Friday, March 28, 2014

"Cardinals vs. Expos"


Originally posted August 8, 2003, on Xanga.com.  Xanga is doing something weird with their archives, so instead of directly linking to the original page (which I can't) I opted instead to copy+paste the html over here (which I did). Enjoy this walk down memory lane!  Enjoy the typos!


"Cardinals vs. Expos"
i was super excited when i found out that me and the Cardinals were going to be in the same town at the same time. i hadn't seen a Cardinal game all season (nor an Expo game, for that matter), and i wanted to seize this rare opportunity to enjoy myself some baseball. i fully understood professional dweeb-nut Ashton Kutcher's Just Married "How often are the Dodgers on TV in Europe" lament. I was in Montreal, and i was going to see a major league baseball game.
Olympic Stadium sticks out "like a sore thumb." it looks like the resident ship for a failed Star Trek series and, thanks to the "mast", can be seen from miles around. the stadium was built for the '76 olympics and was originally supposed to have a retractable roof, but it never really worked right. eventually, instead of a retractable roof, the stadium was capped with a big blue (non-retractable) teflon thing. it looks like a giant pop-o-matic.
it was The Future
according to the mid-seventies.
despite the awkwardness of it, the stadium is still neat to look at. i wanted to fly it through space. and within it's elliptical walls, BASEBALL games are played.
unfortunately, nobody seemed to care.
not really knowing where the front door was, me 'n' cricket appraoched the stadium on the wrong side. there was absolutly nobody around. nobody. cricket was afraid that the game had been cancelled. i informed her that only rain cancels games, and domed stadiums don't have to worry about rain (though in an isolated incident, a Houston Astros game was cancelled because the streets had flooded and nobody could get to the stadium. the field was fine.) i looked up at the clear skies, unable to understand where all the people were. in kasas city and st. louis, when there's a baseball game, traffic is backed up and there are people milling about EVERYWHERE. in Montreal, me and cricket seemed to be the only ones milling.
we walked a semi-circle around the outside of the stadium and saw several people trickling into the stadium's lower level. we followed, shrugging off the ubiquitous scalpers, and finally made it inside. we got general admission seats and took more effort than what was probably necessary to find them.
aside: there is a certain magical feeling you get when you walk through the tunnel of ANY stadium and see the playing field for the first time. it's like being birthed, and everything suddenly opens up before you. you see the players down below, and they don't seem real at first. you see the green of the well-groomed outfield, and it consumes everything. tens of thousands of seats encircle and point to the field, and it's all overwhelming. i love taking that walk through the tunnel, just before i see any of this. the anticipation mounts, especially when walking into an unfamiler stadium. were it not for the game itself, i would go to stadiums just to walk through the tunnel.
anyway
we had trouble getting to our seats. i don't doubt that the french words coming out of everybody's mouths confused me, but i attribute our inability to get to our seats (which were, by the way, beyond the left field wall [you could've said that we were "way out in left field"]) to the fact that fifty percent of the stadium was inaccessble. we couldn't get around because yellow tape prevented us from doing so. "How odd," i thought. this wasn't the only odd thing that i was to note that night.
the game had already started when we finally got to our seats. the score was 0-0, so we hadn't missed much. but even if something had happened, i was too busy gawking at the seats themselves to notice anything. they were plastic and dark blue, which wasn't unusual. what WAS unusual was their misshapen appearance. Sixties-era James T. Kirk would've approved. they were small and circle-ish and... just generally peculiar looking. but, like in all good stadiums, the seats were hinged (like in a movie theater, where you stand up and the seats snap close, except these didn't snap). i was to later learn of the abused purpose of these hinged seats. after resigning myself to the fact that i was actually going to have to sit in this thing, i plopped myself down and prepared myself for a lovely evening of baseball.
after glancing at the scoreboard to find out who was doing what where, i took a long look around the inside of the stadium. where were all the people?? i mean, seriously. the stadium's capacity for a baseball game is about forty-four thousand. there were just over seven thousand people in attendance that night. i had never seen anything like it in all my days of baseball game attending. but i guess everybody got a fair amount of elbow room. in fact, me and cricket sat across the aisle from where our ticket had allotted us so we wouldn't have to sit unnecessarily close to other attendees. the center field seats were taped off, and so was the entire upper deck. there was NOBODY. i've seen softball games with higher attendance.
