Tag Archives: Deerhunter

Joel Oliphint’s Favorite Albums of 2010

If 2009 was the year of Larry Jon Wilson, 2010 was the year of Bill Fox and the Gibson Bros. I think I listened to Bill Fox’s two reissued albums — Shelter from the Smoke and Transit Byzantium — more than anything else. (Shelter got a deluxe vinyl reissue, and Scat promises a similar treatment for Transit in 2011.) Go get ‘em. And working on a story about the Gibson Bros. reunion show back in July occupied my brainspace and held my interest for months. I don’t know if CDR has any copies of the Build a Raft reissue left, but if they do, it’s required listening for any Columbus music fan or anyone with a passing interest in twisted, noisy country/blues/rock.

But in terms of new stuff, here’s what I liked this year, starting with national releases and ending with Cowtown LPs.


1. Strand of Oaks – Pope Killdragon
I didn’t immediately hit repeat when I heard this album, but once I came back to it, I never stopped. Who knew a record with songs about John Belushi (from the perspective of Dan Akroyd), a 12-foot man and JFK could be so engrossing. Devastating, too. If you think Tim Showalter is just another pretty-voiced folkie, the layers of synth and Sabbath-like riffs on “Giant’s Despair” prove otherwise. The best way to get Killdragon digitally or on vinyl is through Strand of Oaks’ Kickstarter page.


2. The Black Keys – Brothers
Ditto Duffy.


3. Anais Mitchell – Hadestown
A folk-rock opera about Orpheus sounds like a terrible idea. Thanks to Mitchell’s clever arrangements & talents like Greg Brown, Bon Iver’s Justin Vernon and Low Anthem’s Ben Knox Miller, it’s a tour de force.


4. Sam Amidon – I See the Sign
Sam Amidon takes old songs and makes them new. Oh, and R. Kelly songs, too. Fans of Nick Drake and Sufjan will dig this. Feb. 18 show at the Wex with Brian Harnetty is icing.


5. Local Natives – Gorilla Manor
No new ground broken, but I’ll take these songs any day over a lot of the big-name, anthemic indies who released albums this year.


6. Deerhunter – Halcyon Digest
People seem to either love or discard Bradford Cox. I love him. Album cover disturbs me.


7. Sufjan Stevens – Age of Adz
I went from disappointed to intrigued to enraptured with this album.


8. Spoon – Transference
I’m still waiting for Spoon to release a bad album.


9. Lost in the Trees – All Alone in an Empty House
Prediction: By this time next year many more people will know the name Ari Picker. He can strip a song down to its bones on one song, then compose a rich orchestral piece the next. Wex show Jan. 30 (more icing).


10. Patty Griffin – Downtown Church
I don’t imagine many Donewaiting readers are into country gospel. (I’ll echo Duffy’s preamble about what makes DW great.) When it’s done this well, I’m a fan. Guests include Buddy Miller and Emmylou Harris.

Mention-worthy:
Justin Townes Earle – Harlem River Blues (underrated b/c of daddy)
Surfer Blood – Astro Coast (kids are all right)
Shearwater – The Golden Archipelago (Meiburg the magnificent)
Mumford & Sons – Sigh No More (It’s in my most-played, so I must like it)
Sun Kil Moon – Admiral Fell Promises (underrated guitarist)
Love Language – Libraries (underrated b/c of …)
Vampire Weekend – Contra (Better than the first)
Kanye West – My Beautiful Dark Twisted Fantasy (“That’s why your Winslow”)
Mavis Staples – You are Not Alone (Legend made even better by Tweedy)
Lower Dens – Twin-Hand Movement (Jana Hunter > Devendra Banhart. Much greater.)
Mountain Man – Made the Harbor (Who needs instruments?)

Columbus albums
Like I said, Gibson Bros., but I’d remiss not to mention Columbus Discount Records‘ two other reissues I loved: Ron House’s Blind Boy in the Back Seat and Nudge Squidfish’s 20,000 Leagues Under Nashville. I liked some EPs, too (Way Yes, Spruce Campbells’ 1st) and a 7″ (TNV’s “No Room to Live”) or two, but I’m sticking with albums here. As usual, I’ll also clarify that I’m not separating these lists because these are somehow inferior or can’t compete with national releases. I just like doing it this way.

1. Super Desserts – Twee as Folk
Can’t say much more about this band and album that I haven’t already said. This is the Desserts at the top of their game.

2. The Black Swans – Words are Stupid
One way the Black Swans have honored the memory of violinist Noel Sayre is to still include him on this album, a meditation of sorts on how language fails us. It’s light, it’s dark, it’s great.

