Sun Kil Moon Returns With Much Stronger LP

I Also Want to Die in New Orleans is neither the most accessible, nor the most daring project thus far in 2019, but it certainly a welcome addition to the Sun Kil Moon catalogue.

Sun Kil Moon is a folk rock artist from San Francisco, California. Originating as a continuation of the defunct indie rock band, Red House Painters and sporting a long list of past members, Sun Kil Moon is now the primary moniker of Mark Kozelek, the group’s original lead singer. He’s amassed quite a discography over the past fifteen years, never reaching meaningful commercial success, but becoming a certified critical darling thanks to multiple excellent reviews. His latest record, This is My Dinner, held a few interesting ideas, but was ultimately bloated and often boring.

The album opens with “Coyote,” and immediately we have a strong improvement from the previous record. The instrumentation is sparse and only loosely conforms to any type of rhythm, and it’s aided by a reedy, humming woodwind that brings the moody undertones to a head. Kozelek’s vocals are also fairly impressive, especially the doubled harmonies on what could vaguely be called a chorus. Lyrically, this isn’t the most impressive cut on the record, but there’s quite a bit of solid comedy and it’s certainly a step up from the at times unbearably boring writing on This is My Dinner.

“A Day in America,” follows, the second longest and easily one of the strongest tracks on the record. While the instrumental and production are relatively simple, the lyrics bring this song to a new level. Using his trademark, stream of consciousness style, Mark rambles descriptively through his experiences on the day he learned of the recent Parkland Massacre in Florida. True to form, he rarely stays on topic, devoting large amounts of time to a petty argument with his band, but this works to his advantage here as he says more by rambling off topic acting as a commentary on the tendency of American’s to brush these events aside. It’s a simply brilliant piece of storytelling.

“L-48,” is the third and shortest track, an yet, in many ways, it’s the least focussed. The lyrics seem to have very little to say, and while they may perk the ears of long time Sun Kil Moon fans, they leave a casual listener like myself a bit bored. The instrumental on the other hand, is quite fascinating. Extremely simplistic in presentation, the track presents a multitude of concise melodies with strong focus. The drumming peaks in and out, and the track often feels just one beat from completely falling apart, teetering on the edge of incoherence, and yet consistently intriguing. It doesn’t make up for the weaker lyrics, but it’s an enjoyable piece nonetheless.

“Cows,” on the other hand, returns the record to a fuller sound, largely to its detriment. The melody is much less clear on this track and the drumming is somewhat boring. Lyrically, however, “Cows,” proves impressively capable of holding a listeners attention for the substantial runtime. Using cows as an anchor point for both his rural youth and his philosophical readings, Mark gives us an interesting peak into his psyche and even smuggles in a few profound ideas.

“I’m Not Laughing at You,” kicks off the hefty second half of the LP. It benefits, musically, from the addition of a strong horn section and some excellently spacey production. This is also one of the more interesting storylines as Mark uses a tale of misunderstandings and embarrassing moments while on travels in foreign countries to examine America’s status among the rest of the world, mocking our excess and ignorance, while lauding the many great contributions the US has made, particularly in the realm of songwriting.

“Couch Potato,” is yet another strong entry and maybe the most fun cut on the tracklist. The looping guitar and energetic rock beat is reminiscent of a classic 1970’s pop-rock, but lyrically, it’s quite biting. In it, Sun Kil Moon lambasts the left leaning majority in the US for their silence and lack of concern for immigrants under previous presidents. He goes on to predict a reelection of Donald Trump, should the majority of voters continue to accept the status quo as it is.

“Bay of Kotor,” closes the album with a daunting 20 minutes all to itself, and it uses its time well. Easily the strongest track on the album, Sun Kil Moon tells a sprawling story of a rather tame but interesting night in San Francisco. He touches on his love for animals, his inability to connect with women who hit on him, and a series of unique interactions with a hotel waitress from the area. 

All said, this is a large step up for Sun Kil Moon. The instrumentation has quite a bit of character and the lyrics, though at times meandering, are often fascinating and creative.

I Also Want to Die in New Orleans is neither the most accessible, nor the most daring project thus far in 2019, but it certainly a welcome addition to the Sun Kil Moon catalogue.

6/10

AMAZON LINK: https://amzn.to/2UbiiiB

The 10 Worst Albums of 2018!!

Thought I’d take some time and have some fun talking about the albums I really didn’t like this year! Let me know what you think in the comments.

10. Kanye WestYe

Including this record was a difficult decision for me for a few reasons. Firstly, it hasn’t garnered near the universal distaste that has followed many of my entries on this list and I seem to be in the minority in my dislike. Secondly, it is leaps and bounds better than the majority of this list. However, considering Kanye’s long career of gigantic, meticulously crafted masterpieces, Ye is heartbreakingly aimless and meandering. At the end of a runtime that barely clears half an hour, listeners are left with nothing by way of answers for Ye’s recent antics or even an enjoyable piece of art to justify them. Instead, we have to stew with the fact that, after 8 breathtaking and diverse albums, Ye has finally let us down for the first time.

