Reviews

Record #625: My Epic – I Am Undone (2008)

/ Nathaniel FitzGerald

A debut record is an awkward thing. A debut record might sound absolutely nothing like what the band becomes—awkward, fumbling outings like Sigur Ros’ Von or Radiohead’s Pablo Honey that arrive aimless and formless.

But every once in a while, a debut record comes around that, as it is said, “arrives fully formed.” It presents the group’s intentions with laser focus, introducing a clear picture of their artistic mission.

Having seen My Epic a handful of times in the last year, I can assure you that I Am Undone is one of those debuts.

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Record #624: My Brightest Diamond – A Thousand Shark’s Teeth (2008)

/ Nathaniel FitzGerald

For a little bit in the late 2000s, it seemed like “chamber pop by a classically trained female multi-instrumentalist that used to be in Sufjan Stevens’ touring band” was posed to become its own genre.

And while St. Vincent’s Annie Clark has found the most enduring success out of that crowd, I’m not sure anyone has topped My Brightest Diamond’s stunning second record.

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Record #623: Joe Baughman – Vacant Spaces (2019)

/ Nathaniel FitzGerald

Let me tell you about my friend Joe.

Joe and I met at our small Christian college over a decade ago (Facebook actually reminds me that today is our ten-year friendiversary. Since then, he has made a reputation for himself as an impeccable stop-motion animator, making music videos for bands like Caveman, Wilco, Sufjan Stevens, and the Roots.

On top of working with such esteemed artists, he’s an incredible musician himself.

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Record #622: The Appleseed Cast – The Fleeting Light of Impermanence (2019)

/ Nathaniel FitzGerald

In 1998, the Appleseed Cast released The End of the Ring Wars. It was a shockingly mature work for a debut, offering a stunning mix of pop punk hooks, post rock compositions, and hardcore energy.

But it’s especially more impressive when you realize that they’ve done so with an unparalleled consistency. Across their catalog, there are no lulls, no dips, no records that their fanbase would rather just ignore. In fact, if you get five Appleseed Cast fans together and ask for their favorite record, you might get five different answers, each with respectable arguments for their choice.

I say all of this to drive home an important statement.

The Fleeting Light of Impermanence might be their best ever.

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Record #621: My Bloody Valentine – m b v (2013)

/ Nathaniel FitzGerald

Some albums don’t need a follow up. They stand firmly upon their own two proverbial legs, singular icons that echo into eternity, transcending everything else the artist does.

Loveless is one of those albums. It cemented My Bloody Valentine’s legacy even without a follow up.

And for a long time, it finally felt like that follow up would never come. Then once it did, it was met with apprehension. After all, how do you follow up a record as sublime and transformative as Loveless? 

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Record #618: The Muppet Movie – Original Soundtrack Recording (1979)

/ Nathaniel FitzGerald

Let’s get one thing straight from the get-go: Jim Henson is a genius of the highest order. While his more realistic character work in movies like Star Wars, the Ninja Turtles movie, or Labyrinth has no peer, his real legacy is in The Muppets.

And when you think about it, the Muppets really have no business being as timeless and transcendent as they are. Nowhere is that more evident in 1979’s The Muppet Movie and its accompanying soundtrack.

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Record #617: Holy Fawn – Death Spells (2019)

/ Nathaniel FitzGerald

It’s no secret that I have a very, very weak spot in my heart for music that blends metal’s punishing heaviness with unabashed prettiness. And the last few years (more specifically, ever since Sunbather brought further attention to the type of gorgeous metal that Alcest pioneered) scores of metal bands have been pushing into the dreamy lushness of shoegaze and post rock—and vice versa.

But few bands do it with the sort of shameless simplicity of Holy Fawn. And thus, few bands do it with as much success.

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Record #616: Comrades – For We Are Not Yet, We Are Only Becoming (2019)

/ Nathaniel FitzGerald

Over the last few years, I have found myself crossing paths with Colorado’s Comrades on a number of occasions. We’ve played the same festivals (they always have a much better time slot), they’ve played in my living room, and one occasion, I pretended to be on the road with them and Deathbreaker to get free Chick-Fil-A.

Yet for all of this familiarity, I am still astonished every time I get a chance to hear them play (especially in my living room). Their newest record is another genre-melding, heart-rending masterpiece that’s just as likely to fuel a mosh pit as a moment of quiet reflection.

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