I’m not the kind of person who has to post selfies or photograph everything I’m eating or doing.
That would be Janet Jackson pictured with this entry.
JACK Quartet, Meany Hall, Jan. 10
I ran into my music theory TA at this concert, and we both we a bit meh about the program. JACK is a great quartet, but I honestly can’t remember much beyond the Morton Feldman piece which opened the concert.
Seattle Symphony, [untitled 2], Benaroya Hall, Jan. 27
The [untitled] series introduces me to a lot of new music of which I never follow up after hearing it. I still love going to these concerts, though.
University of Washington Modern Music Ensemble, John Zorn: Cobra, Meany Hall, March 1
I’ve known about Cobra for years, but this performance was the first I’ve attended. Recordings can’t do this piece justice. It must be experienced live to understand it.
Seattle Symphony, Aaron Jay Kernis: Violin Concerto, Benaroya Hall, March 18
Violinist James Ihnes has a lot of creative capital in Seattle as director of the seasonal chamber music festival, so I think the audience was willing to give Kernis’ concerto a chance. The piece and the performance went over well.
Japan Nite Tour, Chop Suey, March 22
Damn, had it been five years since I’ve attended a Japan Nite concert?
Emerson String Quartet, Meany Hall, April 21
There’s no way I would miss an Emerson concert with Shostakovich or Bartok on the program.
Seattle Symphony, [untitled 3], Benaroya Hall, April 28
A program centered around Andy Warhol concluded with a “popera”, which actually was far more engaging that I expected.
University of Washington Harry Partch Ensemble, Oedipus: A Music Theater Drama, Meany Hall, May 6
UW has a number of Harry Partch’s custom instruments, which were put to use in a production of Oedipus. Without the visual element, they pretty much sound like gamelan.
Midnight Oil, Moore Theatre, May 31
Yeah, definitely my favorite show of the year. The set list covered the entire span of their career, and just about everything I wanted to hear live I did.
Low + MONO, Neptune Theatre, June 16
I’ve known about Low for a long time — mostly through the band’s cover of “Africa” by Toto — but I was never curious enough to seek them out. I was duly impressed, even if I don’t think I’ll own anything other than Things We Lost in the Fire. MONO, of course, brought it.
The Revolution, Showbox, July 15
The band crafted the set list incredibly well. It started off with some obscure but recognizable stuff, but the second half kicked off the favorites. And everyone left pleased.
Jason Isbell and 400 Unit, Paramount Theatre, Sept. 12
Jason Isbell delivered a flawless performance as usual. The audience, though, was weird. It was a Tuesday night, and the Seattle Freeze was in full force, with half the audience sitting and the other half standing.
Sam Amidon, Fremont Abbey, Sept. 22
If nothing else, you really must go to a Sam Amidon show just to hear him talk between songs.
Janet Jackson, Key Arena, Sept. 27
I held onto my ticket after two cancellations, and I was glad I did. No opening act. Just Janet dishing out hit after hit in an epic DJ mix, only live.
Seattle Symphony, [untitled 1], Benaroya Hall, Oct. 13
I think this concert was the first where only one piece on the program was entirely unfamiliar to me. It’s always nice to hear Steve Reich’s Different Trains live.
Depeche Mode, Key Arena, Oct. 21
I think Depeche Mode 101 ruined this concert for me. I hadn’t really followed the band since the early aughts, and much of the set list drew from more recent albums.
Kronos Quartet, Federal Way Performing Arts Center, Nov. 4
Kronos has a way of upending expectations. Just when you think you’ve seen them do something new, some composer has them attach bowstring to a plastic toy.
Tags: concert edition, depeche mode, emerson string quartet, harry partch, jack quartet, janet jackson, japan nite, jason isbell, john zorn, kronos quartet, low, midnight oil, mono, sam amidon, seattle symphony, the revolution, university of washington
It seems all the bands in which I’m interested all decided to release their albums in May and June. To date, I have a total of four 2017 releases since the start of the year. Putting together the Favorite Edition Half Year is going to be tricky.
