Totally Unauthorized Top Live Shows of 2015 25-1

2015 was such a phenomenal year for music that I couldn't fit it all into one post! If you missed part one, click here.

http://totallyunauthorized.blogspot.com/2016/01/totally-unauthorized-top-live-shows-of.html

25. Rodrigo y Gabriela

September 10 at Live on the Green

These guys are always a fun sight. Their enthusiasm is infectious, as well as their breakneck guitar playing. Their Latin flared rhythms can get a crowd rolling or mellow them out, and they invited a bunch of people on stage to feel the vibes with them. But they're also well known for their covers. Rage Against the Machine's Bombtrack shreds, even on an acoustic guitar, Thrash metal classics Holy Wars, Symphony of Destruction & Battery are also great for getting fists raised in the air.

24. Flying Lotus

June 12 at Bonnaroo

Flylo has established himself as one of the most dominant personalities in electronic music. His trademark blend of twisted, warped electronica made it worthwhile. He brought along his Layer 6 stage setup, which consisted of one screen in front of him and one behind him showcasing crazy visuals. It looked like we were in space at one point, then we were being dragged into a wormhole at another. I got jazzed when he played “Sultan’s Request,” one of my favorite cuts from his 2012 album, Until the Quiet Comes. He also performed a little of his Captain Murphy side project, which consists of him coming out from behind the screen and rapping over his beats. We weren't fortunate enough to have Kendrick Lamar join for their collaboration, “Never Catch Me,“ but we were treated to it as the final song before the encore. I don’t do DJ music much, but I’m down with Flying Lotus.

23. Sylvan Esso

June 12 at Bonnaroo

I adore this girl! Singer Amelia Meath had such a laid back demeanor. Her exuberant and cheery nature makes you feel good inside! She encouraged us to seduce ourselves in front of a mirror whenever we aren‘t feeling good about ourselves. “You all should try it,” she advised. “It makes you feel like a million dollars.” Her dance moves are so quirky and full of personality that it makes you feel less self conscious to bust out a move yourself. Nick Sanborn’s production is mostly minimal, sleek and sophisticated. It could be a commercial for Ikea or Ipod, but what can I say? There’s something about that aesthetic I really dig! Every now and then he’ll drop a thick, intense beat and that’s when you’ll go really nuts.

22. Billy Joel

June 14 at Bonnaroo

This set was clearly not Billy Joel's best, but with an artist like this even a 50 percent effort is well worth watching. He ditched his attempts to interact with the crowd early on, and also cut out a big chunk of tunes that appeared regularly in his setlist. That made it hard to feel like we got the full Joel experience. Yet, the afro-boogie of "River of Dreams," the high spirited delivery of "We Didn't Start the Fire," his roadie coming out and delivering a spot on cover of "Highway to Hell," as well as the performance of rock solid gems like "Piano Man" made for a quality set, if not exactly a perfect ending to this year's Bonnaroo.

21. Courtney Barnett

June 11 at Bonnaroo

Courtney Barnett is my girl. She’s a bonafide rockstar. She’s sexy as hell. If you watch her set for longer than four hours, you'll probably have to call a doctor. Most importantly, she knows exactly who she is as an artist and she owns it. Get yourself out to a club and see her. She pours personality into each song, meaning there’s no one doing quite what she’s doing. Best of all, she’s got guts. While she delivers a laid back, grimy guitar sound on her LP, on stage she emanates incredible power while delivering those riffs. “Pedestrian at Best” and “Elevator Operator” hit with manic energy, while “Small Poppies” notified me there’s not much greater than watching this chick develop a riff. Now I’d better stop, cause if I say much more this whole article is gonna catch fire.

20. Run the Jewels

June 12 at Bonnaroo

Killer Mike and El-P bowled the crowd over with their incredible confidence. They came onstage while Queen’s “We Are the Champions” reverberated through the speakers, and before leaving Killer Mike declared themselves the best rap group in the world.  Opening cut “Run the Jewels” served as the duo’s mission statement, while notorious banger “Close Your Eyes and Count to Fuck” was so intense that El-P felt bad for what was going to happen to already sweat soaked crowd once they played it. But the singular moment that got the crowd most fired up had to be El-P’s speech declaring that each attendee had been given an invisible 36 inch chain, making them a member of the Run the Jewels family. That came with certain privileges, he informed us. Any political leader who “tries to tell you you’re not gonna do the job you want, that you’re not gonna marry the person you want, that you’re not going to be the person you’re supposed to be, you can tell them to suck your motherfucking dick!” The crowd was in the palm of their hands the rest of the night.

19. The Strokes

May 8 at Shaky Knees 

There is a certain intrigue factor when it comes to The Strokes. They don’t tour often; their site listed only four other shows for all of 2015. There is an unmistakable aura around this band, that I can’t deny was generated to a certain extent by their well coordinated light setup and smoke screen, and that may not be everybody’s thing.  Yet Nick Valensi and Albert Hammond Jr. are not your everyday guitarists. The guitar/bass interplay on opening cut “Reptillia” showcases one of the band’s biggest strengths. The way that guitar blast mollified the crowd right out of the gate left no doubt they were going to own this crowd. “Under Cover of Darkness” and “Take It Or Leave It,” show that the band has an ear for guitar work that is catchy, distinctive, and full of energy. Not to mention “Automatic Stop,” one of my personal favorites, It’s such positive, happy, feel good music. Julian’s stage banter leaves something to be desired. but as a whole the band was tight and on point. They sprinkled in some song rarely played or never played before on stage (“All the Time,” “You Talk Way Too Much,” Vision of Division”) and even allowed superfan Mac Demarco to come onstage and give Julian a hug in between songs. Unless you were just committed to being a hater, this was a set near impossible not to have a blast at. 