Scott Rolen hit a solo home run in the 2nd to put the Cards on the board first. it was a good shot to center. i was afraid that i'd be the only one cheering, but i saw red t-shirts peppered throughout the near-empty stadium and i knew that i wasn't alone. in fact, there were a couple Cardinal fans sitting a couple seats below us. they spoke french, though, so i didn't dare talk to them. there was the customary boo-ing from the Expo fans, but they all boo-ed with french-canadian accents. this only enhanced the surrealness of it all.
and then the fine people in promotions did something that really pissed me off.
a baseball field is a holy place to be. a baseball field is rich in history, and this is where the gods play. the grounds crew work meticulously to maintain the richness of the playing surface. you must respect the baseball field. you must show it honor.
you do NOT parade a new car around the field between innings. do NOT. unless you're giving a car to a player who just hit their 62nd home run or got their 4,190th career hit (or if you're ambulancing an injured player away), vehicles stay OFF the playing surface. if i want to see your new car i'm going to go to your damn car lot.
so yeah. they showcased a new car between the second and third inning. right there in the outfield.
i was livid.
the french-canadians were not scoring points with me this day.
i settled down a little bit and concentrated on the game. the Expos scored a run in the third and it was tied 1-1. both pitchers were doing an excellent job and it remained tied for most of the game. Expos pitcher Livan Hernandez, apart from the home run he gave up, was doing phenomenally well. he really had his stuff together and struck out eight Cardinal batters that night. The Cardinals' Garrett Stephenson was pitching a good game too, but it was the Cardinal defense that prevented Montreal from scoring any more runs. The Expos grounded out eleven times, which says a lot for the Cardinal infield, as well as Stephenson's ability to keep the ball low that night. (i apologize for over-analyzing the game, but it was a good night for efficient baseball.)
Montreal's Vladimir Guerrero dropped an easy fly ball in the fifth. i laughed pretty hard at that.
everybody had an empty seat beside them, and i had mentioned that they were hinged seats. when things got tight in the game, each fan would reach over to the empty seat next to them and BANG it up and down over and over. seven thousand people banging plastic seats can make things pretty noisy. but we were in a dome, so the sound not only bounced off of the scores of other empty seats, but also off of the ceiling. it got freakin' loud in there. it was like pumping a jackhammer in the middle of a concrete room.
things were moving along tremendously fast. everybody (apart from Guerrero out there in right field) was playing very well. the pitchers were just mowing down batter after batter. finally it was the top of the ninth. the score was still tied at one. both pitchers were en route to throwing a complete game (statistically speaking). Albert Pujols was on third, and Scott Rolen sacrifice flied him home. The Expos were unable to score in the bottom of the ninth, and the Cardinals won 2-1. seven thousand people swore in french and then went home. the game lasted two hours and four minutes. this was the shortest game i've ever been to, but it was also one of the most well-played. thumbs up for hard-nosed baseball. and parking was free.
my thoughts on the Expos' organization...
they need to move. the team needs to be somewhere where they'll be better appreciated. i've heard rumers that they could relocate to Oregon or Virginia or Washington D.C. (they've already played a few games in Puerto Rico). i think Washington D.C. would be a good place for them. DC is rich in baseball history. The Senators played there from 1901 to 1960, then moved to Minnesota and became the Twins. a new Senators team arose from the ashes and played from 1961 to 1971, then moved to Texas and became the Rangers. the way i see it, Washington is due for another home team, and i think the Expos would do nicely. They'd surely attract more than seven thousand people to a game.
interesting note: the Expos don't have a real owner.  technically, the other twenty-nine owners are in control of the club, and their General Manager is also the Mets' G.M.  everybody else is just kind of taking care of the team until something can be done about them.  the Expos are like a dog you find in the woods that everyone feels sorry for.
i don't know what's to become of Olympic Stadium. Quebec has invested too much money into building it (one billion dollars when all was said and done) to knock it down. it periodically hosts various events (auto shows, canadian rock 'n' rollers, etc) and canadian football games (if i'm not mistaken). but to me, Olympic Stadium is just a giant paperweight in need of a higher purpose. or another summer olympics.

Tuesday, March 19, 2013

Top 45 Albums Of 2012: 5,4,3,2,1

As I mentioned before, 2012 was a year of old friends.  There were some new projects by new musicians that turned my head, but for the most part it was the familiar stuff that drew me in.  What was great about the familiar stuff, though, was hearing the maturation and growth in the new material.  And as I've personally matured and grown the music that has provided the soundtrack to my life continues to do so in parallel fashion.

