Top 5 Albums of 2012

Here it is… my long awaited (?) top 5 albums of 2012 list. Contain yourself. Here we go.

5. Rush — Clockwork Angels

It may not have made the biggest splash in the musical world, but for Rush fans this album was a long time coming… the band’s first true full concept album (no, really), their best music in decades (we really mean it this time), and it was followed by a tour featuring an 8-piece string ensemble (!) and their long overdue induction into the Rock and Roll Hall of Fame (!!). It also features what is arguably the most genuinely beautiful piece of music in the band’s career, the closing track “The Garden.”

In many ways, the concept of Clockwork Angels is a steampunk-inspired, 21st century reinterpretation of their 1976 classic 2112 (note the time on the clock on the album cover), with less Ayn Rand and more first-hand wisdom. It’s also a clever retrospective and reflection on the band’s career itself. I don’t know if Rush will ever record any more albums, but I think this would be a good place to stop.

4. Aimee Mann — Charmer

Charmer is full of infectious melodies and perfectly crafted pop, but much like the best work of Steely Dan, beneath this sonic veneer lies a dark core. These songs explore, with… not quite cynicism, but perhaps a tired resignation, the more deplorable aspects of human nature. Which doesn’t make the songs any less catchy.

I have to confess that up until now I haven’t been a huge Aimee Mann fan. It’s not that I had anything against her music; I just never really gave her much of a chance. I also have to confess that the main reason I changed my attitude about her was her outstanding deadpan performance on an episode of Portlandia where she, being a struggling musician, was found working as Fred and Carrie’s housekeeper. There wasn’t much of her music in the show, but she was so natural in her performance that it really got my attention. I’m glad it did, because her music is fantastic.

3. The Darcys — Aja

Speaking of Steely Dan, how would you like a dark, noisy, post-rock reinterpretation of their entire 1977 classic Aja? Toronto-based indie band The Darcys have achieved something amazing with their stark, haunting, brooding take on the yacht rock classic (and one of my favorite albums of all time). At turns ethereal and icy, then erupting with white-hot rage, this album manages to do with Steely Dan’s music what they could never do themselves — match the darkness of their lyrical content.

At first I found this album hard to listen to, but as I allowed it to unfold and reveal itself, it became one of my favorites of the year… and I may now even like it more than the original.

2. Air — Le voyage dans la lune

Hugo was my favorite movie of 2011. With its focus on the legendary, and nearly lost, works of silent filmmaker Georges Méliès, specifically Le voyage dans la lune (A Trip to the Moon), it was also a perfect set-up for this year’s release of Air’s new score for the 1902 film.

The album came with a video of the restored, hand-painted color version of the film with Air’s musical accompaniment. It was a great way to see the full film for the first time, and I think despite over a century’s distance, and playing in styles (and with instruments!) that wouldn’t yet be invented for decades when the film was made, it works perfectly. The album also stands well on its own apart from the film.

1. Com Truise — In Decay

It’s funky, it’s weird, it’s overflowing with ’80s synths and drum machines. In short, it’s pretty much exactly the album I wish I had recorded myself in 2012.

This is definitely not an album for everyone, but I find it manages to perfectly balance my own penchant for weird noises and unpredictable song structures with an approachability that doesn’t make me embarrassed to be caught listening to it. (Yes, this is a serious concern for me a lot of the time.) It’s not as “out there” as Boards of Canada, but it’s got a fair amount of that IDM vibe (if we must put such a pretentious label on it). It never lets experimentation get in the way of a good groove however, and — despite being entirely instrumental — captures a lot of the nostalgic ’80s synth pop sound people of my generation just can’t quite seem to let go of.

Would I say Com Truise (great name, by the way) has recorded “objectively” the best album of 2012? Despite the fact that there’s no objectivity in art, I would still probably say “no.” But it’s the one album of the year that I just couldn’t stop listening to. Besides my own, anyway.

Playlist for the end of the world

Needless to say, I do not believe the world is going to end tomorrow. OK, I said it anyway. And now that it’s said, let’s have a little fun with it.

