Best of 2017 Music Mix Tape

All right, here it is! Finally winnowed down my picks for my annual mix tape to something that fits on an honest-to-goodness CD. But you can listen to it on Spotify RIGHT NOW if you want!

What a fucking year. Good music becomes all the more important in keeping us sane and focused and also allowed to sometimes check out from this too often cruel and ridiculous world. I take enormous comfort in the continued dedication of humankind in creating art, though, and all those day-to-day small acts of kindness that persist.

But seriously, 2017 can pretty much get fucked. This music, however, can definitely stay. Lots of amazing work coming out of all genres, despite what some of the naysayers like to claim (ahem Bono). Music is alive and thriving. A lot of it definitely reflects the current atmosphere, too, with deeply political messages.

Obviously, this is never meant to be a definitive "best songs of the year" list so much as a "some of my favorite songs that came out this year" so it is highly subjective and likely misses a whole bunch of real good stuff. (I even try to capture more in my main/longer list here)

Enjoy! And feel free to let me know in the comments what songs and artists you were digging on this year.

TRACK LIST:
1. "Blood in the Cut" - K.Flay
2. "Cut Connection" - Jesca Hoop
3. "Die Young" - Sylvan Esso
4. "Drew Barrymore" - SZA
5. "Disco Tits" - Tove Lo
6. "Woman" - Kesha
7. "Momentz (ft. De La Soul)" - Gorillaz
8. "Antifa" - Ministry
9. "Venus and Serena (ft. Taj Raiden & Q the Sun) - Lex Allen
10. "Uncle Usi Taught Me" - Brother Ali
11. "Atalanta" - Rina Mushonga
12. "Cold Little Heart" - Michael Kiwanuka
13. "Fool's Errand" - Fleet Foxes
14. "Back In Your Life" - TINA & HER PONY
15. "Fire" - Beth Ditto
16. "Strangers (ft. Lauren Jauregui)" - Halsey
17. "VRY BLK (ft. Noname)" - Jamila Woods
18. "Two Thousand and Seventeen" - Four Tet

NOTES:

1. K.Flay has had herself an interesting career in a short period of time, surfing the lines between genres and now seemingly settling into a really interesting spot that blends elements of roots country and electronica in a way that I decidedly do not hate.

2. I've loved Jesca Hoop since I saw her open, years ago, for either Ani DiFranco or the Ditty Bops (I honestly can't remember which). She has such a unique take on folk that I hesitate to even call it folk. Just good stuff, and doesn't really sound like anyone else. I think she may secretly exist on an entirely different plane.

3. Sylvan Esso stormed onto the scene with their debut record, and I adored the mix of quality lady vocals, poetic lyrics, and creative electronic underpinnings. Plus, the fella in the group is from Middleton, Wisconsin (right next door to Madison), so their tour stops here are always super packed and fun, with shoutouts to parents in the crowd.

4. SZA came to my attention thanks to a DJ friend of mine (mad thanks to Lolo) dropping her track, "Julia," in the middle of a set a little over a year ago. I've been hooked ever since, and thank goodness, because her newest album, Ctrl, is fantastic. Definitely check out the whole thing. Consider SZA part of the bleeding edge of the insanely good/evolving genre of alt. hip-hop/R&B/electronica. I don't even know what to call it, frankly.

5. I'm a little obsessed with Tove Lo. Turns out she's amazing live, too, with great production value and live band elements, plus costume changes! All on what must be a pretty tight budget, from what I can tell. I appreciate the hell out of her commitment to raw and honest tunes with dark techno underpinnings but superbly poppy hooks. And being unabashedly sexual. Also her videos are works of art, generally. If you haven't seen "Fairy Dust" yet, get on it.

6. KESHA, Hot damn, what a re-debut album this is. She came back from years of fighting with her old label for freedom from an abusive producer with full proof that she's an incredible artist. Fuck the haters. Also, tell true, this record is definitive proof that she'd been undervalued and underused by said old label and fuckwad producer, because her voice is legit, the lyrics are delightful, and the genre-bending (from country to dirty rock to electro-pop) is done with aplomb. I struggled between including "Woman" vs. "Old Flames" because the latter is a spectacular duet with the amazing Dolly Parton. But you can't really beat "I'm a motherfuckin' WOMAN" for a refrain, so. Anyway, point is, GOOD FOR YOU KESHA, GET IT ALL KESHA. And fuck rape culture.

7. It's been a long time since Gorillaz put out a record, and their strange and wonderful Humanz pretty much made up for the lapse. What can I say? It's strange as hell, but it just works. Bonus: De La Soul!

8. I'm always excited when an old industrial band puts out new shit that's actually good and relevant. Ministry pulled that off with "Antifa," from AmeriKKKant, which is obviously super duper political and timely. It's all the grungy guitars and stompy beats and biting commentary/quotes that I want and love in my angry tunes.

9. Lex Allen is from Milwaukee, and I've had the pleasure to both meet and see this incredibly dynamic and delightful human perform live on several occasions. The video for this track in particular is an awesome ode to body positivity and basically a big ol' queer celebration. What's not to love? Cat is going places.

10. Good Brother Ali always lays out the real shit with pointed but smooth lyricism, and this tale of travel woes and discrimination and the wisdom of our elders is no exception.

11. I stumbled randomly onto this Rina Mushonga track thanks to Spotify's wanderings and have been in love with it and her music generally ever since. Kind of a lovely cross between R&B, Caribbean rhythms, and some nameless soul of the city (with hints of Little Dragon). I look forward to hearing a lot more from her.

12. Michael Kiwanuka was also a random Spotify find, but I immediately dug his throwback Motown/TSOP-inspired sound. I think this track got some radio play, and rightly so. Great groove.

13. I've yet to be disappointed with a Fleet Foxes record. They have such a distinctive sound that it would be easy for it to become repetitive, but somehow they infuse each new album with fresh energy, and frankly the sound is so lovely that I don't mind some amount of familiarity between efforts. Their music makes me want to wander in the woods and go barefoot in streams.

14. TINA AND HER PONY were introduced to me by a family member who is a huge folk and roots fan, and saw them perform a criminally under-attended show here in Madison. He's since made it his mission to tell more people about them, and hopefully bring them back to town to a better response. I think they're worth it.

15. Holy shit was this solo Beth Ditto record everything I could have hoped for. I'd always enjoyed her work with Gossip, but it always felt like one final element was always lacking to keep their music from feeling complete. Hard to put my finger on. Whatever it was, though, got added to this solo endeavor--it feels full. Fantastic grooves, and that big, beautiful voice to tie it all together.

16. I'm supposed to like Halsey because she's an out bisexual (solidarity!) but I'm a little hit and miss with her work. I really, really like this song, however, and good Lord if I am not a sucker after all for a duet between two women, who sing openly about a relationship between two women. All in a lush, wistful pop tune? Count me in.

17. I came to Jamila Woods' song via recently discovering the work of Noname, who joins her on this playful but serious song about identity, racism, and solidarity. All good stuff, check them both out.

18. It felt appropriate to end the mix with this gorgeous song by instrumental electronic outfit Four Tet, from their newest record, New Energy. I honestly just enjoy everything they do so much, but this track in particular feels extra special. Good way to ring out the old year, refresh, and get ready to do better in the new. Plus, I'm always a sucker for hammer dulcimer.

Best of 2015: My favorite music from this year

Another year, another collection of music. This has become a favorite tradition for me, both because I love sharing music I dig with other people and because it reminds me to keep better track of new music that comes out in a given year. Lots of folks like to bemoan the decline of modern music but the thing is, if you actually pay attention, there's so much incredible work that gets released all the time. And it's more accessible than ever. People are still coming up with creative new ideas and grooves, reshaping and honoring old themes, fusing styles, breaking ground, having fun, and making us dance/think/nod our heads.

