Atlanta Braves provide enough high octane to last for 15 innings

In lieu of my normal monthly concert review, let me instead tell you about the Atlanta Braves game I attended earlier this month. Right off the bat this wasn't your normal ball game. The starting lineups pitted hotshot pitchers Mike Minor from the Braves against Washington Nationals ace Steven Strasburg. In ordinary circumstances the table would have been set for a pitchers duel in which both guys pitched deep into the ballgame. However, neither pitcher survived the second inning. For Minor, it was simply a case of lousy performance, as he gave up four runs and hurled nearly 50 pitches in only 1 1/3 innings of work. Strasburg, on the other hand, was unable to pry himself from a from a feud that involved Braves pitchers plunking Nationals star Bryce Harper.

Strasburg opened the second inning by nailing Justin Upton with a letter high fastball, and then got the hook after throwing three straight pitches behind Braves shortstop Andrelton Simmons. The entire scene played out in a jarring fashion. Strasburg seemed to be losing control of his pitches, and it appeared that he may have been pulled from the game due to some type of injury. Apparently the guys in the booth thought so too, as I heard them say so on the overhead speakers when I was walking in the concourse.

But it wasn't the night's only unusual occurrence. Right fielder Jason Heyward turned the game into a marathon with his two run homer in the bottom of the ninth, extending the game into what would eventually turn out to be a 15 inning slugfest. The Braves looked to be in winning position a few times throughout the extra frames, but it eventually came down to a former Brave -- Washington first basemen Adam LaRoche -- to jack a home run in the top of the 15th and shut off the lights for the evening. The Braves ran through their entire stable of vaunted relief pitchers and were forced to make the unorthodox move of inserting starting pitcher Kris Medlen into the game starting in the 13th inning. And it would be Medlen who suffered the loss.

The Braves had plenty of firepower going into the game. Chris Johnson came into the game as the National League's leading hitter, and Heyward had injected a new found electricity into the lineup after moving into the leadoff spot, but the Braves would do their damage only sporadically. Catcher Brian McCann, first basemen Freddie Freeman, and Heyward all went yard to help the Braves play catchup, but the team found itself unable to push runners across the plate when they needed them most.

Getting to see Turner Field once more was a treat. My last trip here was in 2006, when I was fortunate enough to catch John Smoltz out dueling the Milwaukee Brewers. In addition, for two of my friends that came along, it was their first experience attending a Major League Baseball game. Both seemed to enjoy it, although they wished it hadn't dragged on so long.

We decided to change our plans and drive back home directly that night. It was nearly 6 a.m. before my head hit the pillow, but it was well worth it and was a nice change of pace.

Braves pitcher Kris Medlen makes a rare relief appearance.

Earl Sweatshirt's Doris delivers a dreamlike and introspective effort

Earl Sweatshirt may be aligned with hip hop supergroup Odd Future, but he's doing his damage in markedly different ways from the group's stalwarts. His 2010 mixtape, Earl, may have been heavily influenced by Odd Future's tropes at the time, yet deep down were core ideas that would compose his identity. Now with his major label debut, Doris, he has finally unveiled his first presentation of a full fledged mission statement.

On many albums, the beats are subdued so as to give the rapper the chance to take the spotlight. Yet Doris is in a minority of rap albums that actually presents its own distinctive sonic footprint. It goes beyond being simply a rap album, to being a legitimate artistic statement in itself. Much of it is low key and dreamlike, much like Cunninlynguists's 2011 release Oneirology.

The Odd Future guest spots, Frank Ocean's included, are confident and capable, but not extraordinary. The philosophy seems to be focused on not attracting attention away from Earl. RZA of Wu Tang Clan fame has a guest spot on "Molasses," but is confined to a spoken word hook. The lone exception being Tyler's is the only one that doesn't tend to fade into the patchwork. But in some way it feels like it is that way by design.

Earl lets us see what's on his mind straight off the get go. Problems with family, grandparents, and the general rough and tumble nature of his existence come together to allow Earl to weave very effective poetry. It's not really street poetry, but you can tell Earl has been through some rough environments without making it sound like stereotypical street poetry. Many songs are often esoteric lyrically, but contain lots of snippets of getting in fights, dealing with rough stuff and struggling to make it. On "Burgundy," he showcases his struggle to keep up with the fast paced nature of the music industry while balancing it with family life: "Grandma's passing/But I'm too busy tryna get this fuckin' album cracking to see her."