I’ve put together an iTunes playlist of songs from my music library that seemed fitting in some way for the occasion:

  1. Steely Dan — Black Friday
  2. National Health — The Apocalypso
  3. Nine Inch Nails — The Beginning of the End
  4. Rush — In the End
  5. The Beatles — The End
  6. Styx — Don’t Let It End
  7. Zero 7 — End Theme
  8. Kraftwerk — Europe Endless
  9. Hall & Oates — Friday Let Me Down
  10. Chicago — It Better End Soon (1st Movement)
  11. Chicago — It Better End Soon (2nd Movement)
  12. Chicago — It Better End Soon (3rd Movement)
  13. Chicago — It Better End Soon (4th Movement)
  14. Prince — 1999
  15. Genesis — Los Endos
  16. King Crimson — Peace: An End
  17. R.E.M. — It’s the End of the World As We Know It (And I Feel Fine)
  18. U2 — Until the End of the World
  19. Elvis Costello — Waiting for the End of the World
  20. Happy Apple — The World Begins and Ends in Your Combover
  21. Room 34 — December 22, 2012

Yes, that last one is my own… recorded earlier this year as a reflection on what the world will be like the day after it ends. You can get it here. (Interesting side note: every sound on that song — the whole album in fact — was produced on an iPhone.)

Album covers from the Mayan Apocalypse playlist

Transcript of President Obama’s speech at the Sandy Hook prayer vigil

This morning I wrote a long (over 1400 words) blog post about guns and freedom in America. I haven’t published it, and I probably won’t, because it’s so difficult to put into words what I feel and what I think about all that has happened recently.

Then I read the transcript of President Obama’s speech last night. There is nothing I can say about the situation that he did not say better, and in time I trust that his call to action will become clearer and more explicit about what exactly must be done to prevent similar tragedies in the future. But for now, I will let the President’s words speak for me.

Thank you. (Applause.) Thank you, Governor. To all the families, first responders, to the community of Newtown, clergy, guests — Scripture tells us: “…do not lose heart. Though outwardly we are wasting away…inwardly we are being renewed day by day. For our light and momentary troubles are achieving for us an eternal glory that far outweighs them all. So we fix our eyes not on what is seen, but on what is unseen, since what is seen is temporary, but what is unseen is eternal. For we know that if the earthly tent we live in is destroyed, we have a building from God, an eternal house in heaven, not built by human hands.”

We gather here in memory of twenty beautiful children and six remarkable adults. They lost their lives in a school that could have been any school; in a quiet town full of good and decent people that could be any town in America.

Here in Newtown, I come to offer the love and prayers of a nation. I am very mindful that mere words cannot match the depths of your sorrow, nor can they heal your wounded hearts. I can only hope it helps for you to know that you’re not alone in your grief; that our world too has been torn apart; that all across this land of ours, we have wept with you, we’ve pulled our children tight. And you must know that whatever measure of comfort we can provide, we will provide; whatever portion of sadness that we can share with you to ease this heavy load, we will gladly bear it. Newtown — you are not alone.

As these difficult days have unfolded, you’ve also inspired us with stories of strength and resolve and sacrifice. We know that when danger arrived in the halls of Sandy Hook Elementary, the school’s staff did not flinch, they did not hesitate. Dawn Hochsprung and Mary Sherlach, Vicki Soto, Lauren Rousseau, Rachel Davino and Anne Marie Murphy — they responded as we all hope we might respond in such terrifying circumstances — with courage and with love, giving their lives to protect the children in their care.

We know that there were other teachers who barricaded themselves inside classrooms, and kept steady through it all, and reassured their students by saying “wait for the good guys, they’re coming”; “show me your smile.”

And we know that good guys came. The first responders who raced to the scene, helping to guide those in harm’s way to safety, and comfort those in need, holding at bay their own shock and trauma because they had a job to do, and others needed them more.

And then there were the scenes of the schoolchildren, helping one another, holding each other, dutifully following instructions in the way that young children sometimes do; one child even trying to encourage a grown-up by saying, “I know karate. So it’s okay. I’ll lead the way out.” (Laughter.)