The only reason to give up on modern music would be if you're just lazy. Don't be lazy. There's a whole world of awesome shit out there for the listening!

The following is my by-no-means-complete-or-comprehensive mix of some of my favorite music that was released in 2015. It was a great year for music. As always, please consider purchasing any tracks/albums that you find yourself enjoying. We need to support those who work hard to bring us this goodness, and we need to do it with our ears and our dolla dolla bills, y'all.

EM'S BEST OF 2015 MIX - "Big Wheel Keep On Turnin'"

1. "Never Ending Circles," CHVRCHES, Every Open Eye
2. "Waking Hour," Jennifer Hall, self-titled EP
3. "XO, Skeleton," Hailey Wojcik, Book of Beasts EP
4. "Surface Envy," Sleater-Kinney, No Cities to Love
5. "Ripe," Screaming Females, Rose Mountain
6. "Pedestrian at Best," Courtney Barnett, Sometimes I Sit and Think, And Sometimes I just Sit
7. "Someday Soon," Lindi Ortega, Faded Gloryville
8. "Planet for Sale," THEESatisfaction, EarthEE
9. "Figure 8," FKA twigs, M3LL155X
10. "Circles Out of Salt," Snow Ghosts, A Wrecking
11. "Far," The Soft Moon, Deeper
12. "The Day Is My Enemy," The Prodigy, The Day Is My Enemy
13. "Quicksand," Bjork, Vulnicura
14. "Saint Claude," Christine and the Queens, Christine and the Queens
15. "Flesh without Blood," Grimes, Art Angels
16. "Lose Control," Robyn & La Bagatelle Magique, Love Is Free EP
17. "Queens Speech 4," Lady Leshurr, Queens Speech 4 - Single
18. "You Tell Em," Zebra Katz & Leila, Nu Renegade EP
19. "Call It Off," Shamir, Ratchet

A little about each track...

Never Ending Circles by CHVRCHES: So far this Scottish electro-pop outfit is two-for-two when it comes to incredible intro tracks for their albums. From the first note of the song, Chvrches dispels any fears that might have existed that they couldn't continue and build on the momentum of their debut, The Bones of What You Believe. The impressive thing about Every Open Eye is that it both manages to stay true to the exuberant vision of the first record without sounding like a retread. There are new ideas aplenty here, and a lot of catch-as-hell music to boot, all with Lauren Mayberry's understated but confident lead vocals to bolster it.

Waking Hour by Jennifer Hall: I was an idiot and went home early from a show in Madison that featured a friends' band, followed by Hailey Wojcik (also featured on this mix), and then Jennifer Hall, missing Hall's set at the end (I WAS TIRED, SUE ME). Thankfully, said friend gave me a copy of this singer/songwriter's fantastic EP and I was hooked right away. Lush, beautiful, interesting, and creative - Hall has a powerful voice that she uses expertly to compliment the genre-bending, melodic music that makes each track a goldmine. I hope she releases a full-length ASAP.

XO, Skeleton by Hailey Wokcik: Like I said, I got to see Hailey live (and meet her briefly, very nice), performing as a one-woman show with a scaled down backing track, letting her voice and guitar/bass work take center stage. And pulled it off with aplomb. I love how familiar and yet new her music sounds, like the indie women of my teenage years (i.e. the mid-to-late '90s). A little rough around the edges in all the best ways.

Surface Envy by Sleater-Kinney: Speaking of the bands that inspired young Em, Sleater-Kinney has been such a rewarding band to follow through the years. Each record charters their evolution and solidifies their status as rock royalty, far as I'm concerned, with zero compromises and a never-faltering commitment to melt faces with ovaries-to-the-wall rock n' roll. There's no one else who sounds like them, either, no matter how much (usually male) reviewers like to compare every all-lady rock outfit to them.

Ripe by Screaming Females: I'm late to the party with this band, having only stumbled onto them with this most recent release, but I'm glad to be here. Shredding guitars, and lead singer Marissa Paternoster's ridiculously unique, warbly alto, give this outfit a special, bone-shaking quality that I love.

Pedestrian at Best by Courtney Barnett: The Australian singer-songwriter seems to be taking the music world by storm at this point, and I'm glad to see her coming in for so many accolades, landing this record on a number of prominent best-of lists for the year. She has a style reminiscent of Dylan, with sprinklings of early Liz Phair, a little bit of country, with the twist of wry Aussie wit. I could see her almost spoken word style of lyric delivery not being everyone's jam, but hot damn those lyrics. Dense, clever storytelling make this record soar.

Someday Soon by Lindi Ortega: Humorously enough, Lindi is part of a group of musicians that I was turned onto through the soundtrack of Canadian sci-fi show "Lost Girl." Since then, I've been waiting for her new record with some anticipation, since I think this Canuck does Nashville country better than most of the Americans now toiling in the industry there. She was apparently signed by a major label back when, charmed by her goth looks and old-school Americana style, but then dropped after they decided to go a different route (see: Lady Gaga). This is a lovely track, something of a throwback to the greats like Patsy Cline.

Planet for Sale by THEESatisfaction: How can you not love a collective of queer black women making their own, unique, kicked back beats and songs that largely focus on social and political issues without getting particularly ham-fisted, instead insinuating itself into your earholes with nods to classic soul and R&B? You can't not, that's how.

Figure 8 by FKA twigs: I'm a recent convert to the musical genius of this dancer-turned-musician. Her music videos are mesmerizing. The music is not particularly easy to categorize, either, which I adore. Soaring soprano gymnastics layered over intricate, artsy electro-hip-hop? That might be as close as I can come to describing it. Good shit. Excited to see where she goes from here.

Circles Out of Salt by Snow Ghosts: Moody as fuck, beautiful but gritty electronic/industrial with awesome lady vocals. Right up my alley. The whole record is a fascinating story-journey, with tons of atmospheric soundscapes, and did I mention moody? Feel this stuff in your gut.

Far by The Soft Moon: I am a sucker for industrial rock, specifically the stuff that came out in the late '80s and early '90s, before EBM started to more fully take over the genre. The Soft Moon has mastered the sound while offering some new ideas of his own - just good, dark, industrial-infused music for working out your angry ennui.

The Day Is My Enemy by The Prodigy: Here's another electronic outfit that I've been following since that time after our 8th grade dance when the DJ decided to play stuff he liked as we were all waiting for our parents to pick us up and take us home. I mustered up the courage to approach the kid and ask him what it was that he was playing, and he flashed me The Prodigy's "Music for the Jilted Generation." I went to the mall music store and bought my copy the next day, and the rest is history. The group's output as been mixed ever since, with some soaring highs and weirdly phoned-in lows, so I was thrilled when this first track dropped off their most recent effort and it was just. so. BOLD. And they're still fun to see live, after all these years - got to see them perform in Prague this past November.

Quicksand by Bjork: Speaking of my earliest electronic influences, Bjork continues to innovate the hell out of music in general, never ceasing to be a tiny Icelandic powerhouse of creativity. And she doesn't get nearly enough credit for it, far as I'm concerned, especially considering how many people seem to enjoy glossing over and/or ignoring entirely the fact that she does the lion's share of production on her records. This is a great track on a great album.

Saint Claude by Christine and the Queens: The last track added to my mix, I was only just turned onto this French musician by this great article about how women in music and the arts are kicking ass and taking names but still being ignored, underfunded, and underrepresented in seats of power. I went and took a listen and instantly fell in deep like (which could easily grow into love, given time) with this project--both for the lovely music and the dance-heavy music videos.

Flesh without Blood by Grimes: I love Grimes. She's a one-woman powerhouse of production, creativity, engineering, delightfully weird vocal embellishments, beautiful soundscapes, and is just generally super listenable while being a totally uncompromising badass.

Lose Control by Robyn & La Bagatelle Magique: I love Robyn. Like, really really a lot. So I'll basically listen to anything she's involved with, including this collaboration with French outfit LBM. Good thing it ends up being a delightful, electro-disco romp.

