Makeup For The Silence

The digital home of music writer Jesse Richman

Makeup For The Silence

Tag: billy corgan

Make Up for the Silence - Best of 2017!

Makeup For The Silence – Best Of 2017 Mix

Make Up for the Silence - Best of 2017!

When I ambled and rambled my way through a year’s listening habits last December, I noted that for as awful as 2016 was purported to be, it actually wasn’t all that bad as it happened. No, the issue with 2016 wasn’t 2016 at all – it was the certain doom of 2017 floating on the horizon, casting its long and ugly shadow over the year prior, distorting 12 months so fully that, looking back, all we could see in them were the mangled visages of funhouse mirror reflections except, no, these mirrors weren’t funhouse mirrors at all, we actually were all squashed and stretched and made grotesque now. The recent past was a decent past, but all we could see in it was the refracted dread of what was sure to come.

Well, shit. It sure came, didn’t it?

Look, nobody needs another recap of the dumpster-fire-inside-a-tire-fire-inside-a-world-on-fire that was 2017. Living it was plenty awful enough. So let’s just stick to the music.

The eighth* edition of my year-end mixtape has a lot in common with 2017′s, compositionally – a few core songs that were destined to make this list from the moment I heard them, and then a lot of listening to the 300-odd songs that eventually comprised my Top Tracks of 2017 playlist**. I’ve once again avoided the pop hits –- sorry, Selena Gomez and… Charlie Puth? (Charlie Puth?! Chariie Puth!) – because, well, if you want to hear what’s at the top of the charts, I’m sure Spotify will have you covered with one of a hundred auto-programmed 2017 mixes, and if you want a full-on survey mix, others do a better job than I ever would (or would want to.) While some of those pop bangers were essential listening for me this year, I gotta make the cuts somewhere, so why not cut what you’ve undoubtedly heard before? This place was always intended to be personal, not a reflection of anything bigger than myself (or, at most, whatever bigger things reflect off of me).

So what got me good in the disaster year that was 2017?

Well, for one, a lot of shoegaze. While article after article asked when the rock bands would lift up swords against the onslaught, many of the best instead raised their shields – walls of fuzzed-out noise to block out the incoming barrage; cocoons of fire in which to seethe, or roll through the hordes like an American Gladiator-gyroball-juggernaut; or, in the case of returning vets Slowdive, tiny but explosive big-bang-galaxies, a vast and alluring internal starscape check-marked with life-affirming infinities to be stumbled across within.

Mostly, looking inward seemed to be the order of the day. It’s been clear from the start that 2017 was going to be a war, not a battle – who can really blame those who took a little time to lick their wounds after the first skirmish Examinations of interior spaces; self-reflection; self-bolstering; finding forgiveness, for those around us and for ourselves. Steeling ourselves for the fight to come; rediscovering–and reaffirming–the reasons the fight is right, and needed, and vital. Celebrating others, and celebrating our selves, and celebrating the world that’s worth fighting for, a world that’s every bit as full of magic and wonder as it was the year before, even if those things are a little more obscured now.

One thing that isn’t on my list – which is wildly incongruous with what is maybe 2017′s biggest musical story – is pretty much any hip-hop. 2017 was the year rap ate “pop”’s lunch on the pop charts, in a way it hasn’t in over a decade. A great story, but really, I was kinda bummed out by pretty much every major sonic development on the mainstream hip-hop front this year: the xanned-out, tuned-out, tune-free rap of everyone named Lil’ Something; that Migos-triplet thing that was so quickly imitated, even as the members of Migos themselves drove it into the ground; the white dudes (so many white dudes!); even Cardi B, whose Horatio Alger-Cinderella-bootstraps story would make a wonderful movie (one preferably soundtracked by someone else’s music. It was a year ripe with creative innovations and new directions… and none of them felt particularly listenable to me.

(Also, as in the past, most of my rap/hip-hop consumption has been via the radio, so, what the hell, let’s just pretend it was all ineligible anyway.)

