady Gaga and, though Artpop wasn’t as good as we all thought it would be, it’s big news whenever a new Gaga album is released (in fact, it’s even bigger news that Artpop flopped and that the modern pop era that she helped create has moved on from her). And on the other side of the spectrum, we had Laura Marling, Haim, Savages, Sky Ferreira and more ladies making some of the best alternative music of 2013.

 

2013: The Year Of Nostalgia

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If you told me on December 31, 2012 that in the next 12 months we would have new music from My Bloody Valentine, David Bowie, Pearl Jam, Nine Inch Nails, Dismemberment Plan, Boards of Canada and Jay Z AND that The Replacements, Neutral Milk Hotel, The Postal Service, The Breeders and *NSYNC (!) would reunite and perform, I would have told you that you were crazy. Well 2013 was a crazy year indeed.

 

2013: The Year Of The Modern Classics

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Vampire Weekend made their best album, Kanye West made his Kid A to My Beautiful Dark Twisted Fantasy‘s Ok Computer, Arcade Fire loosened up and still made an enduring rock record, Daft Punk returned with the biggest hit of their career, Arctic Monkeys became the best soul-rock band in the world, James Blake won the Mercury Prize, and we heard new music from Kurt Vile, The Strokes, The National, Kings Of Leon, Justin Timberlake, Nick Cave, Queens of the Stone Age and many more.

Yeah, 2013 was a year for modern classics.

 

2013: The Year Of The Rookie

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Back in January we didn’t know much about Haim, Palma Violets, Lady Lamb the Beekeeper, CHVRCHES, Foxygen, Disclosure, Chance The Rapper, Savages, Perfect Pussy and Lorde, but now we all know who theses guys are.

 

2013: The Year Of Trying To Figure Out Spotify

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It’s hard to remember life before Spotify and before having the ability to stream nearly every song you wanted to hear anytime you had an internet connection. For music fans Spotify is a blessing, a free gateway to (almost) any song you want to stream. For artists however, it’s a completely different story.

In 2013 Spotify became one the dominant music streamers in America, and we began to understand its place within a music industry that desperately needs to adjust to how most people listen to music. Those who oppose Spotify’s model include prominent musicians such as David Byrne, Thom Yorke, Beck, and many more who claim that Spotify still hurts musicians with their money breakdown.

The above picture is from a Stereogum article discussing how Spotify works and how it makes money and pays back the artists.

Only time will tell if the Spotify model can last and, more importantly, if it can be changed to benefit the musicians, but in 2013 there was movement (good or bad) to determine a future for the music industry.

 

2013: The Year Of The Open Letter

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In the age of smartphones and social media, it’s nice to see that musicians are keeping in touch by writing letters to each other and letting us all see what they’re saying.

Sinead O’Connor Reaches Out To Miley Cyrus To Not Whore Herself Out

Sinead O’Connor Writes Another Letter To Miley After She Compares Her To Amanda Bynes

Sufjan Stevens Corrects Miley Cyrus On Her Grammer

(But then we have this awesome Miley Sinead mash-up video that makes the whole fued ironic)

Childish Gambino Writes A Letter Via Marriott Hotel Stationaries

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Jay Z’s song “Open Letter” Addressed

 

2013: The Year Of The Fox

 

2013: The Year Of The Rise And Fall Of The Harlem Shake

 

2013: The Year Of Pharrell

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Here are some of the things that Pharrell accomplished in 2013:

  • He was nominated for seven grammy awards for this upcoming Grammys.
  • He created the first 24 hour music video for his song “Happy”, which you can view here.
  • He’s featured on Daft Punk’s “Get Lucky” and Robin Thicke’s “Blurred Lines”, two of the biggest hits of 2013.
  • He helped produce Jay Z, Azealia Banks, 2 Chainz, Mike Posner, Nelly, Mac Miller, Mayer Hawthorne, John Legend, The Weeknd, Aloe Blacc, Miley Cyrus, Pusha T and many more.
  • He helped produce the soundtrack for Despicable Me 2 and Man Of Steel, two of the biggest summer movies of 2013.
  • He got married and celebrated his 40th birthday (serious, the dude looks 20 and he’s 40).
  • He announced his next solo record for next year which will have the help of Columbia Records, and it’ll feature “no rapping”.
  • He seems like a real chill guy.

So yeah, Pharrell won 2013.