18. Exodus

November 16 at The Tabernacle

You are in the presence of heavy metal royalty. They may be down a few members, but this is still the same band that played an integral role in the development of thrash metal. These guys shared a scene with all time greats Megadeth and Slayer, and even more so with Metallica. This was the band that Kirk Hammet was a member of before joining Metallica. Vocalist Steve Sousa is relentless in firing up the crowd, at one point splitting the crowd into two sides and then having them charge at one another to create a mosh pit. The bulldozing intensity of cuts like "Bonded by Blood" would give them all the motivation they needed. 

17. Dwight Yoakam

September 4 at Ryman Auditorium

Dwight keeps his shows running like a well oiled machine. The king of country/honky tonk/Bakersfield sound impressed early and often, but the set’s second half truly shined with classic tune after tune from one of the most impressive catalogs ever released with nary a break in between. He had to bring some of those high notes down, but what’s impressive is there’s really no break in between these tunes; he displays endurance much younger performers wish they had. Personally, it gave me a bit of a surreal feeling hearing these songs live that I’ve been jamming to since I was about seven years old on my parents old cds. Turn It Up, Turn It On, Turn Me Loose, Pocket of a Clown, The Heart That You Own. And if that’s not enough, how would you like to have Dwight’s job? He still boogies and scuttlebutts across the floor getting the women to look at his ass, and it still elicits high pitched shrieks from the crowd. Over 30 years in, he’s still a sex symbol.

16. Frank Turner & the Sleeping Souls

December 9 at 3rd & Lindsley 

He’s very warm and relatable. The biggest thing that shines through in his shows is just how personable he is. What you get is a very warmhearted, uplifting Englishman up there bouncing around on stage and whipping the crowd into a frenzy, and he’s very interactive with his crowds. He had us all sit down, then jump up at a certain point in the song, and told us to dance with someone we didn’t know before we came here. He makes everyone at his shows feel like part of a big, collective community. An artist who can pull that off is rare find indeed.

15. Mac Demarco

June 11 at Bonnaroo

Mac Demarco tried to set a world record for most people sitting on other people’s shoulders, placed a rubber dildo on his keyboard, had a crowd surfer throw their shirt onstage, his bassist climbed onto a stack of speakers, he popped the cork on a champagne bottle onstage, and to top it all off, he got a running start and stage dived into the crowd before finishing it off with a cover of Metallica’s “Enter Sandman” for an encore. He landed directly on my forearm. And I haven’t even (really) talked about the music yet. Known for his lo-fi slacker indie anthems, he kicks it up a notch or two live. “Freaking Out the Neighborhood” and “Salad Days” had the crowd in a fit, but I’m partial to slow groover “Rock and Roll Nightclub.” It sounds like something the Bee Gees might listen to when they’re ready to unwind. 

14. Modest Mouse

July 19 at Forecastle

They’re a veteran live band who do damage in a variety of ways. Songs like “Bury Me With It” and “Styrofoam Boots/It’s Nice on Ice Alright” deliver almost punishing riffs, something I never got the sense the band had in them when listening at home. The boogie groove of “Dashboard” and ominous bass rumble of “Tiny Cities Made of Ashes,” meanwhile, got fest goers in the mood to shake their can. We got a taste of the band’s earlier days with “Dramamine,” pulled from their 1996 debut This is a Long Drive for Someone with Nothing to Think About. It paints a picture of the band as much more serene and thoughtful in constructing their riffs and instrumentation, but still with a decidedly rough edge. Frontman Issac Brock even broke out thumb picking on the banjo with mid career cuts “Satin in a Coffin” and “This Devil’s Workday."

13. Florence + the Machine

June 14 at Bonnaroo 

The Bonnaroo gods didn’t grant Florence much time, but she made the most of it. Whipping the crowd into a frenzy early and often by breathlessly sprinting across stage and down into the pit to mingle with fans, she put on a clinic on how to exert high energy while still slaying us with that captivating voice and never missing a beat. Kendrick Lamar needs to take lessons from her.  Her show is a spectacle without pomp, lights, or confetti being blown everywhere. Florence herself is a spectacle, even if she were all alone on the stage. There's a devotional feel to her shows-- hands raised all throughout the crowd while those deep, rich, overpowering tones of her songs boom forth. All signs point to her going down as one of the great performers of her generation.

12. Slayer

June 13 at Bonnaroo

Slayer is primal. My glasses were knocked off twice, I was hit in the head in the pit, and then was literally knocked on my ass. You might ask what I was thinking, but I got to scream “Angel of Death” from about three rows back with a bunch of other dedicated Slayer fans, and they knew every word. I was close enough I could feel the sweaty hair of the denim jacket guys sloshing against my raised fist. Slayer didn’t fuck around. “Raining Blood,” “Postmortem,” “South of Heaven,” and “Seasons in the Abyss” shows just how deep and unrelenting their catalog truly is. But they also show off humor and self-awareness. “Dead Skin Mask,“ with its lyrics celebrating the pleasant fragrance of death in the light of the moon, serves as one of the band’s most romanticized notions of death. Before playing it, frontman Tom Araya introduced it as their version of a love song. This is the roughest show I’ve even been to at Roo, or maybe ever.

