My main gig is covering cover songs, so I appreciate a song that shouts out “Nina Simone covering Bee Gees” (that’s the 11th Best Bee Gees Cover Ever, in case you were wondering). A new production trio from three veterans of Vermont’s hip-hop scene – Elder Orange, IAME, Rico James – “With You” brings some freak-funk vibes, like some old Stevie Wonder sample. Maybe someone will cover this soon. Continue reading »
One of my favorite albums of 2019 was titled I Am A Mountain. Despite it being an entirely instrumental album, Tom Pearo’s ambient guitar-driven odyssey came with a rich storyline, a mythical quest of light and darkness. Pearo’s first release since that Tolkien-esque epic is a three-and-a-half-minute single, “Love Wave.” Despite its more modest size, though, “Love Wave” is no less ambitious; he went from from a Mountain high above sea level to recording literally underwater. Continue reading »
Critics of ranked lists like this see it as a bug that they’re entirely subjective and somewhat arbitrary. I see it as a feature. There’s not really any difference between #12 and #13. Frankly, there’s not all that much difference between #1 and #25. But my feeling has always been, everyone gets that. No one actually thinks you can mathematically rank works of art. But the trying offers a wonderful opportunity for music nerds to look back at the best of the year, and for the sort of vigorous debate on which such nerddom rests. Continue reading »
When I saw Vermont-based guitar wizard Tom Pearo deliver a masterful album-release show recently, he made a comment about how I Am A Mountain soundtracked a movie playing in his head. Something in the way he said it made me think he had more in mind than a band’s standard promo line about how cinematic their new album is. Sure enough, Pearo has a very specific story in mind. Think a coming-of-age road journey as told by J.R.R. Tolkien (which I realize basically describes Lord of the Rings, but most of the battles in Pearo’s movie are internal). Continue reading »
What is an EP?
I don’t mean that as a philosophical question, but a practical one.
Back in the vinyl era, the EP had a clear reason for existing as a stand-alone format from the album. If you had enough songs to fill a 12-inch, 33RPM record, you made an album. If not, you put what you had on a 10-inch, 45RPM record and called it an EP. They looked different; they felt different; they cost different amounts.
In the digital era, free of physical limitations, the distinction has blurred. An artist’s latest collection of music can be two songs or two hundred. The idea that a 60-minute collection of music constitutes an “album” and a 15-minute one constitutes an “EP” is purely artificial.
Yet the EP hangs on, because musicians like the format. Nowhere more so than in Vermont, where the EP offers new bands a way to test the waters and experienced bands a way to toss out a few songs between “proper” albums. In a musical climate where local musicians rotate constantly around new bands and monikers, the EP offers a low-stakes way to try out a new sound or collaboration.
As a result, this list is no ugly stepchild to the Best Albums list we’ve got coming next week. There may be no more practical reason to keep the EP designation, but these ten EPs justify their own reasons for existing. Continue reading »