Queen's Speech 4 by Lady Leshurr: I don't usually include singles on this mix, but this one by British trap artist Lady Leshurr caught my eye as a triumph of freestyle flow, wit, and simple but killer beats. Plus the DIY vid is delightful.

You Tell Em by Zebra Katz & Leila: ZK initially caught my attention with his incredible, creepy, confident tribute to how queer men and drag queens playfully cut each other down to size with "Imma Read," and it's super fantastic to see him continuing to innovate and be artsy as fuck, giving no fucks, with his new EP and collaboration with Leila. Watch the videos, too. Funded in large part by a grant from the Austrian government and filmed in Austria, it's some unsettling, visually interesting work.

Call It Off by Shamir: I love this record. I love this track. I love this kid. And I love that he comes into a world where being a young queer person of color is something he can openly celebrate and inject into his art. The guy has a unique as hell voice, too, and with such catchy, fun production work, it makes for quite the package deal. Stoked to see where he goes from here, too.

HONORABLE MENTION OF MY OWN PROJECTS

Not included on the mix, because I'm not a complete narcissist, but I feel worth mentioning are the projects that I had the great good fortune to be involved with this year:

Meghan Rose - "In Your Bones"
I wrote and recorded all the drum tracks for this record, released earlier this year. Meghan is basically my platonic musical life partner (and one half of Damsel Trash with me). This was a serious labor of love for her, involving years of writing and preparation and pouring her heart and soul into each song and lyric. We spent a week up in the hinterlands of Ontario, Canada recording this with Grammy and Juno winning producer Darryl Neudorf (who also produced, for instance, people like Neko Case). It was, simply put, an incredible experience, and the end product is something I couldn't be more proud of. Support kick ass, unsigned musicians and buy it here.

Best of 2014 mix

Another year gone by, another chance to dig through the bins and reflect on all the great music released over the course of those 365 days.

This started as a way for me to prod myself into keeping more on top of new releases, and as a fun gift to my friends and family, and mostly that's still what it is. I don't pretend that this list is even remotely exhaustive - I know I've left off a whole bunch of great songs and artists from 2014, and there are more still that I've simply not yet heard. Feel free to leave your own suggestions for great music from the past year in the comments section. I'm always keen to be introduced to new stuff, or even old stuff I've been missing out on for far too long.

I will say this: Of the music I did find and listen to this year, there was just so much good shit. I'm currently thinking about putting together a second mix composed entirely of local Madison-area bands and/or bands that I played shows with this year, because that can and should fill its own compilation.

For now, here's my list of my favorite music from the year, which ranges in genre from dance, electronic, folk, punk, industrial, R&B, and more. Please note that some songs have explicit lyrics and/or videos and may be NSFW (aww yeah):

Em’s Best of 2014

1. “Let ‘EmSay” – Lizzo & Caroline Smith, single

2. “Feel of Love” – Tensnake, Glow

3. “Busy Earnin’” – Jungle, Jungle

4. “Hideaway” – Kiesza, Sound of a Woman

5. “Could I Be” – Sylvan Esso, Sylvan Esso

6. “Every Little Thing” – Rӧyksopp & Robyn

7. “Cthulu” – EMA, The Future’s Void

8. “Ain’t That Easy” – D’Angelo & The Vanguard, Black Messiah

9. “Gold” – Chet Faker, Built On Glass

10. “Strong” – London Grammar, If You Wait

11. “Before the Words” – My Brightest Diamond, This Is My Hand

12. “Bring Me Simple Men” – Timber Timbre, Hot Dreams

13. “Blue Ridge Mountain” – Hurray for the Riff Raff, Small Town Heroes

14. “Destination” – Nickel Creek, A Dotted Line

15. “Before Too Long (ft. Amanda Palmer)” – Missy Higgins, Oz

16. “10th Floor Ghost Girl” – Cibo Matto, Hotel Valentine

17. “Talking Transgender Dysphoria Blues” – Against Me!, Transgender Dysphoria Blues

18. “Don’t Mess With Me” – Brody Dalle, Diploid Love

19. “Consuming Guilt” – Youth Code, A Place to Stand

20. “Aint Ur Baby” – Thelma and the Sleaze, Heart Like a Fist

NOTES:

"Let 'Em Say" by Lizzo & Caroline Smith

You gotta love a song that's both ridiculously catchy and released with proceeds going to benefit a good cause. You also gotta love Minneapolis-based hip hop artist Lizzo, who I was first turned on to with last year's killer single, "Batches & Cookies." Great flow, great production work, great artist.

"Feel of Love" by Tensnake

This whole album is just so good. No hyperbole, I think it's one of the most listenable (all the way through) of the year, but then I like that twinkly '80s synth pop shit with all my heart.

"Busy Earnin'" by Jungle

I recently heard this track in the background of a Green Bay Packers commercial and had to chuckle--seems to be another instance of someone only listening to the hook and not the rest of the lyrics, but hey, I'm all for wider exposure for this group, who first grabbed my attention with the video for their song, "Platoon," that features the coolest little b-girl on the planet.

"Hideaway" by Kiesza

Look, what can I say, early '90s club music was what first turned me onto house in general, and was pretty damn influential for my wee adolescent brain. It would appear the same was true of Canadian singer-songwriter Kiesza, who emulates that ridiculously fun sound without coming off as stale and totally derivative. Plus, this video is just ridiculously fun. Check out her moody cover of Haddaway's "What Is Love."

"Could I Be" by Sylvan Esso

I had no idea that one half of this electronic duo originally hails from Middleton until I went to see them live at a sold-out concert next door in Madison, and his parents were in the audience. A friend turned me onto Sylvan Esso much earlier this year, and shortly thereafter I began hearing their track "Coffee" on The Current fairly regularly. It's a great album all the way through and I'll be stoked to hear where they take the project next.

"Every Little Thing" by Rӧyksopp & Robyn

So here's the thing: I adore Robyn. And I've loved Rӧyksopp since "What Else Is There" first came across my radar. So when the two began pairing up a handful of years ago, I was in heaven. This EP is masterful from front to back, sandwiching a couple of club bangers in the middle of some seriously lush epics.

"Cthulu" by EMA

You have to dig an artist that's able to mash up '90s grunge, industrial, and modern electro while still maintaining musical soul, and that's basically what EMA does on this record. This track in particular, I think, exemplifies that hybrid sound, and also features one of my favorite, slow building crescendos of any song this year.

"Ain't That Easy" by D'Angelo & The Vanguard

A last-minute entry for the year, D'Angelo took 15 years between his last record and this one, but the album doesn't sound at all piecemeal or scattered. In fact, Black Messiah may be one of the best records of the year, if I do say so myself. It's just gorgeous. It doesn't hurt that he tapped one of my favorite drummers, Questlove, to be part of the backing band.

"Gold" by Chet Faker

It took some sweet rollerskating to draw my attention to the video for this track, which led me to checking out the entire album, which got me into Chet Faker in general. Soulful vocals, solid grooves.

"Strong" by London Grammar

I first came across lead singer Hannah Reid when she provided guest vocals on a Disclosure track, and her haunting, low soprano made me want more. London Grammar walks a fine line of melancholy moodiness and lush musicality without bumping into what I feel like is, say, the main drawback with bands like The xx, where every song sounds the same and I can't imagine any new album every sounding any different. If You Wait feels like an ever-changing narrative, something they can build on in a part two that will still sound like LG without retreading old ground.

"Before the Words" by My Brightest Diamond

Shara Worden's solo project is always filled out with a wide array of extremely talented guest artists, and this record is no different, going so far as to feature an actual marching band at times. I had the good fortune of catching her when she came through town years ago as part of a festival line-up along with backing band Clare & the Reasons, and have loved her work ever since. She's a classically trained opera singer, for goodness sake.