11. Widespread Panic

July 19 at Forecastle

I see these guys get bagged on a lot on internet music forums. Most websites don’t even bother to cover them when they play at festivals. Accordingly, I went in not expecting much but willing to give them a chance. They ended up being the best thing I saw all day. You can picture the scene: old hippies jamming out. Guitar solos for days. Elaborate light patterns washing all over the stage. I was skeptical at first, but the closer I moved to the stage the more I fell into the spell of their beat. Their tasty riffs and improvisation is easy to find yourself lost in. My biggest criticism is they don’t play with much passion. The guitarist plays his leads and solos with clinical precision. It’d be nice to see them legitimately attack for once, to really go nuts on their instruments. But when you can play like these guys do, I guess you can get away with it. Before I knew it I found myself having an amazing time, and would have gladly rocked out with them for longer.

10. Sleater-Kinney

April 23 at Marathon Music Works

This was one of the most celebrated reunions in the early months of 2015 and I was just like, "who?" I'm glad I found out. Carrie Brownstien is one of the most magnetizing rock stars of this generation, and it's truly a shame she's taken a decade off from it (minus a side project here and there). She was like a true punk conductor up there, gesticulating with her hand motions ripping out clever riffs that show why she's one of the most creative guitarists out there. Songs like "Dig Me Out" hit with the force of wrought iron. The sheer intensity of "Jumpers" was brought to life in stunning, immaculate fashion. Drummer Janet Weiss is also amazing. The guitar/drum combo on the opening of "The Fox," couple with Corin Tucker's ear splitting shriek near the song's close, was one of the best full band moments I've witnessed in awhile. I wanted to hear "One More Hour," yet they wrapped it up with the mellow but lovely Modern Girl before shaking hands with eager fans on the floor. (“You’re never gonna wash that hand again!” one girl exclaimed to another). But perhaps, they did what many of the best bands do -- leave you wanting one more song. And the fact there’s so many great cuts they didn’t play attests to the strength of their discography.

9. Spiritualized

May 9 at Terminal West 

I feel like this is the quickest hour and a half that has ever gone by listening to live music. When it was done, I was like, is it done? Is it really done? It’s like that feeling when you first get out of the swimming pool. My senses were assaulted by this wonderful, glorious noise coming at me from all directions. Their sound is very spacey and chaotic, but equally beautiful. On a song like "Electric Mainline," the bass and drums come together to create this pumping, seething, breathing engine that powers much of what the band does. It is hypnotizing to behold. There are moments of chilled out bliss when the band settles down to allow J. Spaceman to take the microphone. And when everything falls into place at the end for a glorious sing along like "Come Together," you know you've witnessed a truly incredible concert performance. 

 

8. Godspeed You! Black Emperor

September 19 at Marathon Music Works 

The best of the three times I’ve seen them. Much of that likely had to do with me knowing the material better, but this setlist was almost perfect. The new album material is a 40 minute roller coaster ride, and does a nice job of taking the place of “Behemoth,” which I never particularly cared about anyway. The twinkling chimes of “Moya” laud in 10 minutes of pure, sublime beauty, and it’s something anyone who’s a fan of live music should experience at least once. The only disappointment was no "Mladic." That would have elevated this concert from superb to unforgettable. “The Sad Mafioso,’ though, was the perfect way to end this set in a moment of bliss and serenity.  


7. Kraftwerk

September 27 at Ryman Auditorium 

I never thought silly songs about robots, highways, and computers could be so amazing. The defining characteristic of Kraftwerk is simply their warmth. They’ve got this element of holy crap, if you had verbally described what this show was going to be and told me how awesome it was going in, I doubt I would have believed you. The only band I can think of that comes close in that department is Animal Collective, and Kraftwerk blows them off the stage live. I’ve seen my share of concerts, as well as some impressive audiovisual displays as well. But nothing really compares to seeing the wide open autobahn stretching out before you on the display monitors and hearing those vibrant synth tones ring out. I'd bet they're the only band that can take you on an odyssey in a spacelab, unleash the grandeur of central European railways, and then tech things up with futuristic computer odes. Not to mention they’re THE pioneering band when it comes to electronic music. Get out and see them while you have the chance, folks. 

6. King Diamond

November 16 at The Tabernacle 

It’s not often that live music feels like a theatrical performance, but still provides the fist pumping energy of a concert. King Diamond’s Abigail tour is a truly captivating music related spectacle. This tour features Diamond performing every song from his 1987 Abigail album, which tells the story of two travelers, Miriam and Jonathan, who spend the night at a creepy mansion haunted by a wicked spirit known as Abagail. The stage is dominated by a big gothic staircase. Diamond brought out the baby Abigail and stabbed it with a knife. Marian wandered around the stage possessed like, wrapped in a white sheet and carrying a lantern. The setup is impressive and the musicianship is top notch, but make no mistake as to who the star of the show is. Diamond himself is not only one of the most underrated performers in metal, but also one of the genre's most underrated vocalists period. 

5. Jack White

January 28 at Bridgestone Arena 

No two Jack White shows are the same. He was always going to be hard pressed to live up to last year’s transcendent Bonnaroo performance, which ranked #1 on my 2014 list, but there were plenty of aces up his sleeve for his Bridgestone Arena show. We all knew he was going to play with Loretta Lynn (and what a treat that was, seeing a living country legend performing a set of vintage classic tunes to open the show). But what we didn’t know was that White would pull off a full blown reunion of The Raconteurs right here on our very stage! The boys came out to open the encore with a ravishing performance of their biggest hits. Other highlights included the folksy shuffle of "Hotel Yorba" and the heavy blues garage rock of "Ball and Biscuit" lit up our nights, while new cuts like "Three Women" and "Black Bat Licorice" provided an energetic jolt that will hopefully figure into his sets for years to come. The final chords of Seven Nation army would send us with our ears ringing into the night. 