Later cuts, such as "Guild" and "Whoa" boast beats that sound a little more sinister and Odd Future like. "Guild" sees Mac Miller drop a totally stoned out verse, before allowing Earl to dive into some of the most sinister imagery found on the album. It's an effort not unlike the works of Memphis rapper Cities Aviv, or even Tyler himself.

"Chum" has some of his most interpersonal lyrics yet, talking about his relationship with his parents and how he looks to Tyler as a big brother figure, while the beat on "Sunday" hits with a heavy blast of nostalgia. Frank Ocean lays down a verse on this one, sort of mellow, almost more spoken word than rap, reminiscing and talking about things from past, schools, fights, but it's all done in a very poetic and lyrical way. Both guys prove themselves as great street poets.

The other main fact of Earl is that unlike Odd Future cohort Tyler, he doesn't have that powerful of a voice, and lacks a commanding presence. So he tailors his game to work with his strengths, leading Doris to have a very introspective and subdued nature, but still a very effective one.

Score: 89/100
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Frank Ocean - channel ORANGE review 
Tyler, the Creator - Goblin review 

Top 10 sets from Bonaroo 2013

10. Nicki Bluhm & the Gramblers

Nicki Bluhm was kickass. She’s got an old school country/southern rock vibe with plenty of heart and soul. Many of her lyrical themes take their cues from this era – a lot of “my man ain’t no good” vibes. It’s been done many times, but Nicki presents it with so much passion and authenticity that she will make you believe in it all over again. She’s got an incredible set of pipes and a kickass guitarist to boot.

 9. Of Monsters & Men

Another of my must sees, and they proved my reasoning to be solid. I love their onstage demeanor, so carefree, laid back, and humble. The setlist was a bit by the numbers, but with only one album that’s to be expected. They were really good at interacting with the crowd; once or twice Nanna or the other guitarist would walk out on a platform jutting into the crowd and everyone would just soak it all in. One unexpected moment came when they did a cover of “Skeletons” by Yeah Yeah Yeahs. The original is really electo/new wavey, but OMAM folked it out, added in their harmony arrangements and really made it their own.

8. Alt-J 

Alt-J has been a tough nut for me to crack. I couldn’t get into the album much from what I listened to it and had considered skipping the set entirely, but decided to give them one more shot to change my mind live. I was up pretty close to the front, which seems to be a great accomplishment as this show was totally fucking packed from what I’m told. That said, I certainly have obtained a new appreciation for the band. It’s tough to think of any band to directly compare them to.

Many people have said there’s not much energy which is true, but this set was really sort of hypnotic in a way. The drummer is really talented; he moves around the kit with some really spastic, offbeat patterns I don’t hear often. And songs like “Tesselate,” along with most of their set really, just have this really chilled out vibe like you’re drifting through space and becoming one with the stars or something.  Still don’t think this band is a good as most people try to make them out as, but I’ve gained a new willingness to open up to them.

7. Tom Petty

Making my way toward the What Stage for this one was bittersweet,  knowing it was the final act but also getting excited for the awesomeness of Petty. After all I had seen and experienced over the past four days, I couldn't think of a more fitting way to wrap it all up than a Tom Petty concert.  I hope they continue to stick with the classic/vintage rocker act for the closing spot in coming years. I couldn't imagine some shitty jam band closing it out. 

Anyhow, I was on the field for the first 45 minutes or so of his set. The plan was to meet up with the rest of my group and we would sit on top of our cars and watch the end of the show, since our campgrounds were so close to the What Stage field. The weather ruined those plans, though it was pretty gratifying singing "Free Falling" in the rain with tens of thousands of other people. I really liked his demeanor and manner of speaking on stage. "I predict we're going to have an incredible time tonight," he declared, before announcing, "I don't have anywhere to be for hours!"

I didn't know many of the songs he played while I was out there, but I liked "Tweeter and the Monkey Man," a song he did with the Traveling Wilburys about a guy trying to escape from an undercover cop. It provided a nice flavoring for the evening. I headed back to camp and heard his final songs, "You Wreck Me" and "American Girl" as I was making a call home.