"Bring Me Simple Men" by Timber Timbre

Aside from loving the good wordplay of their name, I also really love the sort of dark, dusty road, Lost Highway sound this band has landed on. A friend introduced them to be just this year and I've been diving into their back catalog ever since.

"Blue Ridge Mountain" by Hurray for the Riff Raff

Modern folk music that sounds as classic as anything Guthrie wrote, with a beautiful and grounded female voice leading the way. They apparently wrote this song based on the life of the Carter family, and I think it's a fitting tribute.

"Destination" by Nickel Creek

They're back! They're back! After taking time off to work on their various solo/other projects, folk powerhouse Nickel Creek reunited for a 2014 release that picks up where they left off without skipping a beat. Superb musicianship coupled with catchy songwriting = win.

"Before Too Long (ft. Amanda Palmer" by Missy Higgins

Two musicians that I like a lot, working together on this really fantastic cover of Paul Kelly's 1986 cut, as part of Higgins' album of Australian cover songs, Oz.

"10th Floor Ghost Girl" by Cibo Matto

Another band that likes to take long periods of time off in between releases, Japanese I-don't-know-how-to-categorize-them act Cibo Matto released this sprawling tale of a haunted hotel that just solidified their reputation for unique/weird/awesome music.

"Talking Transgender Dysphoria Blues" by Against Me!

This record, man, this record. Lead singer Laura Jane Grace kind of just knocked it out of the park when she went into the studio alone to write and record this sucker, before calling in the rest of the band to help flesh out the sound. I'm not sure if this is the first punk rock album to tackle the intensely personal journey of a transgender person (LJG), but it has to be the most guts-out, heart-on-sleeve, no-holds-barred one.

"Don't Mess With Me" by Brody Dalle

I first fell a little in love with Brody Dalle when she fronted the take-no-shit punk act The Distillers, and it's super fascinating to see the transition from that to her solo work on this record--not to mention going from the big, black mohawk spikes to the bleach blonde look she's got now. Not that I'm complaining, of course. It's an interest album with a lot of her characteristic, gravelly voice and guitar grit, but with a little added vulnerability around the edges.

"Consuming Guilt" by Youth Code

I was so freakin' stoked when this EP dropped, because it marks the first time in years that I've listened to an industrial record that sounded like the shit I grew up loving on the mix tapes my older brother used to make for me back in the early and mid '90s. The fun trick is, it also sounds totally new. I don't know how they pull that off, but they do, and I adore it.

"Aint Ur Baby" by Thelma and the Sleaze

You know what the best way to be introduced to a new band is? Live, of course. I went to an underground queer/punk show a few weeks back that had these delightfully skuzzy bitches from Tennessee as the headliners, and I fell in love after the first down and dirty rock and roll song (not to mention their fucking amazing, hard hitting lady drummer).

Review: Damsel Trash, "Soup for Sluts"

Woohoo! My new band, Damsel Trash, just released our debut album in August and this here is the first official review of said record (that I've seen, anyway). Many thanks to Project Famous and Sarah Whitt. We're glad you enjoy DT!

Damsel Trash quickly earned a reputation for their live shows, featuring eccentric outfits and food being flung from the stage (wedding cake, oatmeal crème pies), but more importantly, their reputation speaks of highly proficient musicianship and infectiously catchy songs. Mills reveals her chops as one of Madison’s best drummers, tackling complex beats while singing lyrical tirades, all at the pace demanded by the genre. Rose effortlessly alternates between guitar and bass, meeting the needs of each song. Whichever she plays, there is no loss for the other, using bass as effectively as guitar as a lead instrument. She takes turns on lead vocals with Mills, her screechy vocals a perfect complement to her distortion-filled instrumentation. 

Their live shows are full of their characteristic banter, belying the years of friendship and co-creation these women have shared. The elements that made their live shows famous translate to their recorded album, which is like having pocket-sized Damsel Trash with you everywhere you go.

Read the whole review here.

We played a fantastic show at a packed Crystal Corner Bar in Madison last night, alongside the German Art Students and Red Tape Diaries. It was a ridiculously good time, and folks seemed to thoroughly enjoy themselves--which is, truth be told, the biggest reward for doing what we do.

I'm really looking forward to seeing where we can take this ridiculous little "side" project in the future, which is becoming less and less "side" each day.

Best Music of 2013 Mix

Lo and behold, here we are again at the close of another year. Time, then, for my annual "best of" mix--basically an excuse for me to look back at my favorite releases from the past year and make a mix CD to give out to friends. What can I say, I'm old fashioned like that.

2013 has been a pretty great year for music! In fact, after agonizing over what all to include on this mix, I think I may put together a couple of extra lists (online only, because CD-Rs get expensive!) to compile my favorite local music of the last year, as well as some stuff that didn't quite fit the flow of the main mix. We'll see how motivated I'm feeling.

Anyway, on to the mix! As always, this is by no means meant to be comprehensive. There is just too much great music being made for me to keep up with it all--but I like to think this is a pretty good look at a few genres, at least. And a fun listen. If I do say so myself. Feel free to let me know what some of your favorites from the year have been in the comments!

"Post Millennial Creep" - Em's Best of 2013 Mix

1. "The Mother We Share" - Chvrches, The Bones of What You Believe
I've been loving the modern synth pop trend, and Chvrches debut album is an absolutely perfect example of just how good this genre can be. There's no denying the heavy influences from '80s new wave pioneers, but bands like Chvrches are great because they don't attempt to bury said influences. They revel in them, and bring some 21st century mood to the mix. I love everything about this track.

2. "I'm Not Your Hero" - Tegan and Sara, Heartthrob
I included the first single from Tegan and Sara's near-perfect Heartthrob record on last year's mix ("Closer" was released in 2012, after all) and have zero shame about including another track from that album (fully released in 2013) on this year's compilation. I haven't stopped listening to this heartfelt and joyous masterwork of synth pop all year.

3. "We Are Explorers" - Cut Copy, Free Your Mind
Cut Copy knocks another one out of the park. Highly danceable, catchy as hell, and let's be real - pretty queer. How can you not love these guys?


4. "Painful Like" - Austra, Olympia
There must be something in the water in Toronto. Austra was a "Lost Girl" soundtrack discovery for me, along with list-mate Lindi Ortega, Adaline, and Lioness (all bands I also recommend). Throw Diamond Rings into that mix as well (discovered when I was randomly asked to be his opening DJ for a show here in Madison) and I reiterate: Toronto is where it's at. I love Austra for the strange and beguiling nature of their lyrics and lead singer Katie Stelmanis' fascinating voice.


5. "I Want You" - Lindi Ortega, Tin Star
Toronto native but now Nashville-based Lindi Ortega's new record is pretty much just one dusty road foot-stomper after another, and that's just how I like it. This track ain't particularly complicated, but boy does it pack a wallop. I mean, who among us hasn't felt that plaintive "I want you to want me" refrain deep in our bones? Sing along, let it all out.

6. "Ain't Fair" - Deap Vally, Sisteronix
One of my favorite new bands (if not winner of that title outright) of the year, Deap Vally is a powerhouse rock n' roll duo that I desperately want my band, Damsel Trash, to open for some day. Drums, guitar, vocals. Sometimes that's all you need to make your point.

7. "Health Plan" - Pissed Jeans, Honeys
I have to give my friend Matt Fanale (aka Caustic) the nod for turning me onto these cats. Dirty punk rock with a slyly progressive soul. The whole record is just a rip-roarin' good time, and this track is especially timely. THANKS, OBAMA.

8. "Werkin' Girls" - Angel Haze, Reservation
Another new favorite artist for the year, Angel Haze came charging out of the backfield with this track that seems to have caught some mainstream attention as well (it was featured in the movie "The Heat," for instance). The subject matter of many of her tracks is deeply personal, and just fuck-you in-your-face real. An emcee with serious flow and, from the sounds of it, no fear. MORE PLEASE.