4. The Rolling Stones

June 17 at LP Field

This night will always be a great memory for me. Summer is at its height, I was coming off of Bonnaroo hype from less than a week before, and it was the first concert I’d been to with my dad since Paul McCartney nearly five years earlier. Mick and Keith and the boys were in fine form and put on a stunning show. I just wish I had known half the songs they played. Hot Rocks and Forty Licks had not proven adequate to fully saturate my knowledge of their catalog, surprisingly, but The Stones had no qualms about reaching farther into their back catalog to pepper us with a few for the diehards. I did appreciate the nod to Nashville with the country swagger of “Dead Flowers” -- featuring Brad Paisley, no less -- which is a facet of the band that most people overlook in favor of I CANT GET NO SATISFACTION, MANG. Speaking of which, hearing Satisfaction’s opening riff live hit me in an all new way. After having heard the studio version a million times, I never pictured it sounding so thundering, world rattling, and all encompassing. If I didn’t before, I now understand why people would quiver at the very mention of this band’s name. They’re far removed from their glory days, but they still emit a shock that their records won’t ever quite be able to replicate.

3. My Morning Jacket

June 13 at Bonnaroo

Damn! These guys are good! What deal did they make with the devil? What kind of P.E.D.’s are they on? I don’t know, but I hope they keep taking them! The much ballyhooed house rock band of Bonnaroo lived up to their billing and more, putting on a two hour showcase that highlighted a wide selection from their back catalog. The Louisville jam rock outfit switched effortlessly between various styles, creating moments of sheer serene beauty, hair raising rock and roll, smooth, emotive soul, and everything in between. James never spoke to the crowd, letting his band’s play do all the talking that was needed. Their tour dates leading up to this point had focused heavily on their newest album, The Waterfall, but on this night they would salute their diehard fans by giving us only on the essentials from that album and focusing instead on older, fan favorite cuts.

2. Sufjan Stevens

November 11 at Ryman Auditorium

What’s great about Sufjan as a live performer is his versatility. His latest album, Carrie and Lowell, is one of the major critical darlings of the year, and serves as the centerpiece of his 2015 tour. For the first little bit, he’s just audiovisually fucking you up there. There’s this magnificent combination of lights, scenery, and this beautiful, lilting, fingerpicked folk music. These waves of relaxation to undulate over you in a way the album versions can’t come close to doing. He’s masterful at extending songs, as “Futile Devices” and “All of Me Wants All of You” demonstrates, the latter of which features an wild extended keyboard/guitar solo that sounds very Genesis-like, in the best possible way. His encore stripped away all the production and showcased his ability to wow a crowd with just bare bones folk music, piercing through the stillness of hallowed Ryman Auditorium. “John Wayne Gacy” gave me goose bumps. There’s also quite a bit of warmth and humor to the man. When he tried to line up his band members to sing into a single microphone, he said he didn’t see how Dolly Parton and Emmylou Harris used to do it. The night’s most staggering moment, though, belonged to main set closer “Blue Bucket of Gold.” I won’t spoil it for you. You’ve just got to get out to a show and see it for yourself. Seriously.

1. D'Angelo & the Vanguard

June 13 at Bonnaroo 

If D’angelo hadn’t become such a recluse in the 14 years between 2000’s Voodoo and the shimmering followup, Black Messiah, he would have taken over the world two or three times by now without breaking a sweat. He’s drawn comparisons to Prince and James Brown. Women love him, but even if you’re male, he exudes such charisma that it’s impossible to not, at the least, want to have a beer with him or something. His band, The Vanguard, consisted of 10 members all engaging in crazy antics. His guitar had silver plated edges and had his name on it, two other guys would come to the front of the stage, guitars in tow, and jam with him. Later on, some of his band came up and did a little dance number with him. There was this one backup singer who was getting funky and kicking it the whole time. The Vanguard’s cascade of voices bubbled forth on “Back to the Future” and “Sugah Daddy” then put on his own personal vocal showcase on “Brown Sugar,” his breakout 1995 hit. He’s making a strong claim of not only being the greatest soul/R&B star of his time -- he might just be the greatest rock star of his generation as well.

Totally Unauthorized: 2014 Album of the Year Awards

There are several reasons why 2014 was not the greatest year in music or media. First off, Robin Williams died. Rest in peace to one of comedy's all time greats. Secondly, a metric ton of my favorite electro-pop bands either split up or went into extended hiatus. Nicolas Jarr's ambient guitar synth project Darkside fired the first shot by releasing an ambiguously worded statement that they were disbanding but left open the possibility to a future reunion. Electro-freaks The Knife called it quits, Alice Glass left the future of Crystal Castles in doubt by declaring her departure from the group, and all-time greats Orbital decided to hang up for the second (and presumably last) time. In the span of a few months, four of my favorite groups in the genre were no more.

