So in addition to all the ‘in addition to’ stuff we wrote about 100 Psychic Dreams in our earlier article, Superdark superstar of the Psychic Dream Waves Shane Sanchez responded to our survey questions.
…And here they are!
Times Boredom (TB): Congratulations on being in Times Boredom’s Top 10 local bands! Honestly, how much of an honor is this for you?
100PsychicDreams — hereinafter referred to as ‘1PD’ and yes we think that’s funny /Shane Sanchez: It’s a real shocker!!
TB: Did you release any music in 2022?
1PD: Only a couple of collaborations. Mostly played shows and promoted my 2021 release Bronze Stroker
TB: What was your favorite show that you played in 2022?
1PD: The Sime Gezus album release for sure! Awesome producer showcase with Albany artists PJ Katz, Big Malk, Mitochi, Devin B & myself and killer performances by Sime, JB!!, Juice Mega and Grimewav. What a night!
TB: Who was YOUR favorite local band in 2022?
1PD: I’m gushing all over Prom Sex right now.
TB: Do you have any plans for 2023?
1PD: Lots of collaborations! Excited about my work with Jason Martin, a handful of hip hop artists, working on new Bloodx3 and my second album is almost complete!
And for extra fun (and extra super fucking awesome seriously here ppl you know this is THE SHIT) here’s the collaboration from the superspooky ‘Do the Fright Thing Volume 8’ with 100 Psychic Dreams and Jason ‘Wolfman’ Martin (take a listen… if you liked this article, 100 Psychic Dreams, or anything Times Boredom does in general you should absolutely have a listen to this mindblowingly cool collab between two of our favorite people in the local music scene!:
Making their first appearance on our top ten chart this year is 100 Psychic Dreams, the experimental electronics project of our good buddy Superdark Shane Sanchez!
In addition to ruling the scene, Shane Sanchez has been making experimental electronic music for quite some time now. His latest project 100 Psychic Dreams seems to have struck a huge chord with the Capital Region superhip underground music scene (you know, the scene that we’re into and cover). Since 2021 100 Psychic Dreams has released about 2 albums’ worth of material and several singles, including idiosyncratic VHS mashup recordings, experimental illbient, innovative hip hop beats and backing tracks, and a groundbreaking cover of hip old Iggy Pop classic ‘Night Clubbing’
In addition, the electronist (electronicist? Synther? DJ? MC?!!!) has been playing live all over the Capital Region — especially in Troy at our favorite No Fun joint. 100 Pyschic Dreams has also been providing beats for local hip hop shows, playing the aforementioned cover of landmark Iggy Pop song ‘Nightclubbing’ live for the No Fun anniversary fest, improv sets, providing backup beats for various projects…
So is 100 Psychic dreams a DJ/MC? Is it an experimental electronic project? “Synth drenched grimy beat magick”? The beat machine for the entire 518 music machine? Hell yeah it is! It’s like, 100 different things in 1!
And it’s “PSYCHIC”!
(So I’m guessing they knew they’d be number 2 on our charts right out the gate and have been celebrating in advance, laying down those funky beats and noisey treats for all of us to dance dance dance…)
And we all know it’s out there just waiting to be found and distributed more widely.
Here’s a great example: Haunted Cat made an entire half hour Christmas special a couple years ago; https://www.youtube.com/watch?v=qYBvbfPwztE (they also made a Halloween special, but it is Christmas and all depending on when you read this — that’s another thing. We all know that people visit Nippertown on a daily basis but Times Boredom’s only visited when a) your band or someone you know is mentioned b) when you find out about it which is typically not the same day so 5f) there’s a .00001% chance anyone will read this on Christmas). The production values may not be as flawless as the Sirsy video, and there may not be any ‘sexy dames’ baby singing ‘Santa Baby’, but come on. This thing is hilarious. There’s genuine humor here, and not just the kind you can milk by mocking an old style mr. rogers type christmas special. And in addition to the funny corny holiday cheer, there’s a number of terrific rock performances by… well I’m not going to ruin it for you because I really think you should watch it yourself (that’s kind of the point here). But there’s no link to this special, on Nippertown, Keep Albany Boring, Times Union, or any other local music and arts sites.