As a community, you’ve inspired us, Newtown. In the face of indescribable violence, in the face of unconscionable evil, you’ve looked out for each other, and you’ve cared for one another, and you’ve loved one another. This is how Newtown will be remembered. And with time, and God’s grace, that love will see you through.

But we, as a nation, we are left with some hard questions. Someone once described the joy and anxiety of parenthood as the equivalent of having your heart outside of your body all the time, walking around. With their very first cry, this most precious, vital part of ourselves — our child — is suddenly exposed to the world, to possible mishap or malice. And every parent knows there is nothing we will not do to shield our children from harm. And yet, we also know that with that child’s very first step, and each step after that, they are separating from us; that we won’t — that we can’t always be there for them. They’ll suffer sickness and setbacks and broken hearts and disappointments. And we learn that our most important job is to give them what they need to become self-reliant and capable and resilient, ready to face the world without fear.

And we know we can’t do this by ourselves. It comes as a shock at a certain point where you realize, no matter how much you love these kids, you can’t do it by yourself. That this job of keeping our children safe, and teaching them well, is something we can only do together, with the help of friends and neighbors, the help of a community, and the help of a nation. And in that way, we come to realize that we bear a responsibility for every child because we’re counting on everybody else to help look after ours; that we’re all parents; that they’re all our children.

This is our first task — caring for our children. It’s our first job. If we don’t get that right, we don’t get anything right. That’s how, as a society, we will be judged.

And by that measure, can we truly say, as a nation, that we are meeting our obligations? Can we honestly say that we’re doing enough to keep our children — all of them — safe from harm? Can we claim, as a nation, that we’re all together there, letting them know that they are loved, and teaching them to love in return? Can we say that we’re truly doing enough to give all the children of this country the chance they deserve to live out their lives in happiness and with purpose?

I’ve been reflecting on this the last few days, and if we’re honest with ourselves, the answer is no. We’re not doing enough. And we will have to change.

Since I’ve been President, this is the fourth time we have come together to comfort a grieving community torn apart by a mass shooting. The fourth time we’ve hugged survivors. The fourth time we’ve consoled the families of victims. And in between, there have been an endless series of deadly shootings across the country, almost daily reports of victims, many of them children, in small towns and big cities all across America — victims whose — much of the time, their only fault was being in the wrong place at the wrong time.

We can’t tolerate this anymore. These tragedies must end. And to end them, we must change. We will be told that the causes of such violence are complex, and that is true. No single law — no set of laws can eliminate evil from the world, or prevent every senseless act of violence in our society.

But that can’t be an excuse for inaction. Surely, we can do better than this. If there is even one step we can take to save another child, or another parent, or another town, from the grief that has visited Tucson, and Aurora, and Oak Creek, and Newtown, and communities from Columbine to Blacksburg before that — then surely we have an obligation to try.

In the coming weeks, I will use whatever power this office holds to engage my fellow citizens — from law enforcement to mental health professionals to parents and educators — in an effort aimed at preventing more tragedies like this. Because what choice do we have? We can’t accept events like this as routine. Are we really prepared to say that we’re powerless in the face of such carnage, that the politics are too hard? Are we prepared to say that such violence visited on our children year after year after year is somehow the price of our freedom?

All the world’s religions — so many of them represented here today — start with a simple question: Why are we here? What gives our life meaning? What gives our acts purpose? We know our time on this Earth is fleeting. We know that we will each have our share of pleasure and pain; that even after we chase after some earthly goal, whether it’s wealth or power or fame, or just simple comfort, we will, in some fashion, fall short of what we had hoped. We know that no matter how good our intentions, we will all stumble sometimes, in some way. We will make mistakes, we will experience hardships. And even when we’re trying to do the right thing, we know that much of our time will be spent groping through the darkness, so often unable to discern God’s heavenly plans.

