Here are the best records I heard from the past twelve months.
Glioblastoma killed Mallon at the beginning of 2014. With his death, I assumed the recordings would not see the light of day. A Smaller Life proves me wrong, and I am so happy to be wrong. It covers the entire span of the Midgets work, from 1980 demos through Sea of Unrest, Deadbeats, the Eitzel work, the short-lived Ricky Williams reunion, and all of those 90s and 00s recordings. This plays like a postpunk Fairport Chronicles, giving novices a great sense of what the band is about with enough new material to make old fans excited to listen repeatedly. I am grateful to Jordan Mamone and the surviving band members for making this release possible.
Eleventh Dream Day gets stronger with age, and adding Jim Elkington as second guitarist was a very good idea. Works for Tomorrow has a strong 1970 Muscle Shoals vibe, some of Janet Bean’s best singing, and a take on classic rock that reminds me of Steve Wynn’s late-90s records. By the way, if Steve Wynn and EDD would like to collaborate on a record akin to the one Wynn make with Come in 1996, please let me know where to send my money.
I am buying what Alabama Shakes is selling. Too much Americana lacks noise or soul, but Sound & Color has plenty of both. An Alabama Shakes/Eleventh Dream Day stadium tour would be about the only event save a White Sox-Yankees playoff game to get me into Yankee Stadium.
With Bottomless Pit finished, Tim Midyett uses a revolving cast of musicians (including Andy Cohen…and Michael Dahlquist made his way into the proceedings, going by the liner notes) to make a more meandering, more acoustic set of songs that brings early-70s Van Morrison to mind. (Think “Almost Independence Day” rather than “Jackie Wilson Said” for an approximation of the sound.) “Modern Day” makes me wish I still had my radio show so I could play it on a hot summer night and get calls asking what it was.
Krummenacher is still better known as the singer in the Monks of Doom and bass player in Camper Van Beethoven than for his solo work. That’s unfortunate, as the records he’s made under his own name are the best recordings anyone from either band had made over the past quarter century. If Toiling Midgets are the secret history of Bay Area rock, Krummenacher’s solo work is the distillation of West Coast Americana stripped of artifice.
Tomas Fujiwara (drums) and Mary Halvorson (guitar) are the two most exciting improv musicians I hear in New York City, and they often work with the other most exciting improv musicians around (Ingrid Laubrock, Tim Berne, Tom Rainey, Michael Formanek come to mind). These three records show off different aspects of Halvorson’s work, from one element in a jazz combo (After All Is Said) to solo guitar (Meltframe) to delightfully dense pop (3XAWoman). Like Toiling Midgets and Richard Thompson, Halvorson provides fans of guitar some wonderful music to enjoy.