It probably sounds like I’m singling out Nippertown, however, I really appreciate Nippertown and think it’s the best site there is for local Capital District music and arts news, promotions, and just information in general. And in terms of music, they do coverage of all kinds of local music including underground stuff that other local publications in other cities would stay away from in order to get more sponsors or advertisers etc., to make more money. But Nippertown really is more concerned about helping people to enjoy the arts scene around town. So in addition to the Sirsy video they posted today they posted one by Warden and Co. and one by Taini Asili and the Messiahs. Nippertown is great; but because they are what they are they want to appeal to as wide an audience as possible. Unfortunately that often means groups like Sirsy, Super 400 and the Figgs that have been around for 30 years and have real PR machines get way more coverage than a group that’s just starting out like say, the Sugar Hold. The Sugar Hold is making enormous waves in the underground community, but in terms of local music time they’ve only been around an instant and as such they’re still building not only their fanbase, but their relationships with local media, their productions, multi-media presentations, etc.
So what’s the real problem? I suppose this is as close to an ‘editorial’ as we come here at Times Boredom (perhaps I should add that as a category/tag since my lazy ass has written 2 or 3 of these now) so I just want to say that there’s so much great underground music right now in the Capital District I feel like we could really be a mecca for a strong ‘alternative’ (term used correctly even if doesn’t apply musically) collective of recordings, performances, and overall knowledge by a large audience in the area that would really appreciate the music but just doesn’t know about it.
I mean if you were new to town and came from a larger city, and you looked for local music and saw Sirsy, you’d be like ‘I guess punk rock really IS dead, especially in this jerkwater burg. I’m just gonna listen to my old Minor Threat record again. There’s plenty of classics to keep me happy enough’. And you’d ignore every aspect of the local scene because you’d figure there really wasn’t anything of substance to see.
Another unchangeable issue is that as much great music as there is around (and there pretty much ALWAYS is, even in cities as small as ours in the US), it’s all about giving it a platform, getting groups together, dissemination and distribution. In short, a ‘scene’ needs to be created. And of course the ‘scene’ brings to mind all the stupid terrible things it entails like small town big egos, in groups and out groups, enmity amongst microniches, etc etc. (if you’ve ever been in one you know exactly what I mean). But what’s much worse is not having a scene at all. You’ve got a thousand people in their basements and apartments writing and recording music, playing in small groups with just their close personal friends, house shows where the band outnumbers the audience and the cops get called after a couple songs. Self indulgence, legends in their own minds, the complete lack of appreciation that makes would be greats quit before they get started, isolation and atomism and lack of competition. All of which are overcome by a scene that certainly does bring out bad aspects, but also often brings out the best of the music. Interrelationships, genre crossovers, the competition that makes everyone better (my favorite example is the Minutemen being inspired to write and record Double Nickels on the Dime in response to Husker Du’s double album Zen Arcade. Would either of these have happened without a national ‘scene’ based around SST, a network of punk rock clubs and people, and the PR and promotions that occurred — what little there were — were SO important that today someone like me (and hopefully you) know what they are and can appreciate them).
And we have the building blocks for a great scene that could even potentially breakout and have people saying ‘there are fantastic things going on right now in underground rock and punk in Troy and the surrounding areas’. And you know me, I believe the Superdark Collective is responsible for a great deal if not most of this network, collaboration, word of mouth, etc. And now growing on the success of much of what the Superdark Collective generated we have No Fun, a great club in Troy that plays host to so much of the terrific underground music we have around town. It gives the loners in their basements (not making fun; I AM one) something to strive for. A reason to record and distribute. A reason to ask their friends who plays bass guitar and if anyone knows a drummer. These are the organizing factors that create little revolutions, that make music scenes like Seattle, Mineapolis, and Chapel Hill break out so that maybe mainstream listeners don’t know, but folks that are into underground music have their lives vastly improved. Seriously.