There’s only one thing we can be sure of, and that is the love that we have — for our children, for our families, for each other. The warmth of a small child’s embrace — that is true. The memories we have of them, the joy that they bring, the wonder we see through their eyes, that fierce and boundless love we feel for them, a love that takes us out of ourselves, and binds us to something larger — we know that’s what matters. We know we’re always doing right when we’re taking care of them, when we’re teaching them well, when we’re showing acts of kindness. We don’t go wrong when we do that.

That’s what we can be sure of. And that’s what you, the people of Newtown, have reminded us. That’s how you’ve inspired us. You remind us what matters. And that’s what should drive us forward in everything we do, for as long as God sees fit to keep us on this Earth.

“Let the little children come to me,” Jesus said, “and do not hinder them — for to such belongs the kingdom of heaven.”

Charlotte. Daniel. Olivia. Josephine. Ana. Dylan. Madeleine. Catherine. Chase. Jesse. James. Grace. Emilie. Jack. Noah. Caroline. Jessica. Benjamin. Avielle. Allison.

God has called them all home. For those of us who remain, let us find the strength to carry on, and make our country worthy of their memory.

May God bless and keep those we’ve lost in His heavenly place. May He grace those we still have with His holy comfort. And may He bless and watch over this community, and the United States of America. (Applause.)

Source: NPR

The Post-it note that started it all

My recently completed rock opera, 8-Bit Time Machine, did not begin as most of my albums do, with a list of song titles to serve as inspiration, an overarching concept, and a handful of drum beats or keyboard grooves.

No, it began with this Post-it note.

8-Bit Time Machine chords Post-it

You see, I keep my cheap Fender Strat hanging next to my desk in the studio, so whenever I feel inspired or just need a mental break, I can take it down and noodle for a few minutes. In September I started tinkering with a chord progression, which I had to write down so I wouldn’t forget it, and then I continued to expand on it and rework it, until it became the structure for track 10, “You’re Not That Old Anymore.”

In fact this chord progression ended up serving as the basis for almost the entire album, as it first appears (in its entirety) on a keyboard in the opening track, and crops up again in bits and pieces in other tracks (especially #2, “Daydream of the 8-Bit Time Machine”, and #7, “(No) Meaning in the Machine”), before getting its full realization in the album’s penultimate track.

I kept this Post-it note stuck right on the front of that Strat for over a month before I actually began recording the album. At that point the chords were in my blood and I no longer needed a cheat sheet to remember them. But I kept it anyway as a rare physical memento of the unusual origins of this most unusual album.

Obviously not everything from the Post-it was entirely relevant. There’s nothing on the album in 5/8, for instance, although perhaps that interest in 5 is what inspired the crazy quintuplet drum fills in the loud section of track #8, “Horizontal Hold”.

Introducing my new album… a ROCK OPERA no less… 8-Bit Time Machine!

Anyone who’s following me on the social medias knows I’ve been working for the past couple of months on what is probably my most absurdly ambitious solo music project to date: a rock opera with a retro-geeky theme.

The album is finished. I’m still working on perfecting the masters before I release it for download and get CDs pressed, but you can now immerse yourself in the full 8-Bit Time Machine experience over on the new website I’ve set up for the album:

8bittimemachine.com

The website features a page for each of the album’s 11 tracks, where you can listen to the track while reading the lyrics and notes about the story. (Note: As the audio is in MP3 format, it will work in Firefox. Any other modern browser that supports HTML5 audio will play the tracks automatically.)

Stay tuned for more information about a final release date!

8-Bit Time Machine

P.S. Yes, there is a track (a rather musical one at that) consisting of nothing but sounds from Atari 2600 games.

P.P.S. Yes, there is also one track with full-on autotuned vocals. How do I rationalize this use of one of my most despised audio technologies? You’ll just have to listen to figure it out.

CSS snag of the day: images in tables with max-width set, not displaying properly in Firefox

When did Firefox become such a steaming pile?

OK, that’s not how I intended to start this. Just kinda had to get it out there. Anyway, a client brought an unusual bug with their website to my attention today.