9. Sun Kil Moon This is My Dinner

Following one of the best releases in his very long career in last year’s Common as Light and Love Are Red Valleys of Blood, Sun Kil Moon made a quick turn around and seemed poised for an impressive follow up. Unfortunately, This is My Dinner fails fantastically. While the dreamy instrumentals and wide pallet are quite nice, they constantly marred as the man himself seems determined to mumble over them constantly while saying exactly nothing. When it comes to a Sun Kil Moon record, we don’t ask for active vocal melodies or catchy hooks, but we do ask for great lyricism, and when that is lacking, the project is almost unlistenable.

8. Kevin GatesLuca Brasi 3

Another entry in this list which received some sporadic, critical praise, Luca Brasi 3 is by no means unlistenable. In fact, if I’d never heard trap music before, I may even enjoy it. But after more than a decade of trap’s position at the top of popular music, the fatigue effects this album worse than most. This is because Kevin Gates does virtually nothing to differentiate his project from the tsunami of average, dime-a-dozen trap albums which is washing over the music industry at the moment. Snarky, braggadocios lyrics, trap cymbals, extended flows, we’ve heard it all a million times.

7. Nicki MinajQueen

Few feelings compare in intensity to the dread I felt when sitting down to a 70 minute Nicki Minaj album. Shockingly, it was slightly less offensive than expected, though it still lands here. While the instrumentals are, mercifully, more than mind numbing trap beats, they are nevertheless extremely puzzling, featuring strange pianos and the odd latin influence. Nicki’s trademark voices and accents are as grating as ever, though there’s a noticeable lack of her classic, high-pitched squeal, which is progress of a kind. Queen is just an overall unenjoyable experience which can at least be ignored, which is an improvement over previous work.

6. Lil DurkSigned to the Streets 3

There was a time when a new Lil Durk mixtape, particularly a continuation of the Signed to the Streets series, some of the best albums to come out of the drill scene, would’ve been massive news. It would’ve dropped to massive acclaim on Spinrilla and boast hard hitting bars and excellent underground features. Instead, it dropped on Spotify to virtual radio silence and featured the likes of Future and Lil Skies. In most cases, I wouldn’t even include this album on this list, and I’ve largely ignored the majority of Durk’s recent work, but Signed 3 is a disappointing conclusion on par with the likes of Godfather III, and I couldn’t help but mention it on this list.

5. Panic! At the DiscoPray for the Wicked

Speaking of artists that have aged poorly, Panic’s recent release is the sixth and worst in their discography. 2016’s Death of a Bachelor was the first time we heard Panic as a Brendon Urie solo project and though the absence of the other members was felt, there were enough unique ideas and Urie’s vocal was good enough to muscle the album up to a bearable level. Pray for the Wicked, on the other hand, is lacks all semblance of fun. Each track is a predictable, synth-heavy slog that feels almost obligatory at this point. There are no exciting vocal moments, no catchy hooks, just one uninspired attempt at a radio hit after another. It seems blatantly obvious now that Urie has outgrown the Panic moniker and the limitations that come with it.

4. Imagine DragonsOrigins

It seemed after last year’s Evolve, that Imagine Dragons’ career had run its course and possibly even overstayed their welcome. A year and another album later, this is the case tenfold. Origins makes some effort at interesting or heartfelt songwriting, but it’s so horribly stifled by the band’s need to write catchy hits for whoever listens to their watered down, EDM influenced pop, that these efforts are thwarted at every turn. The production is atrocious, zapping nearly all of the character from the lead vocals which are the record’s only prayer of an interesting quality. The worst offense, however, is the constant lyrical fixation on being an outsider and fighting the system, this coming from a band who’s debut album went double platinum and who’s music has flooded radio stations since their inception, chiefly because of their willingness to take underground influences like EDM and hip-hop and repackage them for mainstream audiences. This album is about as rebellious as the droves of Harley Quinn costumes that filled halloween parties this year, and it’s extremely boring to boot.

3. Fall Out BoyM A N I A

In a similar vein to P!atD, Fall Out Boy has been cashing in the good faith from their two good albums in the mi- 2000’s for almost a decade now with one vapid, overproduced, emo-pop album after another. With M A N I A, it would appear that they’ve scraped the bottom of the barrel. Soulless production, and atrocious instrumental pallet, and often grating hooks are just the start. The lyrics sound like the scribblings of a 12 year old FOB fan, desperately attempting to sell the illusion of edginess. Additionally, Patrick Stump turns in his most unforgivable vocal work to date. This is just yet another gratuitous release from a band that is so far past their sell by date that it’s becoming depressing, especially considering the special place their earlier work holds in all of our memories.