If you read this you’ll probably think it’s a useless rambling editorial that won’t solve anything. And you’re right. Because like you I work a full time job and don’t have the time to edit this, make sure it makes sense, or strengthen the points I really want to make about how this publication, Times Boredom, really needs to step up and cover the specific musical niches that are burgeoning around here — the noise scene, the electronic scene, post hardcore, punk, and metal. I’m not criticizing wide reaching sites like Nippertown because I think they’re doing anything wrong, but because I think they’re doing what’s right for them and not just covering what’s already thriving and has its own means of DIY promotion and distribution but EVERYTHING/as much as they can. The reason I began (and talked WAY too much about) with Sirsy is that often means that whatever’s canned and has worked its mainstream appeal factors out, the heavily processed pre-mixed defrosted previously fully cooked spam that doesn’t need the coverage or promotion and is just overpeddling a mediocre product at best is what gets the attention and dissemination it doesn’t need or deserve. We need to fight against the Sirsy’s of the rock world and for the underground punk Haunted Cats, Sugar Holds, Superdark Collectives, 100 Psychic Dreams, No Fun, Architraves and dblgoers and so many more I couldn’t name them all — one person couldn’t even know them all!
So in a way this is a plea; join me in my quest to make the Capital District underground music scene as big and great as it can be. Especially now when we have so many of the building blocks in place. If you want to volunteer to write for Times Boredom, be it an opinion piece about the local band you love, a review of a great local album you just heard, or a sarcastic article making fun of you own band send us an e-mail today, we’re not picky! And as silly as we are and sometimes unintentionally/INTENTIONALLY mean, if we hurt anyone’s feelings we take it down. We just want to have fun and bring all the amateurs together to create something much better than it otherwise would be, so you don’t need any special training or experience to be one of us. Just a desire to join with us to promote and let everyone know about all the great music that’s going on out there.
Because otherwise it’s just me. And I’m already way too old for this shit, and only gettin fatter and lazier.
Somewhere in the oughts indie rock/pop lost its way. It became a shadow of whatever was on the radio in terms of production, and more and more like 70s soft rock in overall sound and mood.
The tragedy is not only the early but the late 90s offered so many avenues indie could have taken. Lo-fi to slowcore, math rock to the quirky off kilter rhythms and melodies introduced by the likes of Rob Crowe in San Diego. And we’re just talking about the softer end of rock and the more melodic edges of pop here.
But the publications of the day heralded the coming of the old age. The new Eagles and folky singer songwriters… the shit.
Fortunately for those of us that follow underground music, there’s plenty of great stuff that went the other way, the good way. At their core that’s exactly what Milwaukee’s Brief Candles (https://briefcandlesus.bandcamp.com/) represents. Lo-fi aesthetics, jarring rhythms, catchy crooning and just the right amount of guitar effects. Somewhere between groups like Verses and Heavy Vegetable that we all kinda forgot about; and of course the influence of that never gets tired of recycling shoegaze from Manchester.
There’s some Brooklyn hipster sounds in there, but out of a genuine love for the music that Brooklyn seems to be getting so wrong these days. It’s all grounded in more of a we love guitar music and everywhere it can go; whether it’s simply a really high strung bass line that makes an entire song or Television like interplay of guitars. And, of course, if they’re named after the Zombies song I think they are, they’ve definitely got their references in order.
See Brief Candles tonight at No Fun with Brooklyn’s (yech! jk — or are we?!) Dead Leaf Echo, and Brent Gorton’s Better Pills (https://betterpills.bandcamp.com/album/blood-chant) — if you don’t know who Brent Gorton is, get your ass down to No Fun and find out because he’s a brilliant indie pop legend here in the Capital District and arguably THE best songwriter.
Super fun surf indie rock band The Sugar Hold (was forced to) made a deal with the Troy Chamber of Commerce following last night’s unbelievably exciting and entertaining (without so much as a hint of irony) set at Brown’s Brewing Company for the Bacchanalia fest.