This year, we’re back to a mixtape that can’t be found entirely on Spotify. For reasons I can only begin to speculate on, sometime around the middle of the year, the two Hidden Ambulances tracks on this mix disappeared from the internet entirely – streaming, paid download, YouTube, everywhere. The band even vanished from Facebook. (Hoard your mp3s, kids!) So I highly recommend downloading this year’s mix.***

Makeup For The Silence – Best Of 2017

  1. Hang On Me – St. Vincent
  2. Heel Theme – Mansions
  3. Hole – Hundredth
  4. Everything Now – Arcade Fire
  5. Forgiveness – Paramore
  6. Take Me With U – Susanna Hoffs
  7. War & Wildflowers – Onlychild
  8. Don’t Let The Clowns – Hidden Ambulances
  9. Dawning – DMA’s
  10. Once In A Lifetime – The Night Game
  11. The Stack – White Reaper
  12. Nearby Catfight – Milk Teeth
  13. Shopping Is A Feeling – WHAT WHAT WHAT
  14. These Heaux – Bhad Bhabie
  15. Boys – Charli XCX
  16. A Better Sun – Sorority Noise
  17. Jaded – Winter
  18. Backyard – Sløtface
  19. How Do You Feel? – The Maine
  20. Aeronaut – Billy Corgan
  21. Star Roving – Slowdive
  22. Splendid Charm – Hidden Ambulances

click image to download

For once, I’m NOT going to promise to be back tomorrow with something-or-other and then not follow through on it. I do have my Top Ten Albums of 2017 prepared, at least in list form. I’d like to write about them, and I’m hoping that I’ll find the time over the next couple weeks to do so, though perhaps not as extensively as in past years.

One of my projects for 2017 is to move this blog from Tumblr to…somewhere else. WordPress maybe? I’m not really sure. Somewhere where I can restore my links page and better archive all the things I’ve written for publication. To be honest, between the death of the Tumblr music writing community (such as it was in, say, 2011 – there might be a whole new one now for all I know!) and the fact that Tumblr eating my HTML has rendered one of the key parts of this page useless – not to mention the uncertainty of Tumblr’s future itself – I’ve been left hesitant to invest much time over here. Especially because I know what a beast of a project relocating all of this will be.

I put myself on a couple social media diets in 2017, and while they were nice while they lasted, they were, like most diets, hard to stick to. For 2018 I want to take that break a little more seriously. I’d like to spend a little more time in the rich and unexplored (by me) past – I’ve got at least a hundred books in my office that I’ve been meaning to read and haven’t cracked – and a little less in the undifferentiated firehose of the present. I’d also like to spend more time focused on writing rather than constant consumption. (Turns out exposure isn’t the only Oregon-Trail-related death a writer needs to be concerned about in 2018!) (Let me be someone else’s consumption problem!) So, I’m going to spend the next couple weeks digesting the last bits of 2017 – reading end-of-year stuff I didn’t get around to for lack of time, hopefully writing my own end-of-year stuff – and then I’m going to flip off the lights on Twitter and Facebook for a while.

If I’m right, that means you might be seeing more of me here, or wherever “here” winds up being.

So, until then, friends. We’ve got to make 2018 better than 2017; we can’t afford not to. Time to get (back) to work.

*You can always find the complete collection of mixes which have appeared on Makeup For The Silence, as well as all the playlists I’ve contributed to elsewhere, right over here.

**I’ve archived my 2017 list and rolled my 2018 one right on top, so if you were subscribed, you should be following 2018 now. If not, follow along right here.

***That said… you can stream what’s streamable here.

#2 Album of 2014 – Darlia – Assorted Singles

#2 – DARLIA – ASSORTED SINGLES [spotify]

(feat track – “Stars Are Aligned" [spotify])

If this were 1994, Darlia would be the biggest band on the planet; sometimes, in my head, it is, and they are. 

I honestly don’t remember the last time I’ve been knocked on my ass quite the way I was the first time I played Darlia’s debut single, ”Queen Of Hearts.“ Sure, there have been bands that I’ve fallen for from the first notes of my first play before – I was sold on the Gaslight Anthem’s The 59 Sound, my Top Album of 2009, from the opening vocals of ”Great Expectations,“ for one example – but this was something else, or rather it was something more. It was that same feeling, coupled with the sensation of being hurtled back into my own past, to the first time I heard Sloan’s ”Underwhelmed“ or Smashing Pumpkins’ ”Cherub Rock“ or Pearl Jam’s ”Animal,“ songs where I could feel my world shifting under my feet as I listened, thinking nothing could ever sound this good again.