Secondly, it just wasn't as good a year for music than what we've become accustomed to. When you think about it, who really had a big year? I suppose you could nominate War on Drugs. Lost in the Dream catapulted them from being random Pitchfork Best New Music act to 80s rock and roll enthusiasts' wet dream, but would their rise to stardom be as recognizable to the random joe on the street as that of Yeezus? Or Vampy Weekend? Or half a dozen others from the last few years? When the tale of these years are penned, they're liable to be best remembered for a six minute folk diss track than anything else. Sun Kil Moon's Mark Kozalek had possibly his biggest moment yet, then managed to squander almost all his goodwill overnight with his stirring rendition of "War on Drugs: Suck My Cock." Foos were a good candidate for awhile. Their Sonic Highways HBO series gave a thought provoking look into the musical legends behind eight U.S. cities, and their ticket controversy at Ryman Auditorium on Halloween night attracted just enough any press is good press controversy to bolster their status as a major story, but then the album actually dropped and everybody realized: oh wait, it's yet another fucking Foo Fighters album. Swans already had their moment with The Seer. Aphex Twin, observing the success of comeback attempts by Neutral Milk Hotel, Nine Inch Nails, Outkast, and tons of others, decided to step out of the limelight himself but forgot that it doesn't really work the same way without the live act.

So here we are, at the end of another year, and I guess it could have been worse. If nothing else, this may stand as the year to reaffirm our faith in guitar based rock music. Cloud Nothings, Swans, St. Vincent, Ty Segall, Rodrigo y Gabriela, The War on Drugs, Spoon, Jack White, and Tom Petty all put out excellent albums, not to mention the fact that metal had a banner year. Electronic music had a slow start but recovered in the second half with strong releases from Caribou, Aphex Twin, and Iamamiwhoami. Rap, as mentioned before, decided to take the year off.

So if I don't seem that enthusiastic about this year, well, just think that with all the technological advancements we have now, coupled with all the musical breakthroughs of the past 60 or 70 so years, I know we can do better. And we will. But for now, let's get this out of the way so we can move on to the (hopefully) far superior 2015.

 

10. Badbadnotgood - III

 

One of the most intriguing occurrences of the year was Badbadnogood's transformation into an electro-jazz outfit. They shed some of their hip hop stylings but the atmosphere has never been better. It's like wandering around a darkened warehouse at night, but it's a mystical and awesome experience. Not to mention that each band member here -- even the bassist -- gets their moment in the spotlight with an array of dazzling solos, proving just how deep the talent runs in this outfit. These guys are bold, young, and know they're going somewhere -- and they make music that sounds like it.

9. Swans - To Be Kind

It's not that I didn't think anyone would ever make an album like this, it's that Swans make music in ways that never would have occurred to me in the first place. The first disc is an imposing slab of dark art rock, while the second disc sounds like a crazy priest chanting while the earth is being sucked away into a vortex. Admittedly, I like their more straightforward (at least for their standards) rock more so than the 15+ minute post rock nightmares, but Swans are who they are and no one can take their place.

8. Thee Silver Mt. Zion - Fuck Off Get Free We Pour Light on Everything 

Efrim Menuck has a way of talking about things that will stone cold sober you. This side project fronted by Menuck, of Godspeed You Black Emperor fame, touches on powerful themes including dealing with the bleak reality of everyday life, trying to pass on a better world to your children, and realizing that no matter how much love you put out in the world you can never put out enough. Sometimes it's a tough listen with walls of wavy guitars, Menuck's acquired taste vocals, and various elements that stack up and sometimes crash into one another, but there are other times where the post-rock/punk inspired ethos comes together with the backing choir to create sheer beauty. Conceptually, it's one of the most beautiful albums I've heard.

7. Behemoth - The Satanist

The complaint may be that there's not much new in metal, and blackened death certainly isn't either. But what makes The Satainst is all the little touches Nergal puts into it. He's not the first to have to bone to pick with the Almighty, but Nergal insists on elevating his dissent to the realm of high poetry. The amount of passion he put into this is staggering. There's abundance of biblical, Latin, and ancient Roman imagery that gives the album an atmospheric, silver screen type of feel, while the horns, backing choirs, and epic, weighty guitar solos will compel you to raise your hand like a Roman emperor in the coliseum over a downed gladiator. Do you point thumbs up or down?

6. Rodrigo y Gabriela - 9 Dead Alive

9 Dead Alive marks a key turning point for this Mexican acoustic guitar duo. Once known for their white hot metal inspired guitar leads, however, this one is much more of a thinking man's album. Each song is dedicated to a luminary who fought to improve the human condition, or who has pushed the envelope with their creative endeavors. There are sounds of sorrow and of triumph, dedicated to finding our place in the world and meaning in our lives. It appears that their fans didn't follow them in their new direction as this is the least buzzed about album yet, but what they do put forth here is contemplative music to calm the soul, and I find great value in that.

5. St. Vincent - St. Vincent

The tagline everyone floated with this album focused on how bizarre and eccentric it is on the surface, but in truth it is actually a very confessional and interpersonal record for Ms. Clark. She proves she can kick ass and write a killer guitar lick, and crafts one of the most intoxicating albums of the year thanks to her rose tinted guitar and synth crunch. But she also reveals herself to be very sensual and full of longing and desire. Which of her revelations are the most confessional in nature? That she prefers her mother's love to Jesus? That she begins her day with taking out the trash and beating off? Or is it this line: I'm afraid of heaven because I can't stand the heights/I'm afraid of you because I can't be left behind."

The mainstream publications may have focused on her zany image, but this album, maybe more so than any album this year, is a triumph of allowing us to see its creator as human and vulnerable.