“Basically we were told that we were making the, um, surrounding not quite as fun and less hardy partying local Troy arts, music and entertainment scene a bit um, paler by comparison?” explained lead singer/guitar player Mikey Baish. “We certainly didn’t start with the intention of being the most fun, entertaining, unstoppable good time had by everyone at all of our shows but we sort of can’t help it… we just make fun music that we love, we love what we’re doing and everyone can tell and they in turn love it so much they have such a good time and… it’s not our fault. We’d try to tone it down but honeslty, who would want to have LESS of a super rockin time?”
“We just can’t help it that we’re having so much damned fun up there these days unlike other groups and scenes from the past that we don’t really fit in with anymore.” chimes in drummer with variable yet always entertaining head and facial hair shining local personality John Olander (srsly dooders in like 20 bands, has 12 jobs and can be found anywhere a party with music is going on yet is ALWAYS partying and smiling). “I mean I used to play in a band called Che Guevara T-Shirt that, let’s face it, was just plain wrist-slitting metal. Which is not to say I didn’t enjoy it or any of the other groups around that still do that kind of stuff, but we are kind of heralding in a new era with groups like the Hold on Honeys, and earlier but still partying Haley Moley, Architrave, Haunted Cat — just too many to name (shouts Olander as he shoves a grinder into his mouth no doubt the first chance he’s had to eat in days) that are just plain unironically entertaining and joyous!”
“It kind of started when Haley Moley, Architrave and other bands led and or inspired by Paul and Jen Coleman’s indomitably positive, optimistic spirits changed the game by instead of making the kind of depressingly heavy industrial music of say Che Guevara T-Shirt or k. Sonin that made people leave, they played fun danceable but still in depth underground pop music that inspired all of us to stop being so ‘cool’ and pretending we were having such a crummy time and admit that we were having lots of fun and wanted the audience to have lots of fun too!”
“I think we just started experimenting with the idea that local independent music can just be a really great time” says bass player Matt Malone who was also in superdepressing suicide inspiring group Che Guevara T-Shirt at one point; “and then I guess we went too far. Because there are so many so much great but dark in depth groups that are around, the Troy Business Council has informed us there have been several formal complaints about how hard it is to get crowds in now that people can, instead, go to see the Sugar Hold and others that shimmer and shine and are unashamedly loved to party and have a good time! We didn’t realize it was such a novel concept, but it turns out that since the late seventies groups that earnestly and unashamedly have a great time haven’t really been featured in local scenes. And of course back in the early 90s with the advent of grunge it was literally made illegal to rock and party as hard and have as much of a good time as we’re doing now.”
Lead guitarist Dan Clark unfortunately did not comment because I’ve never met him IRL and I wouldn’t even deign to do any kind of impression whatsoever, however, everytime I’ve seen him play he does look like he’s having a great time and rocking out just like the rest of the band.
There’s still great fear however that even moving the Sugar Hold over exclusively to the party zone won’t stop what they’ve started. It turns out the germ of the idea that making great fun music with a bunch of your friends to entertain your other friends has taken deep roots in Troy and beyond.
The Sugar Hold was just one of the thousands of groups of terrific local musicians that played this weekend’s Troy Bacchanalia and changed the face and expectations of what an upstate end of summer festival could really do to reinvigorate, enliven, and even reinvent the core of what an upstate city is all about and the great things that come out of it!
This will be part 1 in our 67 part series on the Bacchanalia fest in Troy the Year of Our Lord 2022 and its lasting effects on the ecology, wildlife, and business climate of the city that Uncle Sam built dancing on his two left feet and the Capital District beyond…
Ok so we’re a little late this year. We’ve had a lot on our mind since, in case you hadn’t noticed, a lot’s been going on in the world besides local music. And while local music is always important and will always be OUR lifeblood, when the world shuts down and refuses to allow live music performances to take place… we get a bit depressed and unmotivated :(.