Then they did it again, with ”Animal Kingdom*,“ and then again with ”Dear Diary,“ and then once more with ”Stars Are Aligned“ – for a band that has yet to release anything with more than three songs on it, Darlia managed to rocket four tracks into my pantheon in a single year. Indeed, if you listen to them as four singles off a hypothetical album, they track as if they had been A&R’d by a mid-90s major label – the cracking barnstormer debut, the slightly mellower second-tier second-single, the monster hit crowd-pleaser, and the killer deep cut that fans love.*Darlia aren’t just calling back to a sound that’s as deep a part of me as anything; they’re actually doing it better than most bands of the day did, and at times it literally leaves me breathless.

Now, I know vocalist Nathan Day hates when people call Darlia a grunge band; he confirmed as much for me during a recent opportunity to interview him. I don’t say it to be unkind. I think that Darlia are absolutely sincere in their protestations; they don’t spend time listening to grunge music (actually, Day doesn’t really listen to music at all – something you’ll be able to read more about soon), they aren’t retro-fetishists of some sort, and they don’t see themselves as marching to someone else’s drum. Of course, acts like Stone Temple Pilots were equally sincere (and, in retrospect, correct) about their own lack of connection to the "grunge” scene of their day; to not believe you’re of something is entirely different that to actually not be of it. Sometimes what counts (to the world at large) isn’t where you come from but where you arrive.

Indeed, what makes Darlia’s objections so ironic is that they’re the same objections that were leveled by the bubblegrunge wave 20 years prior. Protesting one’s presumed company is a strategy right out of the bubblegrunge handbook, along with things like 1) lyrics that occasionally misread the cryptic, abstract imagery of Cobain for evocative nonsense*** and 2) massive pop hooks that put anything in grunge’s seminal Scratch Acid-meets-stoner-rock wave to shame.

A third commonality much of that bubblegrunge wave shared was that band members were often thought to be cravenly, grossly desirous of fame (see: Corgan, Billy), a venial sin in the best of times, but a mortal one in that moment, when the ideal of hipster authenticity was the disaffected, heroin-nod cool of a Layne Staley or a Mark Arm.**** Day doesn’t seem to be concerned with putting up a front either, but times have changed – thirst is the new slack, and the odds of being burned for his ambition seem much lower than they were for, say, Gavin Rossdale. He makes no bones about the fact that he’s been plotting Darlia’s future for something like a decade. During our talk, he discussed intentionally avoiding the spotlight out of fear of becoming a here-and-gone sensation, stockpiling hundreds of songs while charting Darlia’s course to avoid the pitfalls of, say, YouTube stardom. Clearly, these are not the concerns of a man without a healthy dose of ego self-confidence or a fear of calculation.

So yes, the shoe indeed fits, even if it’s a fashion Day would never take off the shelf. And yet, ultimately, I’m not sure how much it matters. Much as acts like Pearl Jam and Silverchair greatly transcended the pigeonholes they emerged from, Darlia have the talent and potential to take their music somewhere singular. Indeed, their upcoming mini-album Petals veers off into new directions – shoegazey psychedelia, acoustic fragility – even while reinforcing their core sound. I’m excited for what Darlia might become, even as I know I’ll miss what they’ve already done. Will it hit me like a hammer, the way “Queen of Hearts” or “Dear Diary” did? Maybe not. And yet, if any band ever had a chance…

*Yes, technically “Candyman” was the second single, but b-side “Animal Kingdom” is twice the song, and this is my list so I get to make the rules!

** Alive,” “Evenflow,” “Jeremy,” “Black// "Smells Like Teen Spirit,“ ”Come As You Are,“ ”Lithium,“ ”In Bloom“ // ”Somebody To Shove,“ ”Black Gold,“ ”Runaway Train,“ ”Without A Trace“ // ”Photograph,“ ”Cup of Tea,“ ”The Freshman,“ ”Villains“ // ”Them Bones,“ ”Angry Chair,“ ”Rooster,“ ”Down In A Hole“ // ”Longview,“ ”Basket Case,“ ”When I Come Around,“ ”She“ // ”Selling The Drama,“ ”I Alone,“ ”Lightning Crashes,“ ”All Over You“ // we could play this game for hours.

*** I may be selling Day short here – after our interview, revisiting "Queen Of Hearts” revealed a clear meaning in what was seemingly gibberish, a massively important secret hidden in plain sight. I won’t give away too much right now; maybe when the time is right. “Oh, aurora borealis” indeed.

**** Cobain was secretly the most meticulous planner of them all, but he famously presented a too-cool-to-care public image – whether because he was an exceptionally unknowable chameleon, or merely that he was “first to market” with the pose, Cobain’s authenticity generally went unchallenged in his day.

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