4. First Aid Kit - Stay Gold

Swedish sisters Johanna and Klara Soderberg have crafted their finest work yet. It's chock full of themes that will appeal to youth, including insecurities about the future, realizing the transience of people, places and situations when you're young, and figuring out who you are. There are themes of traveling or moving on from certain things in life, which calls to mind Dylan in a way. Even if you aren't a youngster, the breezy melodies, brilliantly arranged harmonies and that retro 70s folk/country vibe are so easy to get swept up in.

3. Caribou - Our Love

The electronic production here is better than any album I've heard this year, and can hold its own with anything this decade. A deep, dense, swirling world composed of IDM beats and hazy psychedelia rise up to engulf the listener from the moment the needle hits vinyl. Dan Snaith's tender croon paints images of love and love lost, but he never dives full bore into the subject lyrically. Instead, he allows his stunning dreamscapes to transpose the message he wants into the listeners' mind. This album that will penetrate every little pore if you let it.

2. Cloud Nothings - Here and Nowhere Else

This album is great for anyone who's ever felt uncertain about life, which is a feeling I think many of us can relate to. It presents a pulsating, driving hard rock sound accented with fist pumping choruses and guitar leads reminiscent of 90s punk. Meanwhile, Dylan Baldi pours out his frustrations and anxieties pour out in full force. It may not help you chart your course for life, but it will provide a hell of a soundtrack for doing so.

1. Run the Jewels - Run the Jewels 2

One of the biggest areas in which music this year lacked was that there wasn't anything with much of a message. War on Drugs might have wowed listeners with waves of reverb, and Swans sure as hell developed some intense experimental soundscapes, but when you boil it all down it's all just music, and nothing more. Run the Jewels 2 was one of the few notable albums this year that actually attempted to say something relevant to its time. Now, I'm not going to try to tell you this is The Times They Are A-Changin' or anything, but a hell of a lot happened in 2014 that didn't involve our headphones and this sums it up as well as anything else. "Early" presented a depiction of police violence and a summation of our society's response to it. In a year in which violent protest dominated our headlines, it's enough to rank Run the Jewels 2 among the year's most socially conscious records.

Of course, the album is great for many reasons other than that. Emcees Killer Mike and El-P talk about some very real themes but don't shove it down your throat. They mix great production with mostly intense hardcore lyrics and then slip the themes in here and there. It's very intense in every sense of the word, from the beats and overall sound of the album all the way down the to lyrics and presentation. They laid down basically what they wanted to do with RTJ1, but this one fixed all of its problems. The beats are better, they cut the shit, cut out all the weak watered down hooks, and tightened everything up.

Latin guitar duo Rodrigo y Gabriela's ringing rhythms rumble Ryman

There's this part during Rodrigo y Gabriela's packed to the rafters show at Ryman Auditorium where the Rodrigo is unmercifully tearing through the climactic final guitar solo from "The Soundmaker," the lead single from their latest album 9 Dead Alive. As Gabriela leaps in excitement beside him, the energy in the room builds to a fever pitch and seems almost enough to take the roof off the place. A brilliant wash of auburn light suddenly illuminates the stage at the precise moment he finishes. And they were just getting started.

Rodrigo y Gabriela dazzles the crowd with carefully crafted melody.

The twosome, consisting of Rodrigo Sanchez and Gabriella Quintero, hail from Mexico City but had to journey to Ireland before finding success with their self titled album in 2006. Their sound is heavily steeped in the great traditions of Spanish guitar style, but also borrows heavily from Rodrigo's experience as a heavy metal guitarist. For over 90 minutes, they wowed the crowed with almost purely instrumental play. Mini cameras were hooked up onto the head of their guitars so as to capture the insanity of their lightning fast finger movements and relay it to the big screen. 

Just as impressive though, is how varied a repertoire they're able to create with only two acoustic guitars. Cuts like "Fram" and "The Russian Messenger" from 9 Dead Alive are a little more dialed back and atmospheric, gently pulling the listener in with a swirling confection of strings. "Hanuman," on the other hand, hits you in the face like a hand grenade and never lets up. Its breathless spontaneity and in your face nature is highly indicative of the style of traveling street performers, which Gabreila explained they once were.

And what street performers they must have been! As this tune unfolded  it was easy to envision the palm trees, majestic fountains, and palatial resort hotels rising in the distance.  But of course, we couldn't escape without a little heavy metal influence, provided with a cover of Metallica's breathtaking "Orion." They may have lacked the electric amplifiers, but their performance gave you no less of a desire to pump your fist into the air.

Although Rodrigo sizzled with his lead work, Gabriela's rhythm playing was nothing short of nuts. She eschewed a pick in favor of a four finger picking style that looks like something you would see a bass player do. But when you consider she does it with six strings instead of four it's even more insane. She'll also drum a beat on the side of her guitar or over the sound hole and incorporate that into the rhythm parts she plays on guitar. It's one of the most unique styles of playing the instrument I've ever seen, and seems nearly impossible to replicate perfectly.

Coloruful backdrops added a Southwestern flair to the group's set.

Also great was a segment midway through the set where the duo performed a series of cover songs, mostly just pulling a short snippet out of each song. Rodgrio began playing Stone Temple Pilots' "Plush" on guitar, then motioned for the stage hand to bring out a microphone for what Gabriella termed as his karaoke set. He quickly ran through "Breaking the Girl" from The Red Hot Chili Peppers and "Symphony of Destruction" from Megadeth -- which sadly no one seemed to recognize -- before finally ending up with Radiohead's "Creep," which drew massive ovation from the audience. His voice was fine, but afterward did acknowledge that he doesn't sing much. "Don't go upload it to Youtube," he joked.