Luckily, the lack of live performances allowed many local groups to focus on recording and releasing new material! In this spirit, instead of doing our usual ‘worst local band of’, we decided to do a ‘worst local recording of 2020’! And there were so many to choose from… a list of all the great local recordings that made the list but not the top ten is available at the bottom! We recommend listening to not only the top 10 but every single one listed!!! There is so much great local music that’s released every year that we all miss just because we don’t hear about it, and we’re just trying to do our part to remedy that! Thanks for reading! Here’s the top 10:
Madeline Darby has been an integral part of the local scene and especially the Superdark collective for years now. As a member of Dominated Swine and Thinner Friends in addition to her solo releases, her contribution to the electronic noise music in the capital district local scene is enormous to say the least. And on her most recent release, Innovation, her mastery of the independent experimental electronic and darkwave genres are on full display. A very personal album full of vocals, despite the frequent use of monotone/rap, it’s evocative of the very individual intellectual and psychological struggles that Madeline Darby and the rest of us face on a daily basis. With Shane Michael/100 Psychic Dreams contributing mixing and Paul Coleman mastering, Madeline’s collaborative spirit and choice of the best of the best in the local scene’s recording industry is beyond reproach. But the wealth of knowledge of electronic recordings and forays into the tiniest corners of the extensive wealth of electronic genres is fully displayed by all the intriguing tracks contained in this twenty minute ep — you have to hear it to appreciate just how much space it covers!
We at Times Boredom have been huge fans of Scum Couch for awhile now (even editorially suggesting they be the best of last year). But we may be biased, since the kind of avant-garde experimental rocking noise music Mark O’Brien deals in is pretty much our favorite post subgenre. And this short collection of loud wailing noise rock is just magnifique! Calling to mind the noisey experimentation of a thousand barely heard touring artists (we think of our old but sadly defunct friends Ape Not Kill Ape), but also relating to post and noise rock heroes like Silver Daggers, Oxbow, and Health, this ep is a gateway drug to all things further left field than most likely anything you’ll ever hear on the radio (other than perhaps the Superdark Radio Show!). And it melds so many genres and advances in the genre’s influences so seamlessly it sounds as though O’Brien isn’t just pioneering but invented them all! Well done, as always!
This is what happens when you don’t respond to the surveys people!
So if that last entry was a little too noisey or far left of the dial for you, there’s no way you’re going to be able to stomach to this release from two members of Albany’s long running noise rock collective Che Guevara T-Shirt. Apparently both have been digging into far more noise over signal and random chance experimental recordings, though the sides of the coin that are on display here from the two sound artists are certainly very distinct from each other.
Olander’s side of the record is 5 songs of nothing but straight kazoo solos.
Sonin, on the other hand, appears to be utilizing feedback from various contact mics on acoustic instruments in the foreground and layers of amplifiers mic’d and feeding back into each other as background. Both lack obvious rhythm (though both are clearly rhythmic in their own unusually defined ways), traditional instrumentation, or vocals of any kind. Mixing and mastering by omnipresent behind the scenes star Paul Coleman and (on the Olander tracks) Carl Blackwood of local band Bendt lend these recordings balance and presence, but take away nothing of the intentional grit. Dark, foreboding seemingly random soundscapes lie in wait on this record to entertain, creep you out, and intriguingly describe a period in the lives of their creators.
The Superdark collective supergroup Thinner Friends is made up of Madeline Darby (Madeline Darby), Gary Ziroli (Mr. Cancelled), and Shane Sanchez (100 Psychic Dreams, Blood Blood Blood, Eternal Crimes, etc.). Dealing in energetic electronic postpunk, the group gained immediate attention and local love upon forming and playing their first show. Since then they’ve created a cadre of songs for this debut ep of fun, danceable tunes melding too many hip genres to list. If you’re familiar with other groups these three allstars have been involved in, you’ll be pleasantly surprised to hear their separate talents merged into one group that so naturally complements and completes both songs and instrumentation it sounds like they’ve always been together. Three to the third power of great tastes that taste great together!