9. "Batches and Cookies" - Lizzo, LIZZOBANGERS
Lizzo was a last-minute entry to my list, and I'm ashamed that I hadn't caught wind of her before. Minneapolis based emcee with serious talent and this track is both awesome and adorable.

10. "Get Lucky" - Daft Punk, Random Access Memories
I usually try to avoid including songs that were quite so ubiquitous, but dammit if this Pharrell featuring track isn't just...well, really good. It's a "song of the summer" that I can actually get behind, without wanting to throat punch the singer (that's right, Robin Thicke, I'm looking at you).

11. "We Were Rock n' Roll" - Janelle Monae, The Electric Lady
Someone explain to me how Janelle Monae isn't just, like, Prince levels of popular and world-dominating yet? This woman has more talent in her android-loving pinky that half of the current crop of pop starts combined. Expertly crafted soul-funk-R&B hybrid amazingness, super fly dance moves, dapper as fuck personal fashion, and an absolutely beautiful voice.

12. "Man" - Neko Case, The Worse Things Get, the Harder I Fight, the Harder I Fight, the More I Love You
Another album I've been listening to on repeat since its release, this particular track is a wonderfully bold, brash, gender bending, and strangely moving ode to masculinity. If you're not yet familiar with Neko Case's work in general, please do yourself an enormous favor and get on it now. This album is a good place to start. Then pick up Fox Confessor Brings the Flood. Then, everything else.

13. "Don't Let Me Die In Florida" - Patty Griffin, American Kid
Patty Griffin has been at this music business for decades now and hasn't lost a step. If anything, I'd say she just gets better with time (if that's possible? because she was always so damn good). This record is full of fantastic Americana, storytelling, and Griffin's signature golden voice. This song in particular is a tribute to her father, who made the title plea after a visit to the Sunshine State. I can relate.

14. "Copy of A" - Nine Inch Nails, Hesitation Marks
The first reviews I heard of the new NIN were that it was "too poppy" but fuck, have you listened to old/original NIN lately? That shit was basically industrial pop. And I LOVED it. Just like I love this track, and the album is pretty darn good in general. It's fun to watch and listen to an artist progress and try new things, especially when it works out so well.

15. "Candy Tongue" - Trentemoller, Lost
I continue to be pleasantly surprised by every new Trentemoller release. He knows how to make great use of his various guest vocalists (I'm always a sucker for good female vocals in electronica), and how to turn the electronic genre on its head in new and interesting ways.

16. "All I Know" - Washed Out, Paracosm
A fitting way to end a mix, I think - Washed Out is fast becoming the king of lovely chill out music. His last record has been my go-to relaxation soundtrack whenever I have to fly, and I suspect this album will fast join it in rotation. Beautiful.

(Listen to this playlist on Spotify)

Damsel Trashed

It was only a matter of time before I found my way back to my punk roots. Enter Damsel Trash, the new side project with friend and fellow Little Red Wolfer, Meghan Rose. We had our debut show at the Wisco here in Madison just this past Friday night and had an absolute blast. Packed the place, too, because our friends are awesome.

It's real good to have a more hardcore musical outlet again. Sometimes you just need to beat the fuck outta those drums and sing about raunchy things, y'know?

Below are two songs from our debut show. You can also check out a few rough cuts of other tracks over at our Bandcamp page, and/or like us on ye olde Book of Faces.

Em's Best of 2012 mixtape

It's that special time of year again! Time for zillions of best of lists, oh yes, but the only one that really matters is my own year-end mixtape. In these highly polarized times, I hope we can all agree on that, at least.

Basically, the mix is a compilation of some of my favorite songs from some of my favorite albums/releases of the past year. It's always an interesting look back at my own musical moods from the previous 12 months (I have these mixes going back to 2008 at this point - sonic time capsules!), but I also really just enjoy giving these out to friends and family and maybe hopefully even just introducing them to one or two new artists they might enjoy. When someone likes the whole mix, I'm in heaven.

So what made it this year? Check the track listing below, and please do give these songs/artists a listen and consider purchasing their work:

"At home at the end of the world: Emily's best of 2012"

1. "Do It With a Rockstar" - Amanda Palmer ft. Grand Theft Orchestra, Theatre Is Evil
2. "5678!" - Butterfly Boucher, Butterfly Boucher
3. "Runaway Love" - Diamond Rings, Free Dimensional
4. "Closer" - Tegan and Sara, Heartthrob
5. "The Gravedigger's Song" - Mark Lanegan Band, Blues Funeral
6. "Disparate Youth" - Santigold, Master of My Make-Believe
7. "Genesis" - Grimes, Visions
8. "It's Not My Fault, I'm Happy" - Passion Pit, Gossamer
9. "Moves" - Gold Fields, Treehouse EP
10. "Fierce" - Azealia Banks, Fantasea
11. "QueenS" - THEESatisfaction, awE naturalE
12. "Sunset" - the xx, Coexist
13. "Make Them Laugh" - Clare and the Reasons, KR-51
14. "Promiscuity" - Ani DiFranco, Which Side Are You On?
15. "Unashamed Desire" - Missy Higgins, The Ol' Razzle Dazzle
16. "Wicked Game" - Gemma Hayes, Wicked Game - Single
17. "You Are Forgiven" - Anais Mitchell, Young Man In America

I admit that I cheated a little - the new Tegan and Sara record doesn't actually come out until 2013, but the "Closer" single was released last August so I'm counting it. Plus it's an insanely great indie pop song, so there.

This represents a pretty decent cross-section of what I was listening to this year, though certainly not everything. The more hard rap, industrial, and punk sides of my tastes just didn't fit into this mix (maybe some day I'll make two different discs, but right now that smacks of more effort than I have time for).

My hope, as always, is that maybe even just one of these artists is new and interesting enough to you that you'll go out and buy the full record directly from them. It's as important as ever to support creative efforts and creative people by putting our money where our mouths are. I know for a fact, too, that several of these artists offer their work at pay-what-you-choose prices. So get on it! And, above all, enjoy.

On paying artists for their work, and the Amanda Palmer kerfuffle

I am a musician, a photographer, a writer, an actor. I have been paid to do all of these things, and I have also done all of these things for free. First and foremost, I do them because I have a passion for each and every skill and creative expression.

But a lady gots to get paid, too. I have bills. I need to eat.

And, you know what? I also don't think there's any shame in an artist saying that compensation for their work is also a way to feel legitimized and appreciated.

Yes, we do this because we love to do it. But it takes countless hours of toil to be any good at it, and the public at large benefits greatly from what we do. And being that we live in a society that forces us to pay our utility bills with actual cash and not through the barter system (or hugs, alas), we need to bring in money for what we do.

This is a discussion (and sometimes argument) I've been having with my fellow artists and art consumers for years. Here in Madison, Wisconsin we are constantly grappling with the too-pervasive perception that artists should always be happy for gigs regardless of if they're paid or not, like someone is doing us a favor simply by asking us to do our thing in a public forum. Sometimes it's even the artists themselves making that argument.

Which is bull shit, I'd say.

Sometimes we are happy to lend our services on a volunteer basis. Lots of people volunteer their various talents for a wide variety of reasons - not all of them artists. We should encourage more people to volunteer for good causes.

But we also should be doing a heckuva lot more as a society to grow our appreciation for the incredible amount of work that goes into the various arts, and the great value the arts have in our communities. Having a thriving art scene builds the mental/spiritual life of a people, and it bolsters economies.

So yes, I'm happy to lend my time and talents to causes I believe in, especially if they're not-for-profit situations.

I almost always draw the line at doing free work on behalf of for-profit enterprises, though.