At the Drive-In, in*ter al*li*a, May 5
I can’t figure out why I’m looking forward this late-coming follow-up to Relationship of Command, an album I like but can’t listen to very often. And I wasn’t enough of a fan to follow either Mars Volta or Sparta.
Café Tacvba, Jei Beibi, May 5
I find it interesting that Café Tacvba is releasing this album through CD Baby. That means they’ve gone completely independent.
Midnight Oil, Full Tank, May 7
Midnight Oil, Overflow Tank, May 7
Tempting as these complete boxed sets may be, my current Midnight Oil collection occupies quite a bit of shelf space. Also, the import markup makes these sets fiscally untenable. Hey Sony, fans outside of Australia might be interested in some of these releases.
Juanes, Mis Planes Son Amarte, May 12
It’s a visual album about a man going into outer space to find the woman of his dreams. I would be interested to see how Café Tacvba would tackle the same plot.
PWR BTTM, Pageant, May 12
Anyone who has Grindr or Scruff installed on his phone would probably check out a band called PWR BTTM.
Art of Noise, In Visible Silence (Deluxe Edition), May 19
The weirdest album I acquired in 1986. The b-sides are terrific.
Kishida Shigeru, Symphony No. 1, May 24
If the orchestral work Kishida released last year as a digital single is any indication, don’t expect a musical metamorphosis on the level of C. Kip Winger.
Sam Amidon, The Following Mountain, May 26
His first album of original music.
Cody Chesnutt, My Love Divine Degree, June 2
It’s been a while. I had wondered if another 10 years would pass before another Cody Chesnutt album would arrive.
U2, The Joshua Tree (30th Anniversary Deluxe Edition), June 2
I already have the 20th Anniversary edition, so really, I just want the white cover with the color photo.
Kronos Quartet, Folk Songs, June 9
For a while there, I thought Kronos had moved on from Nonesuch, given the number of albums the ensemble has released on other labels. This collaborative album with Sam Amidon, Natalie Merchant, Rhiannon Giddens and Olivia Chaney is the first Kronos has released on Nonesuch since 2012, not counting various anthologies.
Dan Messe, Amelie: A New Musical, June 9
I’m not sure what draws me to this cast recording — the fact it’s based on Amelie or the fact it was written by a member of Hem.
Sufjan Stevens, Bryce Dessner, Nico Muhly, James McAlister, Planetarium, June 9
Well, somebody had to update Gustav Mahler’s The Planets …
The Drums, Abysmal Thoughts, June 16
Jonny Pierce goes full Roland Orzabal ca. 1993, becoming the sole member of his band The Drums.
Jason Isbell and 400 Unit, The Nashville Sound, June 16
I would be OK with Jason Isbell and Sturgill Simpson releasing albums on alternating years.
Midnight Oil, The Vinyl Collection, May 7
I would like to get Redneck Wonderland, Breathe and Head Injuries on vinyl. I could do without Capricornia, Earth and Sun and Moon and Place Without a Postcard. Maybe separate releases down the line? Outside Australia, even??
Emmylou Harris and the Nash Ramblers, At the Ryman, May 12
Harris’ shows at the Ryman gave the venue new life, and she returns for the venue’s 125th anniversary. So of course a reissue (on vinyl!) is in order.
En Vogue, Funky Divas, June 9
I’m disappointed rock bands haven’t turned “Free Your Mind” into a crossover classic.
Enya, A Day Without Rain, June 16
Enya, Amaratine, July 14
A Day Without Rain is Enya’s weakest album, and Amaratine went a long way to rectify it. That won’t stop me from getting both of them.
Tags: at the drive-in, bryce dessner, cafe tacuba, cody chesnutt, emmylou harris, en vogue, enya, hem, james mcalister, jason isbell, juanes, kronos quartet, looking ahead, midnight oil, nico muhly, pwr bttm, quruli, sam amidon, sufjan stevens, the art of noise, the drums, u2
“How did you know you were gay?”
No one has really asked me this question, and from what I gather, I’m supposed to turn this question around and ask the (presumably heterosexual) asker, “How did you know you were straight?”