Anyway, finally, here we are!  My favorite albums from a span of time that ended three months ago.  I never claimed to be relevant, just persistent.


5) Leonard Cohen - Old Ideas
Despite being 150-years-old, Cohen is sexier and saucier than ever, and somehow he pulls that off with an album that is more-or-less an end-of-life farewell.  Age, introspection, and retrospection are the themes here, all of it spiritually contextualized.  The poetry and wordplay is simple and perfect, as is the music behind it.  And as Cohen faces death, rather than fearing its inevitability, he shrugs with the knowledge that it was all part of the deal.  Old Ideas would be a dark and depressing album in anybody else's hands, but Cohen is too wry and to suave a lyricist and vocalist to let that happen.  Instead we have his deep, soft, weathered vocals gently talking us toward the end of the road.
Going Home by Leonard Cohen on Grooveshark



4) El Perro Del Mar - Pale Fire
It's to talk about Sarah Assbring's new material without contrasting it with the older stuff.  She first fluttered into my radar with her sparse-sounding lo-fi acoustic albums.  Her sound has evolved over the years, and now with Pale Fire we have these sonically full and musically complex songs.  Assbring has retained some elements that permeate every El Perro Del Mar project.  She continues to expertly used lyrical repetition to her advantage, and her pixie voice has always been somewhat haunting.  But now instead of guitars she uses synthesizers and drum loops and other snazzy technological instruments to create this upbeat (well, upbeat for El Perro Del Mar) and funky (well, funky for El Perro Del Mar) album.



3) Converge - All We Love We Leave Behind
Hey you guys, Converge is still awesome!  And I hate to use the word "still" as if there were a period of time where Converge sucked, but since they only release albums every three years or so it is easy to let them slip from the forefront of our consciousness.  The first track is... different.  Coherent vocals?  Accessibility?  Face-smashingly awesome, of course, but is this the direction Converge is going?  Nope.  All We Love quickly shifts back into quick-draw frenzy-metal territory, and Jacob Bannon gets on with the business of shredding his vocals into gut-chewing oblivion.  If you've grown up with Converge this album will put a big fat smile on your bloody face.  And if this is your first time... well, you never forget your first time.



2) Damien Jurado - Maraqopa
Though Maraqopa is Jurado's eleventh(!) studio album, this is only the second time he has teamed up with producer Richard Swift.  Swift helps steer this album into jazzy ambient directions, and if you've listened to any of those other Jurado albums you know this is something new.  Jurado's music, based in folk, has traditionally been very straight-forward, but he pulls this off magnificently. Everything is still quite laid back with sad-ish lyrical overtones, but Swift has given these tracks a sort of spacey, almost surf-rock vibe to them.  I don't know if this is a direction Jurado will continue to explore, but for now I'm content to let these songs envelop me.  Recommended for sunset driving in the American southwest.



1) mewithoutyou - Ten Stories
I was tremendously disappointed with their last album.  The music of mewithoutyou had, until that album, carried very powerful weight, and I felt they had forgone that when they opted to go into new musical directions.  But now I am pleased to see the band is back to form, challenging us and rocking us right out.  And you would think a concept album centering around a 19th century traveling circus would seem kind of silly, but mewithoutyou uses this backdrop to explore the nature of man, what it means to be a part of creation, and the nature of our relationship with God.  It's heavy stuff, and Aaron Weiss's lyrics (delivered via talky-singing and talky-shouting) poetically lay it out in metaphorical stories.  Musically mewithoutyou is capable of rocking it HARD, but they hold back most of the time, and that puts greater emphasis on the times they do rock it HARD.  It's all very carefully crafted and all enjoyably brilliant and all unexpectedly enriching.  My favorite album of 2012, easy.



Thursday, March 14, 2013

Top 45 Albums Of 2012: 10 - 6

Let it be known that I love the ladies.  Four of the next five entries feature women on vocals.  (Bob Dylan sneaks his way in there, as he is completely allowed to.)  Even the crassest female vocal has rounded edges, a feminine curvature about itself that penetrates the innermost parts of a male listener the way nothing else can.  And when a competent woman (that is, a woman who knows precisely, exactly, what she is doing) lends her voice to a properly accommodating piece of music the results can be soul-stirringly moving.