Since embracing responsive web design last year, I’ve become quite fond of using this little bit of code to make images resize dynamically to fit their containers:

img {
  height: auto;
  max-width: 100%;
  width: auto;
}

Most of the time this little bit of CSS works magic. But in this particular case, it did not. The client has put together a table on a page to present a set of photos of board members. In most browsers, the table looks great and is fluidly scaling down the images. But in Firefox, we found it was clumsily overflowing its borders, rendering the images at their full sizes.

After working my way through a few surprisingly unhelpful posts on Stack Overflow, I found my way to this, which seemed to hold an only-too-simple answer:

table {
  table-layout: fixed;
}

I don’t know about you, but I never use table-layout. I’ve come to realize there’s a whole realm of CSS that I just basically never touch, because it’s (usually) completely unnecessary to the way I build pages. But every once in a while, these things come in handy. Turns out, table-layout: fixed was exactly what I needed to — BOOM! — fix the problem with the too-large table images in Firefox.

And, suddenly, CSS was magic again.

Top 5 Albums of 2012: The Contenders

It’s that time of year again. Looking back through my library, I am reaffirming what I observed when I checked out The Current’s Top 89 of 2012 polling the other day: I really have not been following new music this year.

I’m not sure if it’s because I’ve been much more wrapped up in my business, too busy making my own music (currently working on my third full-length album of the year), or just disinterested in what I’m hearing on the airwaves, but the numbers don’t lie: in 2011 I bought about 50 new albums. This year the number is around 20.

In the past I have eschewed self-published albums here, but as the quality of self-published music increases, and the barriers to self-publication fall with new Internet tools, the idea of signed acts being of inherently higher quality than indie stuff is more ludicrous than ever (and, truly, it always was). I’m still considering the vanity factor and leaving my own albums out of the running, but there’s some other great indie stuff I need to put on equal footing with the kinds of music you can buy on CD at Target or Best Buy. I’m also eliminating my previous restrictions against EPs and live albums, if for no other reason than to pad out this list just a bit.

So, here’s the list. The top 5 itself will be selected from this esteemed group of artists and albums:

  • Absinthe & The Dirty Floors: Side 2
  • Aimee Mann: Charmer
  • Air: Le voyage dans la lune
  • Andre LaFosse: Do the Math
  • Andre LaFosse: The Hard Bargain
  • another cultural landslide: last days last days
  • The Beach Boys: That’s Why God Made the Radio
  • Ben Folds Five: The Sound of the Life of the Mind
  • Coheed and Cambria: The Afterman: Ascension
  • Com Truise: In Decay
  • The Darcys: AJA
  • Donald Fagen: Sunken Condos
  • Field Music: Plumb
  • Grizzly Bear: Shields
  • Muse: The 2nd Law
  • Pinback: Information Retrieved
  • Return to Forever: The Mothership Returns (Live)
  • Rush: Clockwork Angels
  • The Shins: Port of Morrow
  • The Shiny Lights: Morocco

OK, I can be honest and knock a few contenders out right now: there is no way That’s Why God Made the Radio or The Sound of the Life of the Mind will make the list.

This new effort from the Beach Boys is surprising mainly in that it doesn’t completely suck like I expected it to. No, the main reason it’s surprising is that Brian Wilson and Mike Love managed tolerate each other long enough to finish the album (but not the tour). But that shock aside, there are a couple of outstanding tracks, along with a couple of truly appalling ones. (All of which were written by Brian Wilson; the rest are merely mediocre and pointless.)

The Ben Folds Five album is certainly my biggest disappointment of the year though. I’m not sure why, though I suspect it’s mainly just that in the decade-plus since the band’s previous album, my musical interests and those of Mr. Folds have gone in exact opposite directions. Either that or he’s just become a humorless middle-aged hack musical competition judge. Or both. (Full disclosure: I haven’t even listened to the entire album yet. Much like with the last two Phish studio albums, I just can’t do it.)

I’m also going to eliminate the Muse and Coheed and Cambria albums. I just haven’t listened to them enough to be able to judge them properly, but I suppose my lack of enthusiasm for them says enough anyway.

What do Made-in-USA iMacs, fracking in North Dakota, and right-to-work in Michigan have in common?