But my answer to the question would be pretty easy to track through the music I was listening to at the cusp of adolescence. It shouldn’t be a surprise that the I gravitated toward bands with handsome singers — your Simon Le Bons, your Huey Lewises, your Stings, your Bruce Springsteens.
I didn’t connect the growing fascination I had for these pop idols with the orientation my sexuality would eventually align because the curriculum of my Catholic education was clear — I was fated to develop an attraction to women because any alternative would be unacceptable.
So I used music as a cover. Yes, I dug the songs, but they weren’t the only draw.
Exhibit A: Sting, “Love is the Seventh Wave”
The back cover of this single had Sting posing without a shirt, and I couldn’t tear my eyes away. My household toed the homophobic line because my parents were devoutly Catholic and my brother and sisters weren’t old enough to come to their conclusions. So I would sneak peeks at this image surreptitiously, not exploring why I was so powerfully drawn to it.
Technically, my brother owned that 7-inch single, and he called dibs on Sting in our Sibling Rivalry Collection Race. My hormones would not be denied, and I wrestled Sting from his monopoly. I dubbed his Sting albums to cassette without his permission, and I played “Russians” at my first piano recital.
The Dream of the Blue Turtles and … Nothing Like the Sun are awesome albums in their own right, but I could count on the music press to include a few pictures of Sting stripped to the waist.
Exhibit B: Midnight Oil, Blue Sky Mining
I didn’t actually like Midnight Oil when a pair of friends subjected me to Diesel and Dust in the car as we drove around town. But I eventually adjusted to Peter Garrett’s warble, and the songcraft of the album won me over.
One of the friends who introduced me to Midnight Oil would be the first person with whom I’d fall in love. I remember one night dropping him off at his house after a night out and driving back, mumbling to myself that I loved him. I can’t remember another time when I felt both solace and burden in a single thought.
Blue Sky Mining followed Diesel and Dust two years later, by which time my feelings for my friend made senior year in high school a slog. I listened to the album day in and day out because I had to escape into something that linked me to him. And I could use my growing interest in college rock as another cover.
Exhibit C: R.E.M., “Country Feedback”
My friend went to the Mainland for college, and I stayed in Honolulu. During my first semester, I would play Out of Time by R.E.M. every morning, and the track that summed up my depression was “Country Feedback”. The track is slow and quiet, but Michael Stipe tosses out the phrase “fuck off” at the midpoint of the song with conviction. I was pissed off at having a broken heart but also sad by the implications of who broke it.
Exhibit D: Haruki Murakami, Hear the Wind Sing
No, Hear the Wind Sing is not an album. It’s a novel. A Haruki Murakami novel, to be exact.
But it was a novel that served as the basis for an electronic song I wrote hoping to convince a guy I had a crush on to sing it. He couldn’t find the time to do it.
It had been a year since I returned from New York City, and I still wasn’t ready to accept the obvious direction of my sexual orientation. So something like writing a song hoping to get a guy I liked to sing it was just a totally rational thing for someone in my state of mind to do.
It took another 13 years before I transposed it to my own range, recorded it and sang it myself with much assistance by pitch-correction software.
Exhibit E: Emmylou Harris, Wrecking Ball
Emmylou Harris’ label directed its press efforts for her 1995 album Wrecking Ball to colleges and independent music outlets instead of country radio because it was her “weird album”. I snagged a promo of the album and fell in love with it.
The arrival of Wrecking Ball happened at the same time I wrote articles about National Coming Out Day, which resulted in my own. The two events are indelibly entwined. But I can’t think of a better album to serve as a soundtrack for that change.
It’s a dark, brooding album but also beautiful. I was still intimidated by the process of coming out, so I can’t say I look back on it as bright and joyous. I had a lot of work to do introspectively, and Wrecking Ball reflected that.
The album pretty much transformed Harris’ career, reaching a new audience as the old one moved on. It was certainly my pivot point as well.
Tags: emmylou harris, gay influence, midnight oil, murakami haruki, r.e.m., sting