Here is half of my top 10 albums from 2012.  Everything beyond this point is highly HIGHLY recommended.



10) Poliça - Give You The Ghost

Poliça is a cool band to be aware of.  Though this is their debut full-length album, its music has been featured in various TV shows and the band itself has become something of a trendy indie darling.  You will understand why if you quit being so snooty about it and just listen.  Haunting echoey female vocals tremble over a subtly funky bed of post-disco bass and electronics.  Hypnotic as the music is, Poliça begs too much of your attention to be classified as chill.  Recommended for late night midtown driving.



9) Bob Dylan - Tempest

Bob Dylan is by this point a very old man.  And on Tempest he sounds every bit the however-many-hundreds-of-years-old man he is.  But though his voice has turned to dying gravel, Dylan the lyricist is wittier and sharper and feistier than ever, and Dylan the musician/songwriter is swaggier than ever.  Here he expertly dabbles in swampy Mississippi blues, bittersweet ballads, long stories and short stories, each song comprised of piss and vinegar.  This isn't the album one puts together during his final days.  Tempest is Bob Dylan, done Bob Dylan's way.



8) Sharon Van Etten - Tramp

Van Etten is a new discovery for me, and I wish I had been on board sooner because of all the things I am a sucker for, I am suckeriest for lady singer-songwriters.  As for Tramp, Van Etten all at once appears vulnerable and confident, peeling through her songs with a warbled voice that perfectly and unapologetically communicates how and what she's feeling.  Contributors to the album include members of The National (including Aaron Dressen, who also produced), Wye Oak, and Zach Condon of Beirut, so you know this album is folkishly indie-riffic!



7) Kathleen Edwards - Voyageur

My wife thinks I'm in love with Kathleen Edwards.  I'm not.  I'M NOT.  Just mildly obsessed with her.  If her songs sucked it wouldn't be that way.  If her tweets weren't grade-school hilarious (@kittythefool) it wouldn't be that way.  But regardless of what I think of Kathleen Edwards, Voyageur is another tremendous collection of music.  Produced by that guy from Bon Iver, Voyageur sonically sounds different than Edwards' previous releases but still retains that Tom Petty/Americana feel to it.  "Change the Sheets" would have been the summer song of 2012 had it not been released as a single in the middle of winter.  Elsewhere on the album Norah Jones makes an appearance as a background singer, so listen up for that I guess.

Also, don't watch the video to "Chameleon/Comedian" if you're eating.  You've been warned.



6) Susanne Sundfør - The Silicon Veil

I've casually followed Susanne Sundfør's career for the past few years.  She has that angelic Norwegian voice, and it was obvious early on that one day she was going to write the perfect set of songs and get the perfect producers to engineer the most perfect sounding songs that she could absolutely crush with her perfectly perfected vocals.  Well, this is it.  Here we are.  The Silicon Veil is a journey, and Sundfør floats you through it while a cloud of electro-classical music envelops you.  These songs are dramatic and cinematic and icy and celestial in that special Scandinavian way.  I don't know what's next for Susanne Sundfør, but The Silicon Veil will be dang hard to top.

Friday, March 8, 2013

Top 45 Albums Of 2012: 15 - 11

So it turns out I like duos.  Four of these next five groups are duos.  There is less interference with duos.  You get something close to the singular artistic vision with twice the musical talent.  Also there is something nice about the idea of hanging out with your bud and creating something awesome.

I also like how diverse these next five musicians are.  All over the map.  Different attitudes.  Different intents.  Different sounds.  All of them good in their own special (and sometimes disturbed) way.

Hey, a top ten is on the brink.  And it's only March of the following year!


15) Cat Power - Sun

I don't know where Sun fits on Chan Marshall's career arc.  Before this album her sound had evolved from moody alternative girl folk rock whateverness to bluesy loungy mellow goodness.  And now we have this.  Sun is still mellow, less croony, and bits of her old alternative rock self poke through.  It would almost seem more of a musical regression rather than evolution, but she has delivered these new tunes upon a soft inviting bed of electronics.  It is understated -- this isn't an electro album by any means -- but it adds a whole new dimension to Cat Power.