They had a lot to live up to, as opening act Milow absolutely killed it. The Belgian acoustic guitar duo delivered gorgeous vocal harmonies, while lead man Jonathan Vandenbroeck showed off great presence and a wonderful sense of humor. Near the end he did a song that he wrote as an advance apology to his guitarist for when he becomes famous and forgets all about him. He also made a few cracks about Belgium's soccer win over the U.S. in the World Cup, but after what they did for their final song I think we can forgive him.

For their set closer, they wanted to take advantage of the Ryman acoustics and perform a little closer to the crowd, so they stepped out from behind their mics and edged right up to the front of the stage. The crowd went silent as a pin drop as their unamplified voices and acoustic guitar sliced through the stillness of the Ryman air. It was one of the most beautiful moments I have witnessed in that building. 

Totally Unauthorized 2014 Mid Year Recap: Top 25 First Half Albums

The 2014 musical year started off slowly, but has gradually been shaping up into what may be another excellent year. It hasn't been as good as the past two years, although 2013 was a banner year and may not be topped by decade's end. That said, 2014 has still seen some great releases. Here are my favorites from the first half:

25. Mogwai - Rave Tapes

24. Beck - Morning Phase

23. Little Dragon - Nabuma Rubberband

22. Anathema - Distant Satellites

21. Damon Albarn - Everyday Robots

20. Freddie Gibbs & Madlib - Pinata

19. Mastodon - Once More Round the Sun

18. Lana Del Rey - Ultraviolence

17. Animals as Leaders - The Joy of Motion

16. Future Islands - Singles

15. Real Estate - Atlas

14. Lykke Li - I Never Learn

13. War on Drugs - Lost in the Dream

12. The Roots - ...And Then You Shoot Your Cousin

11. Badbadnotgood - III

10. Jack White - Lazaretto

At this point, Jack White is who he is. You know what to expect from one of his records. The best thing about Lazaretto is that it doesn't waste the audience's time; it gets right down to business by focusing on his greatest strength - rocking hard. White tosses in flourishes of folk and country to supplement his infectious brand of blues rock, weaves in interpersonal lyrics, and mixes it with some of his best guitar playing to date.

9. Thee Silver Mt. Zion Memorial Orchestra - Fuck Off Get Free We Pour Light on Everything

This is a fantastic album to crawl inside of and get lost within. Efrim Menuck of Godspeed You! Black Emperor brews up post-rock in the vein of his flagship band, but this mix boasts more of a hard edged, punk rock vibe that is sometimes whimsical and sometimes ominous. Add a sense of child-like wonder and a theme loosely based on the band's home of Montreal, and you have one of the year's most unique and inspiring albums.

8. Tune Yards - Nikki Nack

This is the biggest and boldest sound Merrill Garbus has had yet. Her patchwork pastiche of world music and electronic influences, coupled with her dizzying drum work merge together to create a mix both intoxicating and impossible to ignore. After two fantastic albums I was hoping she'd knock it out of the park here. It ultimately doesn't live up to its predecessor, w h o k i l l, but for your buck, you won't find an album with a louder sense of style than this.

7. Sun Kil Moon - Benji

This may be the most unique entry on the list in the sense that this is more like reading a short story as opposed to a musical experience. Benji takes a look into who Mark Kozalek is, recounted over various ruminations about his family, losing loved ones, and youthful loves. There are also more specific events including discussing the Newtown shootings in an exchange of letters with a fan, or feeling out of touch while seeing his friend Ben Gibbard of The Postal Service in concert. The level of detail Kozalek recalls is stunning, and he complements it with gorgeous finger picking.

6. Kishi Bashi - Lighght

This is simply a splendid, joyous record. The product of Japanese violinist K. Ishi Bashi, known for his work in Athens psychedelic indie rock band of Montreal. He has long stood out with his signature style of guitar playing, and whimsical, feel good songwriting approach, but now he's expanded his sound by giving keyboards a much more prominent place in the mix. With Lighght, he puts forth an album that is like Wonderland in musical form, and is guaranteed to put a smile on your face.

5. First Aid Kit - Stay Gold

Easily the girls' best effort yet. The harmonies are wondrous enough alone to merit this a spot on the list, but there's also an alluring vintage feel to much of this album. Sometimes they sound pensive, at others they sound like they were born to play the Ryman, but mostly their music moves along with a determined grit and heads held high. Their last effort, The Lion's Roar, suffered from consistency issues, but this time there's not a weak track to be found.

4. Swans - To Be Kind

Swans are tough as nails and impenetrable, but they make no apologies about who they are. That said, there is still some great dark art rock here, alongside some of the year's most sweat soaked riffing. Michael Gira's haunting cadence rings out from the shadows. It's oppressive yet fascinating simultaneously. At times there are more straight ahead numbers at and at times it's really esoteric, but it's equally difficult not to find yourself sucked in by swans' sinister vortex.

3. Cloud Nothings - Here and Nowhere Else

If you're looking for a torrent of pure adrenaline, this album's for you. The Ohio indie rockers barrel full speed ahead with a harder hitting sound than ever before, tempered with catchy, effective song writing and strong hooks. And every now and then they show off their ability to launch into an extended post punk rage. For his part, frontman Dylan Baldi alternates between jagged edged screams and passionate clean singing in what is surely one of the most explosive albums of the year.