A lot of different independent original music elements were brought together for this compilation, from groups associated with the Superdark collective in Saratoga and Troy, to Glens Falls No More Death Stars, eastern Massachusetts stars Leap the Dips, Albany allstars Gay Tastee Ex Machina, all the way down to groups that started in Albany and made their way to NYC and Ohio Never out of the Woods! There have been plenty of similar compilations over the years (like say from NYC to Albany, the screed comps, countless punk rock split 7 inches), but this one was formed out of the need for community resulting from the atomization and forced solitude of the pandemic. Compiler Keith Sonin (of local goatherders Che Guevara T-Shirt) worked with superpower duo the Colemans to solicit, bring together, and sequence songs made from the horror and loneliness brought on by the pandemic starting in Albany and spreading as far and wide as needed to convey the pluralistic reactions to the stay at home orders. ‘Intimidating’ near straight noise experimenters like Derpetuity, Arbitrary Labor, and dblgoer stand side by side with the somber yacht rock of the K.O.N.N. and Sava_D and the the lo-fi downbeat Stooges like tracks of Rey Cormac. Most of the artists are either locally famous or the pen names of locally famous group members and one off collaborators. But it’s all motivated by the same spirit of trying to make original independent songs to get ourselves and our friends through this time, and have something to remember it by.
We’ve been raving about Lone Phone Booth since we first saw them in a dank basement, and haven’t stopped screaming about how great their sophomore effort RE/Sound is since we first heard it (read more at here)! Such a tour de force of not only experimental found sound collages but classic indie rock melodies and guitar lines; we genuinely fear that Lone Phone Booth will relocate some day and leave our love behind. Because clearly they have the talent and the ability; even the recording of every last noise put into this record is crisp and clear when appropriate, fuzzy and lethargic when that’s called for. Clearly we’re not alone, as more and more fans are picking up on how terrific the efforts of Grace Annunziato keep getting better and better. We like to think that we here at Times Boredom enlightened at least a few cool kids to the great sounds of LPB; if we achieved even that, it has not all been in vain!
Albany underground legend Drew Benton (Complicated Shirt, TOUGH, Sesame Plexer) just seems to be getting better with every new group he puts together, every new album he makes. The undeniably epic ‘3rd Degree Moonburns’ proves that not only does Benton still have the chops to blow us away with his talent, but that his songwriting skills are not only still great but further developing with every new year. Influences like Magazine, Television, and Richard Hell still figure prominently in the sound, along with the glam of Bowie and Mick Ronson and T. Rex. The sharp, caustic wit that’s been evident throughout his career is here tempered with the wisdom of being able to view it from outside; the noisey punk screeches matured into a melange of sounds that come from everywhere; guitars, drums and bass, but now also horns, piano, and all kinds of Pet Sounds type instruments one would be hard pressed to identify individually. There are even ballads so beautiful and sombre they rival those of Tom Waits (we can’t wait until Rod Stewart covers a Haunted Cat song!). The history of popular music is being examined here, from Walls of Sound to glam-sludge and everywhere in between. Steeped in music theory and a talent for pop songwriting that is unrivaled in the local scene, Haunted Cat reaches (forgive us for the cliched terminology but it really does apply here) EPIC heights with this record. A FUCKING CLASSIC.
Those that know Steve Hammond know that he’s no stranger to unusually high productivity, but on his 2020 release he breaks pretty much every record we can think of. An album with over ninety minutes of music that keeps it interesting with the ‘small song’ format, no song is longer than 3 minutes, most are under two, and the ‘smallest’ comes in at 19 seconds! In addition to having 53 songs (fifty-fucking-three!!), the number of genres included in this small masterpiece exceeds even the number of songs. From the shoegaze of ‘Escaping Hell’, the post-hardcore of ‘cat skin suit’ and ‘dog rape whistle’, to genres times boredom doesn’t usually hear like southwestern instrumentals (guitararra), bossa nova (georgie bean), and even good old fashioned soul with ‘Wasting Away’. And we thought k. Sonin who was eclipsed by Asa Morris were productive! With about 40 albums featuring Steve’s love of all music willing to go anywhere style available on bandcamp alone, Hammond is a genre-bending songaholic never stopping always entertaining steel driving music man!