14) Crystal Castles - III

You basically know what you're going to get with Crystal Castles.  It will be shrill and glitchy, a pulsating wall of calculated chaos.  Each of their full-length albums have been better than the one before, not so much by leaps and bounds, but in the subtle way a craftsman steadily improves their craft.  Through the screeching you can hear the growing maturity of their sound.  Their songs are sounding less like hiccups and more like conversations.  Granted, those conversations are taking place inside of a shattered disco ball asylum, but on III the connections between artist and listener are more realized than ever.


13) Beach House - Bloom

Like Crystal Castles, Beach House is a one-guy/one-girl duo.  Like Crystal Castles, Beach House has steadily matured with each album while maintaining musical consistency.  Unlike Crystal Castles, everything else. Beach House's music is so blissful and ethereal, every song is like a dream.  With Bloom the dreams are more focused and clear, though no less beautiful.  Rather than haunting us like in albums past, these songs take us by the hand and lead us to... I don't know, some place bright and far and catchy.


12) Exitmusic - Passage

As far as debut albums go this is tremendous.  These songs soar and dip and leave you trembling.  Another guy/girl duo (I love guy/girl duos), you might actually recognize Aleska Palladino from all those TV and movie appearances she's made.  But here, teamed up with her husband and music buddy Devon Church to create music straight out of the exploding heavens, she is 100% brilliant songstress. 


11) Xiu Xiu - Always

Jaime Stewart's music has always been visceral and personal, raw and sans filter.  Listening to Xiu Xiu is like taking your personal demons on a carousel ride.  These songs can be difficult, they can be unnerving, but there isn't anything else like it.  Through the frantic vocals and unpredictable turns of music Stewart lays himself open and lets you inside his manic head.  He's been doing this for years and Always shows just how good he's gotten at showcasing himself as the guy you're too afraid to befriend, too afraid because of what he will inevitably show you about yourself.

Saturday, February 16, 2013

Top 45 Albums Of 2012: 20 - 16

Crackin' the twenty.  After this I only liked fifteen more albums from last year (but I liked them incrementally better).  This portion of the list contains a lot of mellow, except for the Casket Lottery who louden it all up.  There are also a few albums that signal triumphant returns for old friends who fell off the grid for a while.  Musical prodigal sons are the best kinds of prodigal sons.

20) Bowerbirds - The Clearing

I may soon burn out on indie folk rock, but Bowerbirds broaches the genre so directly that they avoid sounding like everybody else even if there isn't anything radically different about their music.  That's the power of good songwriting.  The Clearing has that woodsy feel to it and the lyrics are full of nature imagery.  This is an album for sunsets on the trail, introspective and safely wandering (and wondering).



19) Beachwood Sparks - The Tarnished Gold

Years ago my wife tried to tell me how awesome Beachwood Sparks was.  She said they're a band I would really like, but I ignored her because I'm a fool.  Then they dropped off the map and never crossed my mind again.  Until now.  In June the band released their first full-length album, The Tarnished Gold, in eleven years.  I decided to give it a spin because, hey, weren't these the guys my wife tried to tell me about a long time ago?  I will never doubt my woman again.  Mellowfied west-coast alt-country goodness right here.  You can hear the influences, from Gram Parsons to Jackson Browne to Uncle Tupelo, and it melds together warmly and wonderfully.



18) The Casket Lottery - Real Fear

The most pleasant surprise of the past year was the release of a new Casket Lottery album.  The band broke up (or went on hiatus or whatever) back in 2006, its members wandering off to concentrate on other projects.  But, unbeknownst to myself, they got back together in 2011 and set to work recording a fiery set of songs fit for an uprising.  Real Fear is The Casket Lottery taking a mature step forward, focusing on uniting melody and atmosphere.  What we get is something a little more sonic but no less devastating.
Ghost Whiskey by The Casket Lottery on Grooveshark
Real Fear by The Casket Lottery on Grooveshark



17) Beth Orton - Sugaring Season

You know who else we haven't seen in a while?  Beth Orton, who hadn't released anything since '06.  There were good reasons for this, but it is great to have her back.  In fact this could be my new favorite Orton album.  Sugaring Season is sultry, serious without being depressing, quiet but not hushed.  Croony, but too rich for lounge.  One song is a William Blake poem.  Another was co-written with a member of the Chemical Brothers.  And somehow it is all distinctly Beth Orton, and it all cohesively fits the album.