2. St. Vincent - s/t

This is the album that's been on everyone's list this year, and for good reason. Her rose tinted art pop might color her as a little weird and off kilter, but Annie Clark's fourth album is perhaps her boldest yet. She's wistful and provocative with an intoxicating sense of confidence, and at the end of the day she's irresistible because she's a knockout songsmith crafting a dizzying collection of fragrant rock and roll.

1. Rodrigo y Gabriela - 9 Dead Alive

This has been my go to jam this year. I was initially drawn into the band thanks to their white hot single "Hanuman," which led to me exploring their previous album, 11:11. This one is much more relaxed and low key, but no less breathtaking in terms of aesthetic or technicality. I like this record whenever I'm upset, or agitated or anxious about something; it helps mellow me out. But I also love it for the sheer splendid beauty of its arrangements. I am surprised that no one is paying attention to this one after the success that their previous two albums had. It must not be the type of sound media outlets are looking for, which is a shame. Because to me, it sounds better than any record released this year.

Totally Unauthorized's Most Anticipated Albums of 2014

It's been a great decade for music thus far, and 2014 seems like a year that could top all of them. No joke. Kendrick Lamar, Fleet Foxes, Agalloch, Frank Ocean, and Adele are all at least somewhat likely for sometime later in the year. Meanwhile, British stalwarts Radiohead and Blur have been working on new material, but it is not known yet whether those works will be pushed into 2015. Here are some of the can't miss releases of 2014:


Beck -  Morning Phase
TBA February

How can you not love Beck? The super versatile musician and songwriter responsible for classic tunes like "Loser" and "E-Pro" hasn't had much to cheer about in several years, but Morning Phase is looking like it will be among the early contenders for album of the year. The album will apparently cull from a collage of classic 60s and 70s artists; Beck tells David Fricke of Rolling Stone that he drew inspiration from The Byrds, Crosby Stills & Nash, and Gram Parsons among others.

St. Vincent - s/t
February 25

Whenever St. Vincent puts out an album, you can rest assured that it will be just plain fun. There are already a pair of singles out. The first, "Birth in Reverse," is a fun and bouncy number that sounds like new wave updated for a 2014 audience, with a bit of a very intentional mechanized feel. "Digital Witness," meanwhile, has a similar vibe but manages to pack in her trademark horns into the fabric. It gives the image of an album with pretty heavy production, but still with enough charm and life to fit it into the themes she's developed over her career.

Tune Yards - TBA

Merril Garbus of Tune Yards released one of the most eclectic and aurally stimulating albums in 2011's w h o k i l l, blending all sorts of world music influences with a rough, homespun, do it yourself type of vibe. But most of all it was the overpowering bass and tribal drums that underpinned the tracks more than anything. Garbus revealed a tentative title for the album, Sink-O, back in July but not many details have emerged since then. It is known, however, that she spent time in Haiti learning more about African tribal rhythms.

Cloud Nothings - TBA

Cloud Nothings made one of the most intelligent fusions of punk, indie, and post-punk with their 2012 album Attack on Memory, but don't think that the Cleveland rockers are content to sit on their laurels for the followup. Frontman Dylan Baldi claims the new album will be nosier and much less melodic, meaning that the guys will be free to work their chaotic brilliance in all new ways.

Rodrigo y Gabriella - TBA
TBA April

The Latin acoustic guitar playing duo released their last album, Area 52, in 2012, but their newest release will be their first proper studio album since 2009's 11:11. All that's been released so far is a brief clip of a new song, as well as a release date -- April 2014 -- on the band's website. But if their past material is any indicator, the new album will be another captivating piece of heavy rhythm and breathtaking lead work.

Modest Mouse - TBA

All I can say is that it's been far too long since Modest Mouse put out a full length studio album. It's been seven years since We Were All Dead Before the Ship Sank, and going on 15 years since their magnum opus The Moon & Antarctica. However, as recent history has shown, a long layoff can often enable a band to come back with a fresh approach. They cancelled a run of European dates last summer to work on the new album, which is set to include a guest appearance from former Nirvana bassist Krist Novoselic.

Grimes - TBA

Canadian electronic synthpop artist Claire Boucher, better known as Grimes, is one of the more overlooked personalities out there. Her excellent tumblr reveals a silly and fun loving personality, and this is one of the qualities that made Visions such a gem. Boucher said in April that she was influenced by Enya and Paramore while recording the new album, and wants it to have a Nine Inch Nails level recording quality, which will be much easier with the resources she'll have after her signing with Jay Z's Roc Nation label.

Badbadnotgood - BBNG3

If you're looking for jazz music that thinks outside the box, Badbadnotgood will be your jam for 2014. This trio of early 20s musicians is well known for infusing their deep, and introspective compositions with a hip hop nature. They've worked Tyler, the Creator, Frank Ocean, and Earl Sweatshirt of Odd Future Fame, while reinterpreting material from artists as diverse as James Blake and Wacka Flacka Flame. They released a new tune, "Hedron," last summer, but it is unknown whether it will be on the final album.

Run the Jewels - TBA

Atlanta hip-hop artist Killer Mike and New York based producer/rapper El-P gave us one of the most exciting rap collaborations last year with their self titled Run the Jewels album, and fortunately the duo isn't making us wait long for more material. Killer Mike didn't give a release date but did disclose that recording was taking place in December and January. If it's anything like its predecessor, you can expect forceful and combative hip hop that never messes around and gets straight to the point.