Yesterday I blogged about the huge glowing area in North Dakota that is experiencing a shale oil boom thanks to hydraulic fracturing (fracking). This morning I tweeted about new legislation passed to make Michigan a right-to-work state. And for the past few days I’ve been reading enthusiastic news that Apple is resuming manufacturing in the United States.

What do these things all have in common? Well… the always insightful Jason Kottke has the answer.

We’re witnessing an interesting cycle in the US economy right now. Changes in China in recent years have presented new challenges to its burgeoning manufacturing base; meanwhile here in the US the combination of Great Recession-related unemployment, the GOP’s 30-year experiment in rolling back labor rights, and (as Kottke notes) the artificially low price of natural gas here due to the fracking boom, have suddenly made the United States a much more desirable place for manufacturing. But will it last, and at what cost?

Apparently there is now a sprawling metropolis in northwestern North Dakota, or… something

As any regular reader of this irregularly-updated blog knows, I love maps. That I didn’t become a cartographer is mainly a result of the times in which we live, although given the tech geekery of GIS, it’s still not a convincing explanation.

Anyway, as a map lover, I geeked out today when The Atlantic Wire had a post about new nighttime satellite imagery released by NASA, including this amazing “map” of the US, with its major metropolitan areas aglow with artificial luminescence.

Knowing the US map as well as I do, I was immediately able to pick out most of the major cities. Starting with my home in Minneapolis, I proceeded to identify Chicago, Des Moines, Omaha, Kansas City, etc.

And that’s when it hit me. I know there’s no major US metropolitan area between Minneapolis and Seattle. So… what is that huge glowing area in what appears to be northwestern North Dakota? I wondered. Atlantic Wire’s Dashiell Bennett wondered the same thing, and came to the same conclusion as I did:

One thing that sticks out for us is the surprisingly large bright spot in what appears to be an otherwise dark North Dakota. Could that be the state’s exploding oil industry working overtime?

I’ve created an animated GIF illustrating the situation. Using the NASA photo published on the Atlantic Wire post, I overlaid a map outlining the state boundaries, dropped in markers for some recognizable cities in the western US and Canada, and then… that big weird area in North Dakota.

I decided to take a closer look at just what is around that huge glowing area in North Dakota. I zoomed the satellite photo and overlaid it on another map outlining counties and rivers in North Dakota to try to make sense of it. Surely North Dakota’s population centers must be near all of that light, right?

Not so.

At this level of zoom, on Google Maps, only four towns in the entire western half of the state are populous enough to be identified: Williston, Minot, Dickinson and Bismarck. And of those four, only Williston (population 14,716, according to the 2010 census) is in the glowing area.

So… yeah. This light is not coming from a city. At least, not a well-planned, livable city densely populated with humans. I’m no expert on the topic, but I am well aware of North Dakota’s current shale oil boom and the controversies of the hydraulic fracking techniques that must be used to extract it from the earth. It’s just kind of interesting, I think, to see yet another consequence of fracking: light pollution.

For further reading… well, just Google “Williston fracking”.

Rock opera update/teaser: a first listen!

Anyone who follows me on Twitter or Facebook probably knows by now that I’m working on a semi-top-secret (wha??) rock opera. Yes, it’s true!

I am not yet ready to reveal the full details of the project, but suffice to say it is in the late stages. It’s mostly down to recording vocals, which is sure to be the most time-consuming part of the process. I am shooting for a January-February 2013 release date at this point.

But it’s time for a first listen now! Of the 11 tracks on the album, 7 will have vocals. But I’ve made one of the instrumental tracks available in a rough mix form now on Alonetone. You can check it out here! (Or, if your browser is adequately HTML5-itized, you can play it below.)

All of the sounds on this track come from Atari 2600 video games. Specifically, they come from actual Atari and Activision games that were available in the early 1980s. I sampled these sounds out of the commercial emulators for these games that are available for the iPhone, created a software instrument from the samples (using this technique), and played them on my keyboard to produce the music you hear. The sounds are minimally processed… other than some EQ and reverb, they sound exactly like they did in the original games (especially Super Breakout, which provides most of the “melodies” you hear).