3. Time and Temperature – Cream of the Low Tide
I don’t know if this is an EP or an album, so I’ll say it’s an album. At long last. More from Val Glenn, please.

4. Ghost Shirt – Daniel
I don’t think you want to hear me talk about this band anymore, either. This record was a pleasant, late-fall surprise.

5. Micah Schnabel – When the Stage Lights Go Dim
It makes sense that the songs of the Two Cow Garage front man hold up with just an acoustic guitar.

6. Andrew Graham & Swarming Branch – Andrew Graham’s Good Word
I’m still surprised by how little press this Mexican Summer release got. “Take it Easy on Kathy, at Least she Can Dance” is one of my favorite Columbus songs released this year.

7. Nick Tolford & Company – Extraordinary Love
Soul! At least go download “End of the Night.”

8. The Kyle Sowashes – Nobody
“I threw up at Tee-Jaye’s on Wednesday night/ Pale-faced and clammy I was something of a sight/ We played a show at some basement bar/ And while they couldn’t pay us/ They gave us PBR/ So I took it as a challenge/ I tried to drink them all/ Each one went down better than the last as I recall/ And I’d forgotten to eat dinner/ I realized too late/ I got double dragon before the waitress brought my plate.” Long live Kyle Sowash.

9. Deathly Fighter – Completely Dusted
I remember seeing Deathly Fighter awhile back and being bored. It’s not usually my thing. But this album keeps me coming back. I think I like it for the same reasons I like the XX and Burial. Not that DF sounds anything like those two, but there’s something about a record that’s simultaneously chill and pulsing…

10. Earwig – Gibson Under Mountain
Didn’t get to this one for awhile, but now find myself humming these songs all the time.

Mention-worthy:
Phantods – Creature (need to spend more time with this)
Bookmobile – The New Patriot (bittersweet)
Two Cow Garage – Sweet Saint Me (consistency)

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Sunday, 10/25: Atlas Sound w/ Broadcast, the Selmanaires at the Wex

atlas

mp3: Atlas Sound – Walkabout (w/ Noah Lennox)

This will be my first time seeing Atlas Sound‘s Bradford Cox live, and I’m really looking forward to it, especially after giving Logos a few listens. I’d always paid more attention to Cox’s “main” band, Deerhunter, but this new one is a terrific headphone album of underwater bedroom pop, and so far “Walkabout” is my favorite track. …Nice to have Broadcast on the bill, too.

9 pm Sunday, Black Box on the Mershon Stage. $14.

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Young Pac in the Flesh: Interview With Matt Horseshit of Psychedelic Horseshit

MP3: New Wave Hippies

Psychedelic Horseshit frontman Matt Whitehurst is young Pac in the flesh. Doesn’t mean I like Pac or that Matt’s mom was a crackhead. I never even liked Tupac. But I like the idea of Tupac as in a public figure who will say anything in public and not give a fuck. And it meant something to him and other people. Obviously, they don’t sound anything like Pac, but you smell me playboy.

To me Psychedelic Horseshit’s new album “Magic Drone Flowers” (Stiltbreeze) sounds like when my mom told me to do chores on a Saturday afternoon while she was listening to her old records: a mixture of Bob Dylan and me running over rocks to break the lawn mower so I wouldn’t have to cut the grass again. Or putting a fork in the dishwasher so it would break. Or vacuuming up broken lightbulbs.

During my drunken interview with Matt we talked about the new album, fighting with Deerhunter, philosophy, protesting, and how the Black Lips live album was in fact recorded in the studio.

WF-My favorite song on the record is “New Wave Hippies”. Are you angry at those people or is it just an observation?
MW-It’s kind of an aggravated observation I guess. When I first wrote it, initially it was directed at a certain scene in America’s Underground. As I wrote it, it took on different meanings. “New Wave Hippies” doesn’t necessarily mean jam bands. It’s about people who have a voice in the media and they don’t use it for anything. They just talk about bullshit.

WF-I mean are you talking about “wilderness white”, like Animal Collective fans that are former ravers?
MW-It’s all of that really. It’s the new wave aspect of Hippies. It means the generation of hippies. Like Deerhunter and Animal Collective and shit. People that use electronics. It’s not just about music.

WF-You say something like they don’t protest. They hang out on little machines.
MW-They hang out on little screens. It’s about blogging. It’s not like the 60’s that shit isn’t going to happen. Everyone sits at home and talks about bullshit on a computer instead of getting out and saying things.

WF-Well on the split 7 inch you did with Times New Viking, you said “I am not a man. I have no soul. I don’t care about politics and things I can’t control.” Do you feel like you should be out doing something or do you think everything is bullshit?
MW-I don’t know. I guess I am stuck in between those things. That’s a good question. I should be out doing something. But everything is bullshit and I feel a sense of hopelessness in the world. It’s like if you don’t have an army to go out and fight with then its no question that you will get killed.