2. Florida Georgia LineFlorida Georgia Line

Granted, this was only an EP, but it was so egregious that it simply couldn’t escape this list.  When you start this album, there’s a lag moment, where your brain struggles to parse out what it’s hearing. Next, your body instinctively recoils, trying to defend itself from what it’s hearing. By the time you’ve reached the “acceptance” step of hearing a Florida Georgia Line project, it’s nearly over. I use the hyperbole because it’s difficult to point to one problem that lead to this, mostly because the answer is all of it. Vocals are comically twangy, the instrumentation sounds like a stock, country music ringtone, the hip-hop influences are atrocious, and the lyrics could be written by a country mad-lib book. Imagine a man in cowboy boots, drinking Mike’s Hard Lemonade, and vaping. That’s this album’s target demographic. It is, however, mercifully short, which is so much more than I can say for my top choice on this list. 

1. Drake Scorpion

How did you feel when you heard that Drake’s new album would be 25 songs and 90 minutes long? Me too. Following a very publicized beef with Pusha T which Pusha ended with one of the most brutal diss tracks in rap history, Drake entered his album cycle, for the first time, with a massive blemish on his record. Scorpion could’ve been a long, stream-of-consciousness contemplation on Drake’s fame and the issues he’s faced. It could’ve been a hard-hitting push back against his detractors. Instead, it was musical wallpaper, much like every other Drake album, but this time with a larger budget and a 90-minute runtime. Scorpion is a giant tribute to the epidemic of meaningless, effortless albums flooding the industry today and because of that, Scorpion is the worst album of the year.

Sun Kil Moon Delivers on Aesthetic but Skimps on Substance in New Release

This Is My Dinner is a slog with very little reward for sticking it out till the end.

     Sun Kil Moon is a folk rock artist from San Francisco, California. Originating as a continuation of the defunct indie rock band, Red House Painters and sporting a long list of past members, Sun Kil Moon is now the primary moniker of Mark Kozelek, the group’s original lead singer. He’s amassed quite a discography over the past fifteen years, never reaching meaningful commercial success, but becoming a certified critical darling thanks to multiple excellent reviews. His latest record, Common as Light and Love are Red Rivers of Blood, was widely regarded as one of the best albums of 2017.

   His sound is quite unique and far from accessible. Over slow, smooth instrumentals, Kozelek rambles on, writing in a sort of stream of consciousness, touching on personal, political, and mental issues. He blurs the lines between music and spoken word poetry, rarely, if ever, breaking into choruses or hooks, and often boring more casual music listeners. On the other hand, if you listen closely, you’ll hear one of the better lyricists in modern music, writing fearlessly. Now, just a year after one of his best projects to date, Sun Kil Moon has returned with This is My Dinner, which is, in a word, disappointing.

   To start with the good, these instrumentals are very enjoyable. While mostly unassuming and often repetitive, “Linda Blair,” benefits tremendously from hectic, jazz guitar while the title track features more active drum work and a smooth melody on keys. The closer and best track on the album, “Chapter 87 of He,” is highlighted by excellent jazz sensibilities from every member of the band and features a jarring, chaotic passage in the bridge that makes the song what it is. The entire album is full of extremely listenable instrumentals, which saves the record, in many ways.

   On the vocal side, I will say that the album feels very heartfelt, particularly on “David Cassidy,” the shortest and best written song on the album, and the quick cover of “Come On Get Happy,” which follows. Even “Rock n’ Roll Singer,” which is, ostensibly, a comedy, Mark gives a good performance and the exaggerated, long notes, are absolutely hilarious.

   Two of the ten tracks come in over 13 minutes, adding to the runtime of nearly an hour. The better of the two is “Soap for Joyful Hands,” which is a short peak at what this record could’ve been. The music is simple, the story is simple, and yet every second colored with dark humor, an extended soliloquy on the value of life, and sharp anger, which is accented well by the subtle dynamics of the band.

   The other and longest of the two, “Candles,” exemplifies everything wrong with this album. While the stream of consciousness is a unique writing technique, it falls down on tracks like these, when it just has nothing to say. The story is boring, holding no metaphorical or emotional weight, the comedy is missing all the sharpness that makes Sun Kil Moon who he is, and I’m left, almost 14 minutes later, having gained nothing.

   This issue persists throughout the project as well. Tracks like the opener, “This Is Not Possible,” or “Copenhagen,” say absolutely nothing, and badly overstay their welcome. Where his earlier records strung listeners along, investing them in his mental state, only to deliver biting satire and a unique outlook, this album fails miserably and commits the fatal sin of being just plain boring. While the album had a ton of potential, especially considering it’s talented cast, it simply doesn’t deliver.

   This Is My Dinner is a slog with very little reward for sticking it out till the end.

4/10

HEAR THIS IS MY DINNER: https://open.spotify.com/album/1OCE83C2l4g7kRxTrkSfND