Which brings us to the recent and on-going dust-up over Amanda (Fucking) Palmer's solicitation of volunteer horn and string players for her upcoming tour. AFP is an artist I admire a great deal, formerly a street performer, one half of the Dresden Dolls, married to Neil Fucking Gaiman, a pioneer of DIY music and all-around creative juggernaut.

If you're not up on the current hubbub surrounding her, go read this open letter to her about the issue here, and then read AFP's response here. There are plenty of other posts and tweets about it, too, and I'm glad to see such a robust discussion unfolding about an issue I hold near and dear.

Palmer's argument is generally that she has made sure that many, if not most of the musicians on tour with her are appropriately compensated - but that she wanted to try an experiment that involved including different people, some perfect strangers, with varying levels of musicianship to join them on each stop of the tour, to bring more people into the artistic fold, try something new, have fun, etc.

I like that, it's a cool idea.

Palmer also argues that we should allow space for each artist to find their own paths, try new things, try weird things - she talks about finding ways to support artists that have come on tour with her in the past when they couldn't pay them money, like guaranteeing free lodging and good food and sleeping spots on the tour bus. All of that is actually above and beyond what too many tour managers and promoters ever even attempt to do for opening/supporting acts.

I have little doubt that Amanda Palmer is trying to do right by her fellow artists, and I'm more than a little in awe of the new ground she's been breaking in terms of her incredibly successful Kickstarter campaign to fund the new album and tour, and all the work she's done in general to promote the idea of independent musicians making a living and doing incredible things along the way.

I also don't disagree with the people who were hurt to discover that several professional musicians were not paid to join her backing band, and in some cases, apparently weren't even mentioned by name from stage. Because that sucks. These folks had to audition, learn a ton of material, show up on time to a high pressure gig, and then perform in a high pressure setting. That's a lot of time spent not working on something that might help you pay your rent.

But it was their choice, right? They knew the gig would be unpaid.

If they weren't even acknowledged by name from stage, though, if that's what happened - that was one little thing AFP could have done to help make up for the lack of monetary compensation. Doing something for free in order to gain exposure only works if you're, y'know, exposed. I figured that would be something AFP, especially, could get behind.

The other big problem is two-fold: timing and wording. As my friend and fellow musician Eric Oehler from the band Null Device points out in his own blog on the subject:

...it was the way she asked.  She requested, to use her word, “professional-ish” players (specifically, a string quartet and six brass players).  A different choice of phrasing may have been enough to prevent this.  Whether she used it to just mean “really good” or mean “professional, but with enough weasel room that I can walk that back later when you ask for payment” isn’t clear, but the fact remains that she used that word.  That word – specifically the non “ish” part -  pissed off a world of professional musicians.  A lot of full-time players are not of the type that tour their own bands around the country, playing the music they love.  While there are a handful, your average Berlioz-slingin’ violinist or french horn-er is generally making a chunk of their income as a ringer.  It’s a journeyman’s job – playing in pit orchestras and as backup for touring acts they may or may not have any particular interest in.  But that’s a living.  It’s why there are musicians unions dictating pay scales, because otherwise it becomes a nasty race for the bottom where nobody can make enough to put food on the table.

Consequently, asking “professional-ish” players to play for free is telling all those working players “here’s a gig you won’t get if you want to get paid, that under normal circumstances would be next week’s groceries.”  Of course, it’s possible, and probably even likley, that if she couldn’t get the players, Palmer just wouldn’t do the songs, or would do them without the backing ensemble.   It just wasn’t stated outright, so a lot of the professional music world saw it as, at best, a dangerous precedent – touring bands demanding professional-ish volunteers instead of hiring local ringers would decimate an entire class of working musicians.

Eric goes on to highlight the incredibly poor timing of the request, coming, as it did, hot on the heels of her loudly touting the million-dollar success of the Kickstarter campaign. "It’s like showing up for a date in a brand-new Ferrari and saying 'hey, could you cover dinner? I’m a little low on cash,'" he writes. "It’s egregious to show up, hat-in-hand, after you’ve just spent more money than most people with your job will ever see in a lifetime, even if it’s factually true."

I'm not privy to her actual budget. I think a lot of people are looking at the $1.2 million she raised in the Kickstarter and assuming holy cow, that's a shitton of money, clearly she can afford to pay everyone and buy them all caviar and champagne. 

But she laid out exactly where the lion's share of that money is going, and it's not into her own pocket. Putting out a top-notch album, touring the country/world, and running an independent record label is not cheap. So there may be legitimate financial reasons why the AFP crew needs to cut a few corners in terms of who gets paid and how much. People are free to turn them down when asked to volunteer their efforts.

Then again, maybe it wouldn't be make-or-break for AFP to offer, say, $100 to each "volunteer" musician who agrees to help out at one of the shows on the tour. It's probably a lot less than what their time and effort is worth, but at least it acknowledges their talent in a tangible way. That and shouting them out from the stage, of course.

I know this is doable, because I produce a lot of shows. I hire artists and performers, stage managers, photographers, videographers, DJs, etc. to put on serious nights of entertainment for my fellow Madisonians. I love doing it, even if the work loads are enormous.

Rarely do I ask any of these people to do this stuff for free. I have no Kickstarter, no label, no company to back me up financially. All I have is the ability to hustle my ass off--and the incredible luck to rely on many other people to hustle their asses off--to give great show. We use the money we make at the door to pay our performers their guarantees, and so far have never had to dig into our own pockets to make that work. So far.

We do this, even though, more often than not, it means we only break even. That is, for all our efforts in organizing and producing the shows, I'm lucky to personally make a hundred bucks for the whole shebang.

Why keep doing it, then? Because I love it, because I love being able to provide a venue for super talented performers where they are treated with respect and paid appropriately for their time (though I wish we could pay them even more, still), because I love seeing the faces of the people in the audience, clearly having a blast, because I love doing my small part to build alternative, inclusive spaces and communities. Why wouldn't I keep doing it?

I'm still keen to find ways to be better compensated, though, and I have no shame about that.

Neither should you.

You're worth it. More.
 
AFP seems willing to talk about the issue, and genuinely interested in finding new and better ways of doing things. I hope, at the very least, she learns to always always ALWAYS acknowledge your supporting (especially if they're volunteer) band members from stage, and maybe to never again refer to any musicians as "professional-ish."

But you do it for the exposure!

Here's another tricky thing, though: Playing for free in order to gain exposure and further your career rarely actually works. In my experience, and the experiences of many of my fellow artists with whom I've discussed this, playing for free tends to breed...more invitations to play for free. It rarely leads to paid gigs, or real career growth.

You have to earn it and demand it. Kindly, firmly.

Years ago I realized that a band I was in was getting booked largely for unpaid, charity gigs. Like I wrote earlier, I dig playing on behalf of good causes, and I still do it now. But I made a conscious decision to cut back on how many of those gigs I accepted - because there has to be balance. If my calendar is full of unpaid work, then I don't have time to do things that will help me pay my bills.

I put my foot down. I started saying no, even when I liked the folks involved. I also started asking for more money to better compensate the efforts of my band, especially when we were asked to travel for a show. Not just enough money to cover transportation and lodging, but enough to pay us for our time - like you would for any consultant or businessperson.

Because, as much as I love what I do, this shit is work. I've spent almost my whole life becoming a better percussionist, photographer, singer, actor, writer. I've gone to school (and into debt I'll likely never pay off if this societal attitude persists) for it. I've hustled, I'm reliable, I take risks. I've invested. A lot. I expect to be appropriately compensated for that.

And you know what? People starting paying us what we asked for. And we got more and more paid gigs, and many of them had the added bonus of providing great exposure for us as well. I mean, we had to work for it, and we had to be good to work with, and gracious, and people had to actually like what we were doing - but if you don't stand up for yourself, even well-meaning people will happily take advantage of you.

I also understand--and this is where AFP's argument comes in--that this shift in how our communities treat artists has to come from both the public at large and we the artists. We all need to respect the decisions of others, the various paths we all create for ourselves, and the work we do. Sometimes that means doing work for free, as it does in any career.