16) Stars - The North

The North is so ear-friendly, so easy to get along with.  This album is comparable to middle-era Death Cab (you know, before Ben Gibbard became a little too bothersome), though Stars focuses more on gentle catchy hooks and sounding nice.  There are synthesizers and hints of 80s, but these things give the music a fuller sonic feel as opposed to directing the music into fashionably retro directions.  Of all the bands who employ turn-taking male and female vocalists, Stars is the only one where I find the dude and girl equally listenable.  Great album from a great band.  Also, Canada.

Monday, February 4, 2013

Top 45 Albums Of 2012: 25 - 21

I don't know about you but I've already had a year's worth of crazy stuff happen, and we're only just breaking into February.  I'd like to say that music helped me through the tough times, but honestly things were so manic I didn't have time to listen to anything at all.  Maybe some radio tunes while driving around, but it was background noise.  Nothing to explore.  Nothing mind-blowingly new and awesome.

But I'm floating back to earth now, and music IS helping with that.  Lots of oldies, the good stuff from the 1950s and 60s.  I've listened to that all my life, and it keeps me connected somehow.  I don't know... I'm less interested in why that kind of music effects me the way it does and more interested in letting it work it's golden magic.

And I'm also coming back to my favorite songs from 2012.  These albums will certainly have very specific memories attached to them, and maybe in some years I'll look back at them with bittersweet fondness.  But for now they're my soundtrack, and this movie ain't over yet.

25) Titus Andronicus - Local Business
 
Titus Andronicus is not at all interested in nonsense, no matter the album.  "Here's a big juicy plate of meat and potatoes," each song says.  "It's five minutes long and you must eat it all right now."  And then the song ends, and another starts, and the force-feeding begins again.  It's all quite wonderful.  Though not quite as ambitious as The Monitor (which was a punk rock 'n' roll ode to the American Civil War, so really, what could possibly top that?), Local Business is still a great album full of east coast swag and knowing nods to old-school punk.


24) Two Gallants - The Bloom And The Blight
 
I like rock 'n' roll duos.  Two performers doing all the instrumentation, keeping it stripped and real.  Two Gallants, comprised of a pair of San Franciscans with musical chops, shred it on The Bloom And The Blight.  Blistering passionate vocals, tumbling drums, the crunchy guitar, all awesome when things get revvin'.  But hold up, aren't these guys folkish?  They sure are, and when they bust out the acoustic and the harmonica and the tambourine you get the best rootsy folk-rock this side of Bringing It All Back Home.  But really it's about those loud songs.  Crank it.


23) Chris Staples - American Soft
 
Probably the most apt album title on this whole list, the songs of American Soft are gentle introspective little ditties.  They are very straightforward and it's easy to overlook the intelligence of Staples' lyrics.  In fact everything is so low-key it's nearly so easy to overlook entire songs.  But Staples has a knack for hooks and something on this album will make a cozy little home in your brain, a welcomed guest you're not so anxious to shake out.



22) DIIV - Oshin
 
Oshin is the first full-length release from DIIV (pronounced "dive" I think, as the band used to be called Dive).  It is dense and hazy yet upbeat and rhythmic, the soundtrack to a brooding, busy apocalypse.  The vocals are sparse, and even when they are present they are sunk so far back into the music that the lyrics are not easily discernible.  I'm okay with that.  Vocals here work like instruments contributing to the atmosphere and FEEL of the music.  And there is indeed a lot of atmosphere and FEELIES fogging up those sound waves.  Oshin is good for a sundown drive or background filler for 2 a.m. music blog writing.


21) The Mynabirds - Generals 
 
I don't know much else about The Mynabirds short of what I just looked up on Wikipedia.  The band is signed to Saddle Creek Records and have released two full-length albums.  Generals, album number two, is a triumphant and moving little collection of songs.  Think a relaxed Florence + The Machine.  Think twee pop too serious to be twee pop.  And oh man, did somebody sneak synthesizers in there?  And oh man, did somebody sneak Richard Swift in there?  Double yeses.  Also, mastered by TW Walsh.  More icing on the cake.




Sunday, January 27, 2013

Delay Of Game

I am still counting down my top albums of 2012.  I HAVE NOT FORGOTTEN.  But life blitzkrieg'd me quite viciously this past month and suddenly silly little music blogs don't mean so much to me.  Once I reach some sort stability point I'll resume what I've started, hopefully finishing in time to begin counting down my favorite albums of 2013.

Anyway, the best to all of you, and I'll be back around soon.