If you’ve read anything about Sky Furrows on Times Boredom before, you know we never run out of good things to say about them. We’ve been gushing about how terrific they are since they first time we saw them and were entranced by their early SST spoken word post-hardcore sound (we’re all big SST fans from back in the day, and although they combine influences from plenty of other hip underground genres that’s the one we love and celebrate most). And finally, we got to hear their recorded output in 2020 with their self titled new record. Best of all, we got a copy of the vinyl (read Ipolit’s review here)! The timing couldn’t have been better since we’ve been missing their fantastic live shows with all the famous and talented long and short term scenesters on and off stage, so the fact that their record came out mollified us no end being able to listen to it over and over again when we were missing them. Truly the Capital District has been blessed with the unique spoken word poetry of Karen Schoemer (herself an actual music journalist unlike any of us amateurs whatwhithin our nonsensin grammar and rocknroll vocab), the combination of Burnt Hills legends Eric Hardiman, Mike Griffin, and Phil Donnelly (all of whom are in plenty of other fascinatingly creative psychedelic tinged groups like Century Plants, Rambutan, Parashi, etc.), all coming together to give some of their best to truly one of the best albums to come out of the Capital District ever!
It’s no secret that there’s mutual love between local scene arms the Super Dark Collective, Times Boredom, and super talented power couple Jennifer and Paul Maher-Coleman (read TB’s interview here) and the many musical projects they spearhead and contribute to, but Architrave’s pandemic release proved once more why this specific group of theirs is as popular and worshipped as they are. Almost timeless in its influences and sounds, the record could be from the late seventies, the synth drenched mid eighties, or the Brooklyn hipster synth-pop renaissance of the early turn of the century. But unlike any nostalgic rehash, Architrave’s songs are purely original compositions based on a love of all their influences and an undeniably innovative resulting output. And of course this ain’t no synth-pop record; there’s a dark mystique and spirituality to this and all Maher-Coleman penned tunes that reveal a depth that, while undeniably catchy, comes from a well of human spirit that’s lived, loved, suffered, and come to terms with the meaningless complexity of life’s many unexpected twists and turns in a way that comes out as nothing short of great wisdom. And that’s not something you usually (if ever) hear in recorded rock, pop, and electronic music. Dark or cold wave would be an insulting term to apply to the brilliant tunes of ‘This Perfect Day’, given how superficial and naive so much of those genres turn out to be. This album represents a definitive maturity of sound crafted by a lifetime of electronic know-how and mastery of evocative melody to convey the personalities of its wise creators. This Perfect Day is not only a perfect record for the pandemic, but we keep spinning it well into the post-pandemic period, appreciating more of its complexity, integrity, and unerring honesty with every new listen. Everything that Jen and Paul Coleman are involved in is made better by their presence, but when their greatness is distilled to its essence in Architrave, something amazing and timeless has been released into a world made much better as a result of the beautiful and new colors it adds.
Honorable mentions (maybe in a particular order, maybe just randomly…): Dominated Swine – Songs of the Dominated Swine, Fine Grain – Cold Dead Eyes, Mount Mole – Flee Marker, Maggot Brain – Illumine, Ferriday – Everywhere you go, 100 Psychic dreams – variously releases, Apostrophe Beats – various releases, Brent Gorton – Quiet Time, Coupons – Up and Up, Aldebaran – Blue Lands, Bridge of Flowers – BIll + Ed, Laveda – What happens after?, Burnt Hills – Slip through time, Eraserheadz – Tales Not to Sleep, Various – Timmy Wiggins Come Home Soon Volume 1, Various – 2 dead hummingbirds presents, Machine REvival – Pulse Decay Time, Matthe D. Gantt – Diagnostics, Joe Taurone – Just Joe Vol. 1, The King of Nothing Nowhere – Her words my mouth, Rhakim Ali – Less is More, John Powhida International Airport – Single Feeling Randy, Pete Donnelly – Woke Bastard, Swamp Baby – Water Gods, Mike Hotter – Room to Land, Gay Tastee Ex Machina – Shook, Normanskillers – s/t
Don’t like our pics? Get involved in the survey for next year! E-mail firstname.lastname@example.org to let us know about your interest! Or better yet, send us an editorial all about your favorite band and why they should’ve won. If it’s grammatically correct, poignant, or funny enough we’ll publish it!