It means getting to the point, too, where no one ever tells us we should "just be grateful to be asked to play."

That auto worker should be glad just to be asked to work on that super sweet car.

No.

We are already grateful to be part of the amazing arts community, to be given our various talents and dedications and ideas. We also expect to be paid for providing a valuable service.

I don't know what the exact answer is to the AFP situation.

I know I'm glad it's being more and more discussed--because more people thinking about ways to address it means we're more likely to find better solutions for the long-run, and build stronger communities as a result.

Millbot's "Fast & Loose" Mix

Another day, another DJ set - this one is a bit more on the hardcore side, but includes some (sped up) deep house and one random dubstep track, as well. Y'know, for fun. The mix is set at 140 bpm so makes a pretty good workout soundtrack as well. Feel free to listen and/or download!



Track list:
1. "Lose It (Mark Pistel vocal remix)" - Austra
2. "Fuck Me" - Omega Drive
3. "Barbra" - Blue Alpha DJs
4. "Mpire" - Moguai
5. "Tahiti" - Ben Rourke
6. "Top of the World" - Schoolboy
7. "Log In" - Omega Drive
8. "Blade" - Blue Alpha DJs
9. "Mississippi Steam" - Jun Akimoto, Mabaan Soul
10. "Breakneck Bastard (Hardcore mix)" - Gammer, Cally Gage
11. "Party Boy" - Instigator
12. "Crowd Control" - Excision & Downlink
13. "Bad" - Instigator
14. "Melody" - Aaren San
15. "Synth Mode" - Stylus, Audiojunkie
16. "In My Mind ft. Georgi Kay (Axwell mix)" - Ivan Gough, Feenixpawl

Millbot's "Women Be Clubbin' Mix" - free download

Well I finally got my act together and put together the gear I need to start DJing in a more serious fashion. My first proper club gig happened this January, for the fourth annual Fire Ball masquerade party at the High Noon Saloon here in Madison (pics or it didn't happen).

It was a blast, and a real trip to at last at last hear my mixing over a big ol' sound system.

Anyhoo, I've just put together a mix based on what I played at Fire Ball (very electro-house heavy), for the purposes of listening and sharing - and also for soliciting future gigs. Check it out:



If you're in the Madison/Milwaukee area and looking for a very decent, versatile, and non-top-40-playing lady DJ, drop me a line: lostalbatross at gmail.com.

Otherwise, just enjoy!

Little Red Wolf - Midwest Domination Tour DAY 4: WINONA

It's always strange coming back to Winona. I was born here lo those many years ago but my family moved away when I was in the third grade, so I can't say I spent any formative years here. Mostly my memories are of riding my bike everywhere, swimming in the mighty, muddy, probably horribly polluted Mississippi, and church functions. As a consequence of the former, then, my sense of direction here is well out of proportion with the amount of time I actually spent growing up here - though I haven't been back in well over a decade, I still remember exactly how to get everywhere in town.

Which is why I was able to find our venue for last evening - the Acoustic Cafe - with little trouble, along with a quick drive past my old house, elementary school (now sadly decommissioned, but hey, asbestos will do that to a building), and dad's church.

We didn't know what to expect going into the gig, being that Winona is by far the smallest stop on our tour and I only knew for sure that my brother and his wife would be coming out to see us. So we were very pleasantly surprised to end up with a really attentive crowd of people for the show - including some fans we'd made last time we played in La Crosse, and some folks who'd just looked us up on Facebook when they saw we were coming to town and decided to check it out.

The set was extra-long and much more stripped down and acoustic to fit the venue - which was a good chance to stretch some more subtle musical muscles. Honestly I think we'd all like to play more acoustic shows to balance things out a bit.

Stayed up a bit later than usual last night after the show to get drinks with my brother and his wife back in La Crosse (where we stayed) at one of my favorite bars on Earth - Yesterdays (aka "The Daze"). And now we're up and at 'em for day five, ready to head out to our final gig tonight in Des Moines where we're pretty sure we're not going to know a single soul. Should be interesting.

I'm relieved to note that the drives thus far have been uneventful - our $25 car topper is holding up well, as is our collective band friendship. The van does not yet stink, but I think that's a product of this being a band composed entirely of women. Things are getting a bit messy, though I think some amount of disarray at this point is to be expected.

We've also been fortunate to have a series of great hosts - in Minneapolis we got to stay in a lovely home with actual beds, very friendly hosts, and two grossly adorable kittens who made a point of harassing Meg while she was trying to fall asleep.

The Minneapolis gig - at the Acadia Cafe - was also really well attended and good fun. We saw some friends and made a few new ones, including the other two bands that played with us (Lingua Luna, and The Dead Flowers). And, happily, the onstage sound mix was great - it's been great every night since Chicago, actually, so there you go.

It's kind of awesome to be visiting new cities and playing music for people who've never heard of/us before. We've sold a respectable number of CDs, too. I think I could keep at this for another week or so, even, though I'm definitely missing my fella. And I'm running out of clean clothes.

Little Red Wolf - Midwest Domination Tour DAY 1: CHICAGO

Madison, WI: The minivan was loaded with all of our gear and luggage, the ladies were all seated and belted, and we had Cyndi Lauper's "Girls Just Wanna Have Fun" blasting on the stereo - and I promptly drove six inches and plowed into a large, metal Bobcat attachment that I'd forgotten was in front of the car on the street.

After some hyperventilating that I'd managed to ruin my band's first ever tour before it even got off the ground, we discovered that the only damage was a minor ding to the bumper and finally hit the road without further incident.

The first stop on our week-long mini-tour was at the Elbo Room in Chicago, a venue and city we'd never played before but had heard good things about from fellow musicians. Load-in was a straight-forward affair: Elbo Room provides most of the backline so, for the most part, bands only need to bring in their own guitars and smaller odds n' ends. There was one band playing before us--Dede--who were both very friendly and very entertaining. They rock a straight-up '60s mod thing that we all dug. Even their crowd was modded out (i.e. way fashionable).

While we waiting for our time slot we sat with a few friends who'd come to see the show and played the easiest round of music trivia ever, courtesy of two Miller Girls who were on hand to promote the brand. Being Wisconsin folk we are, of course, not Miller drinkers - but the ladies were sociable and the bar was otherwise empty so we just had fun playing the game and getting a free round of drinks out of the deal. We are not, after all, made of stone.

The show itself was...surprisingly fine. The onstage mix was pretty terrible so we couldn't really hear each others vocals at all, and for a band like ours that makes such heavy use of multi-part harmonies and the like, that's kind of death. We muddled through, though, and had a decent time of it playing for a small clutch of incredibly supportive friends (and the members of Dede, who graciously stuck around to listen to us). Even the sound guy was nice--the mix problems were more equipment related than personnel--and somehow we managed to make $21 after expecting nothing...so all in all, for a Monday night, I couldn't really complain too much.

We crashed at a friend of Meg's that night and enjoyed the company of her hilarious/ridiculous/enthusiastic mutt Otis, who was really into licking Laura's face whenever she tried to lay down to sleep. There was air conditioning and RuPaul's Drag Race and our hosts gifted us with a gay pride disco ball - basically, an awesome start to the week, I think.

Tonight we're in Milwaukee at Linneman's Riverwest Inn, playing with two bands I've never heard or met before, which is usually fun. Actually, this particular gig comes to us courtesy of the Cheddarsphere -- specifically our good friend Illy T, whose musical connections in Brew City are apparently boundless.

The most publicity Tasmania will get all year

Amanda Fucking Palmer. Bless your heart.

(NOT SAFE FOR WORK)



How do I love this, let me count the ways.