 

2013: The Year of Creative Album Releases

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In 2013 there were many popular musicians who were either willing (or desperate) to make their album release THE event of the year, which required a lot of creativity (and money). This year was full of creative releases that built up so much hype, or in some cases there was no time for hype to build. Here are some examples:

  • In 2013 Arcade Fire became The Reflektors and released cryptic messages via chalk on walls and performed with big heads on The Colbert Report and released the album on YouTube for one day that was matched to the visuals of the movie Black Orpheus, one of the key inspirations behind Reflektor.
  • Jay Z and Kanye, both members of The Throne mind you, released major solo albums in 2013, but they both promoted their albums in the most polar opposite ways. Magna Carta Holy Grail was announced via The NBA Finals and Jay Z partnered up with Samsung to sponsor the album. Yeezus had no radio, no TV, no sponsors – only Kanye himself proclaiming he was a God on one of the most memorable SNL performances of all time. He also projected his face on the sides of buildings and premiered a softcore-porn music video on Ellen. In short, Jay Z was corporate America, and Kanye was the counterculture.
  • For their Lollapalooza set, Death Grips decided not to show up at their own show (or they never planned on showing up, we’ll never know) and then they canceled the rest of their 2013 tour. And oh yeah, they happened to release a new album (Government Plates) to a sharply divided fan base and had everyone else talking about it – it appears that from now on, whenever someone unexpectedly drops a new album, it’s called “pulling a Death Grips”.
  • Childish Gambino released a massive 72-page screenplay for this year’s Because The Internet.
  • Daft Punk unveiled Random Access Memories by premiering “Get Lucky” at Coachella which was followed by multiple billboards and SNL appearances.
  • Katy Perry promoted Prism via a gold truck.
  • Very recently, Beyonce dropped her self-titled album out of nowhere. This technique has worked with Radiohead, Nine Inch Nails and other indie artists (like I said before, Death Grips), but for a pop megastar like Beyonce to do this it was potentially revolutionary.

 

2013: The Year of Insanely Great Music

In addition to all these artists I’ve mentioned before, we also had great music from Deafheaven, Mikal Cronin, John Mayer, MGMT, Drake, Iron and Wine, Josh Ritter, Phoenix, The Thermals, Yeah Yeah Yeahs, Phosphorescent and so many more. There were countless other hit songs that I didn’t include that are in my Spotify playlist of my favorite songs of 2013, and there were plenty of great records that I didn’t have room to talk about that are included in my list of my favorite albums of 2013. And of course, it was a fun year for Headphone Nation – there was never a time when there was nothing to talk about.

Here’s to a mind-blowing 2013, and here’s to what 2014 might bring us.

Happy holidays y’all.

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My 31 Favorite Albums of 2013

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In alphabetical order.

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Arcade Fire – Reflektor

 

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Arctic Monkeys – AM

 

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Bill Callahan – Dream River

Stream the record here.

 

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Chance The Rapper – Acid Rap

Download here.

 

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Charles Bradley – Victim of Love

 

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CHVRCHES – The Bones of What You Believe

 

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Daft Punk – Random Access Memories

 

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David Bowie – The Next Day

 

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Dawes – Stories Don’t End

 

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Deafheaven – Sunbather

 

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DJ Koze – Amygdala

 

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Foxygen – We Are The 21st Century Ambassadors Of Peace & Magic

 

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Jason Isbell – Southeastern

 

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John Mayer – Paradise Valley

 

THE 20/20 EXPERIENCE ALBUM COVER AND TRACK LIST REVEALED!

Justin Timberlake – The 20/20 Experience

 

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Kacey Musgraves – Same Trailer Different Park

 

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Kanye West – Yeezus

 

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Kings Of Leon – Mechanical Bull

 

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Kurt Vile – Wakin on a Pretty Daze

 

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Laura Marling – Once I Was An Eagle

 

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Mikal Cronin – MCII

 

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My Bloody Valentine – m b v

Stream the album here.

 

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The National – Trouble Will Find Me

 

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Nick Cave & The Bad Seeds – Push The Sky Away

 

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Of Montreal – Lousy With Sylvianbriar

 

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Rhye – Woman

 

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Savages – Silence Yourself

 

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Sky Ferreira – Night Time, My Time

 

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Speedy Ortiz – Major Arcana

 

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The Strokes – Comedown Machine

 

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Vampire Weekend – Modern Vampires of the 

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The “Bound 2” Music Video Has Kanye West Driving Through The Desert On A Motorcycle While Having Sex With A Naked Kim Kardashian

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Kanye just premiered what he says is the official music video for Yeezus closer “Bound 2” on Ellen. I say “he says” just because this video could potentially be the ultimate troll. Then again, this is Kanye West we’re talking about.

Like Yeezus, the music video is very…uh, very Kanye-ish, which is saying that it’s completely absurd in an awesome way. Depending on how you received Yeezus, you’ll either think this is brilliant or stupid.

Check out Kanye West’s New Video: ‘Bound 2’.

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The Talkhouse – Where Musicians Get To Talk About Music

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One of the cooler music websites that I’ve stumbled upon recently is The Talkhouse. The Talkhouse is where musicians talk about and review new releases. The site has gotten a lot of attention recently since it was where the late Lou Reed reviewed Yeezus and it also has the hilarious Ezra Koenig review of Drake’s latest album.

The Editor-In-Chief is Michael Azerrad, who wrote the classic indie underground book Our Band Could Be Your Life, and the site is getting some great interviews lately (I especially love St. Vincent’s praise for Reflektor).

It’s great to see a site where musicians get to talk about music, because they know a thing or two about music. Make sure to follow The Talkhouse for some great reviews!

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