From The Showdown’s A Chorus of Obliteration, this is “From the Mouth of Gath Comes Terror” –
Standout tracks: “A Monument Encased in Ash” and “Iscariot”
Weakest track: “Laid to Rest”
RIYL: 777. High voltage heavy metal.
There’s been a lot going on in my personal life the last few weeks. Because reasons. Ones that I’m not comfortable with sharing. So, One Record Per Day has hit a weird spot rounding the home stretch. You may have noticed. You may not have.
With under 100 days left in the project, I’ve been spending the last month or so as an intern for NPR’s All Songs Considered at the public radio Taj Mahal here in Washington, DC. I turned 26 this year, and it’s been the strangest of my life thus far. I’ve done two killer internships, one with my favorite professional sports franchise (the Tampa Bay Lightning), finally graduated college, and spent the summer piecemealing rent money from freelance work.
When I got to DC, I realized that I never want to move back to Florida, under any circumstances.
Which is to say, I realize I’ve peaked and that it’s all downhill from here (well, maybe).
Which is to say, now that I’ve heard William Basinski’s The Disintegration Loops, I feel pretty inferior.
Which is to say, I woke up Sunday from a panic attack about what the next step is, and how dire it is that I be employed when this experience wraps up on December 21st.
Which is to say, every day that I’ve been here has been unique in ways I couldn’t have anticipated.
Which is to say, I had a conversation with Guy Raz today which was capped off by his message of “Own it.”
Which is to say, I don’t want to let my opinion of GTAV and the Wu-Tang Clan be ruined by you.
Which is to say, that writing something every day since the beginning of the year will burn you out eventually, and that it takes more and more each day to muster up the mettle to bear through and drum up words, especially for albums that are boring or that I’m in no mood to partake of, or that my word count this month is the lowest it’s been yet because I’m
sort of tapped.
On the bright side, I have some of my all-time favorite records still waiting for these last 75 days.
This project has taught me patience and the value of a day off.
No real surprises here, Bob.
Standout tracks: “Long Live the Party” and “Never Let Down”
Weakest track: “Really in Love”
Clarification time: I spent almost 2 hours on the phone with Andrew W.K. a few years ago. I had secured the interview through my work on a radio show I did for a long time, but nothing ever came of the chat. The thing about Andrew W.K. is that his allure is inextricably bound to his character. For those (like me) who have attempted to look past his gleaming exterior comprised of the party mentality, a mantra and way of life built on the mantra of ‘Be you and do what you want,’ one that stops just short of being a religion (see: universalism)… the character that W.K. has created is genius. Whether or not you even buy into the ‘party’ lifestyle. And let it be known, to ‘party’ doesn’t necessarily entail shooting up heroin or getting blackout schwasty every weekend. The ‘party’ that he preaches is a message of positivity and enlightenment.
But for a while now, especially in the period after he released I Get Wet and before today’s album The Wolf, there has been some question as to the validity of the character.The tl;dr version of it goes something like this: Andrew W.K. is an entity created by a production company, played by 2 or more people over the course of the last 15 years, and one who serves as the vehicle in the interest of profit.
The long and the short of it for me is this: I don’t actually care. It’s an auxiliary issue that independent media sources have blown up into being a big deal. Who the fuck cares if there has been more than one person who has ‘played’ the character of Andrew W.K.? Is it not the same music? Is it not the same message? That is the point. He’s a musician whose goal is to make money and influence people in a positive manner. Everything else is irrelevant.
RIYL: Being alive.
There is not a single reason that this album should exist.
This concludes the low point of One Record Per Day.
Current mood: suffering from severe Hives fatigue due to this project.
THE MOST COMPLETELY DISORIENTING MUSIC-RELATED THING OF ALL TIME OF THE WEEK: attempting to write coherent, thoughtful musings about Right Away, Great Captain!’s The Bitter End, the first entry of a trilogy, when the only thing you’ve listened to the last few days has been Puig Destroyer and Death Grips.
There have been a few times in this project where I just… am not at all feeling the drive to press on and put words together in a way that isn’t absolute garbage. Most recently with The Hives and OutKast.
Today just so happens to be another of those days that I am wholly underwhelmed by the album of the day. 119 days ago, I wrote about RAGC’s The Eventually Home, the middle portion of this trilogy. One of the side projects of Manchester Orchestra’s Andy Hull, Right Away, Great Captain! is the name for his nautically-themed story about a 17th century sailor.