(FYI: This all sprung from an on-the-spot performance when AP was in Tasmania last year)

If Only We Were Just Like We Are

It's done, it's here, for real for real! My band, Little Red Wolf, yesterday officially released our debut album, If Only We Were Just Like We Are! After just under a year of recording, mixing, tweaking, etc. the damn thing is finally done and available to the world and I could not be more thrilled.

Seriously, I am so incredibly fortunate to get to work with the other three talented and amazing women in this group. And I really do think it's a good record, if I do say so myself.

And I was grateful to everyone who braved the literal blizzard last night to attend our CD release show here in Madison. We steamed up the Project Lodge and had ourselves one hell of a little blizzard party, complete with a disco dance-off after our set was done with local cover supergroup VO5 (and many thanks to them for coming out to play with us). We had to dig quite a few people's cars out of the snow and ice afterward, but I like to think it was worth it.

Now we've got three months off from gigging (one member will be out of the country), during which we'll be trying to promote the hell out of the album and schedule some small tours for next spring/summer. Lots of work, but I'm excited about it all.

And hey, if you're curious (and I hope you are) to check out the record, you can listen to previews of all the songs and then, if sold, pick yourself up a copy via our CD Baby page. The album is also available in Madison at the Exclusive Company, B-Side Records, and Strictly Discs. Within the next couple of weeks you'll also be able to buy the album digitally through a bunch of places like iTunes, etc.

Before all the serious work starts, though - for today, I'm going to curl up indoors and enjoy the sense of accomplishment. No matter what comes next, I have this, and that's pretty damn awesome.

The best/my favorite music of 2010

It's that time of year again! When everyone starts navel gazing to reflect on the year that was and the year that might be. I am not immune to the impulse, of course, though I recognize that our system of tracking time is highly arbitrary and other cultures mark the new year very differently. Still, I find it somewhat helpful to use the turning over of the calendar year as a time to take stock and make plans.

It's part of why I do my "Best of" mixtape each December (officially going on four years now). I love the hell out of music, and putting together a compilation of my favorite tracks to come out each year kind of provides me with further motivation to, y'know, keep up with things.

I remember a few years before I started doing these mixes when I'd get to everyone's year-end lists and realize how much great stuff I'd missed out on. No more! And this was a damn fine year for new tunes. I tried to create a list that was somewhat diverse, or at least reflective of my various musical tastes. If you know me in Real Life you're likely to get a copy as my holiday gift to you (and feel free to ask for one if I miss you!). Otherwise, here's the digital version, for your edification:

Em's Best of 2010 Mixtape: "Throwbacks and Future Love"

1. "End Love" by OK Go, from Of the Blue Colour of the Sky.
Put aside the fact that OK Go consistently creates some of the most mind-bogglingly awesome videos to accompany their songs and you're still left with really solid music. The whole of this album is more than worth a listen (and a look, of course), but this particular track is one of my favorites. Catchy, melodic synth-pop with feeling. [Watch the video]

2. "Cold War" by Janelle Monae, from The ArchAndroid.
This woman (err..android, sorry), I swear. The album is a fascinating collage of styles - from the upbeat funk/bop of this particular track to some seriously psychedelic stuff, it's a daring enterprise. I don't think Monae has quite reached her full potential with this record, though - which is awesome, because she's already phenomenal and I can barely begin to imagine where she'll go from here. [Watch the video]

3. "We Used to Wait" by Arcade Fire, from The Suburbs.
So Arcade Fire was supposed to be one of those new hotness indie bands that went away after their first record. Or that's what I had in my head for some reason - probably because everyone and their mother wouldn't stop gushing over Neon Bible when it came out. Turns out I'm a moron and this band is actually really very rad. Their newest record, The Suburbs, is gorgeous and plays like a concept album but with very little pretense. [Listen here]

4. "Apply" by Glasser, from Ring.
I admit, this was a last-minute addition to the list after I heard it on the recent NPR All Songs Considered podcast listing albums they'd missed this year. I can't help it, though, it's a fabulous track and so far the album is proving to be pretty unique and interesting as well. [Watch the video]

5. "Dreaming" by Goldfrapp, from Head First.
Oh Goldfrapp, I just can't quit you. Every record this outfit releases is almost entirely different from the last and I love it. Head First is like an '80s electro-pop album but with far better mastering and a deeper sense of...well...everything. It's fantastic. And so are you. [Listen here]

6. "Shades of Marble" by Trentemøller, from Into the Great Wide Yonder.
This record. Holy shit. So good. I was first introduced to Trentemoller through his excellent remix work - and frankly, when I heard about the album I was a little hesitant. There have been far too many instances of an artist I love for remixes who then releases original music that is, simply put, terrible. Happily, that is not even remotely the case here. And this track does a good job of representing just how versatile and lush Trentemoller's original work is. [Listen here]

7. "Paradise Circus" by Massive Attack, from Heligoland.
Although the album itself is far from being Massive Attack's best work (um, Mezzanine anyone?), it does contain one particularly stand-out track in "Paradise Circus." Moody, melodic, beautiful - everything I've come to know and love from this group. Check out this fabulously understated remix of the song by Gui Boratto, too. [Listen here]

8. "Snowden's Jig" by the Carolina Chocolate Drops, from Genuine Negro Jig.
I had hardly heard this trio before they came to Madison over the summer and played to an ecstatic, packed crowd at the Orton Park Festival. And boy howdy are they talented. Plus, this is some really great, classic bluegrass - I mean old school. But with a bit of modern flavor and youthful vigor thrown in for good measure. It's awesome to see my fellow young folks learning from the old and bringing back styles and traditions that were at risk of dying out entirely. This track in particular I find haunting and gorgeous, and there's something weirdly unsettling about it, too. Read about the band here. [Listen here]

9. "If I Had My Way" by Patty Griffin, from Downtown Church.
Patty Griffin can do no wrong. That voice! I mean c'mon. And I love that she explores a different theme on each record. She is a consummate storyteller, a folk singer in the best sense of the word, and on this album Griffin takes a look at more traditional spiritual music and style. [Listen here]

10. "Better Things To Do" by Sharon Jones and The Dap Kings, from I Learned the Hard Way.
I have Stephen Colbert to thank for introducing me to Sharon Jones, which is really a shame for me because she's been around a lot longer than that, being equally as awesome. This is a great R&B/soul record, a sort of throwback to the '60s-era Motown style right down to how they physically recorded it. [Listen here]

11. "Fuck You" by Cee Lo Green, from The Lady Killer.
The summer jam of the year and you couldn't even play it on the radio! Ballsy. Brilliant. (except for the part where his label, I presume, made him do the public-friendly version called "Forget You" that was then covered, just to really kill its spirit, by Gwenyth Paltrow on an episode of "Glee" - gross). [Watch the video]

12. "Awakenings" by Sarah McLachlan, from Laws of Illusion.
My girl! Awww yiss! While 1994's Fumbling Towards Ecstasy will forever remain my number one favorite album of all time (for various reasons), her newest opus ain't no slacker. It took a little while to grow on me, and certain of the tracks still feel...forced...but there's plenty to like here, too. Including this track, which I love. [Listen here]

13. "Madder Red" by Yeasayer, from Odd Blood.
 This was another band I'd decided was just a hipster approved flash in the pan, but then the damn album grew on me. Plus then Kristen Bell, my secret girlfriend, did this really bizarre/hilarious music video for this song, so really, what was I to do? Anyway, good stuff, and very much their own sound. [Watch the video]

14. "I Found A Whistle" by MGMT, from Congratulations.
You have to respect a band that can go from having a wildly popular, omnipresent, dance-friendly first album to doing what MGMT did with Congratulations, which is to pretty much do an about face and try something entirely new. [Listen here]

15. "Soldier On" by Little Red Wolf, from If Only We Were Just Like We Are.
Um, so this is my own band. Is that tacky? I don't even care. I can't properly put into words just how excited I am that we're finally releasing our first full-length, so instead I put it onto this mixtape. [Listen here]