WF-For me it’s self-important to think you could make a change in a way.
MW-I don’t know. I am just talking shit right now. I guess there is some kind of reason behind it in the back of my head.

WF-Is it almost self-righteousness, where people act like they are doing something but they are doing nothing. Or?
MW-Kinda. They equate themselves to people in the 60’s. Who actually had a voice and changed people’s minds about things. But they don’t change anyone’s minds about anything. It’s like a “hip” thing. They don’t talk about anything they just sing about flowers instead about talking about how things are fucked up. They have lots of people’s attention and their ears. People listen. Not everyone is an idiot. But they don’t have shit to say.

WF-What do you want them to talk about? Like George Bush? What should they be talking about?
MW-Realistic ways. I don’t. No. Bush bashing is stupid. That’s just gonna turn people off. Talk about something. At least give an effort. Say something. I think modern lyrics are bullshit. It’s all about making out or like making pies. It’s stupid shit. It’s like nostalgic to the past. It’s like the theme of music, and not about the theme of the lyrics.

WF-Well I grew up on rap music. That’s why I like you guys because the front man is right there.
MW-Lyrics are there for a purpose whether its time to party or its time to rebel against everyday life.

WF-So lots people in Columbus talk about something that went down between you guys and Deerhunter. Someone said, you said like ‘Fuck Deerhunter” on stage in Atlanta or something. I told you how I ran into Cole from the Black Lips and asked him about you and he was like ‘those Psychedelic Horseshit guys don’t like us for some reason’. What is the whole story behind that?
MW-The Deerhunter thing was… We got a hold of one of the main Deerhunter guys to set up a show for us in Atlanta. He was real snotty. He was like “any knowledgable bands can contact this person and he will hook you up with a show”. Just really snotty. We finally got this shitty-ass gig in Atlanta at this crap art gallery. Every fucking member of their band showed up to it. So it just kind of pissed me off. I didn’t know any of them were there when I started talking shit. I just knew I was in Atlanta and some of their friends were probably there. I just talked shit. I didn’t sit between songs and talk shit. I put it in the lyrics to my song. I just slipped it in. It wasn’t just me talking shit. I was trying to be funny. It caused this big drama with the guy we were staying with, The Black Lips tour manager. Everyone was pissed off. Then everyone ended up buying us coke and shit. And like divulging secrets about the Black Lips. About how their live album was recorded in a studio. That live album is not live.

WF-When I type this out. Do you want me to put it out there like that?
MW-That Black Lips album is not live. They recorded all but three songs were recorded in a studio.

WF-In a weird way I think that’s a good idea.
MW-For the Seeds it worked out. I guess that’s proper cause they are just a rip-off of the Seeds anyway. Why not rip-off their ideas also. They are just a rip-off band. They have never written an original song. All that’s stuff is completely derivative. All stuff is today anyway. So it’s not like it’s special. It’s kinda obvious. ‘We are doing this 60’s garage rock thing. And we aren’t going anywhere with it.’ People like it. They aren’t bad albums. They are just overrated.

WF-Are you that concerned with the Black Lips or are you just speaking matter of fact?
MW-I am not concerned with the Black Lips. They can do what they want . We don’t hate Black Lips. We don’t hate Deerhunter. We just talked shit onstage. I don’t care. We don’t take it serious. We never said anything about the Black Lips. It’s silly those bands even know who we are.

WF-So you don’t think they should care what you say?
MW-Sure. I mean criticism is important because it advances the art. Art doesn’t get advanced anymore because no one criticizes anything. Rolling Stone is so safe they don’t rip anything a new asshole. Nothing gets better. People need their assholes ripped especially when it sucks. People need criticized. That’s a very important part. Things have been stagnant for a long time. There aren’t any great critics. There were great critics. People like Lester Bangs. People who were actual critics about things. They were in big publications. Nowadays most reviews are positive. And if it’s negative, it’s not constructive. They are overly scrutinizing everything.

WF-Are you going to read your reviews?
MW-I like our bad reviews. We aren’t gonna take our bad reviews to heart and change our songs. But it’s nice to know what people think out there. As opposed to record collectors just kissing ass.

WF-What I have noticed about your records is that you lay down the vocals. And you are obviously say some shit. But then you cover it up with a bunch of noise?
MW-It’s just the psychedelic aspect… I want people to be interested.

Psychedelic Horseshit has a release party tonight at Cafe Bourbon Street. Times New Viking and Sic Alps are also on the bill.

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