6. Animal Collective

I don’t buy it when people say you need to be on drugs for this set; this set is drugs.  You can be straight sober and still feel in a slightly different state of mind when these guys play. They had some big pointy acid colored blowup balloons that filled half the stage, along with blowup teeth balloons protruding from gums. The well water ran out before Wilco so I arrived in a state of increasing dehydration but otherwise stone sober.

As they said before the release of Centipede Hz, the set was structured a continual running stream of music. In between songs they would keep playing/jamming/dicking around, so it was like listening to a late night radio broadcast and there would be a bunch of fuzz for awhile and then suddenly you would hear something familiar and get back into it. I give them props for the idea, but it tends to make their set feel disheveled and unorganized at times. There are sections where nothing much is going on for awhile, but the set was scheduled for two hours and I’m guessing is longer than they normally play, so that might have had something to do with it.

As a tribute to the band in front of me, I’m trying my best to imagine I’m on hallucinogens, a task which is made complicated seeing as I’ve never done them. I find myself staring at images projected onto one of the teeth. It’s flipping back and forth between a yellow alarm clock waving his arm and a big pile of purple jello oozing around. Avey gazes into the lights and seems to get lost for a moment, then stares blankly at the crowd and then goes back to what he’s doing on his keyboard. He seemed a bit out of it for most of the show, but was still able to perform well.

The setlist was great, “Purple Bottle” was very catchy and fantastic, and “What Would I Want? Sky” was a great surprise. From Merriweather and Centipede Hz we got pretty much the usual. Avey was all herky jerky when he got up to sing “Peacebone,” but it totally rocked.  Deakin also had some great moments; he did Monkey Riches and a couple other songs that frankly I don’t know what they were. The set was a bit long and I got bored at some points, but after the fact all I really tend to remember is the awesome.

 5. Weird Al

I was utterly conflicted over whether to catch this set or the Superjam. The Superjam felt like the set that I should see, but Weird Al was the set I wanted to see. I headed over shortly after PHJB to get a good spot, and waited at least an hour before At this point that my feet were horribly hurting, to the point I was getting seriously irritated. The long wait was not helping, but did prove to be worth it. He got off to a great start by busting out the accordion for a medley parodying current pop songs. Justin Beiber, Lady Gaga, and even Ke$ha found themselves victims of his satirical barbs.

His costume changes were excellent, and an easy highlight of the night. He dazzled in his half red, half white maple leaf jacket for "Canadian Idiot," while donning a thick black rimmed hat and fake beard for "Amish Paradise." But he went all out in his blonde mop and early 90s grunge getup for "Smells Like Nirvana." He even brought out the cheerleaders. The videos that played during his costume changes were also a riot, taking aim at everyone from Edward Cullen, Megan Fox, and Johnny Cash documentaries. But he was equally engaging while preforming deep album tracks without the help of any visual aid. He captured the crowd's attention with his humorous rendtion of the Spiderman saga on "Ode to a Superhero," while describing the joy (and horror) of selling products online on "eBay." Al undoubtedly endeared himself to the crowd and proved to be one of the best performers on the farm this year.

4. David Byrne & St. Vincent

Spectacular! Very funky, jazzy, and brassy sound presented by two of the more oddball personalities in popular music these days. Coming into this I knew virtually nothing about the material from either artist, but now I will certainly be on the lookout to hear more. It was a delight to see how well they interacted with one another, excitedly exchanging hand gestures and fist pump. And their themes were always delightfully wacky. Byrne did a song about how he used to think that TV was a good thing, but then realized it wasn't.

Annie was even more about there, doing a song about bone connecting to the marrow and weird stuff like that. They even let their band step into the spotlight, doing a song where the entire backing band formed a single file line and each came up to the microphone in turn and sang a single line. It was phenomenal, and everyone looked like they were having a wonderful time.

3. Preservation Hall Jazz Band

To continue Saturday's theme of mistakes, I missed the beginning of this set. I was busy eating a veggie burrito with sweet potatoes and various kinds of foliage. This set was fantastic though; the band members were dressed up in finely pressed suits, ties, and vests, overpowering you with the sheer sound of brass. Trumpets, trombones, horns, and blaring tubas led the charge; I'm pretty sure there was even a clarinet or two. They majored in traditional New Orleans jazz, the type made famous by Louis Armstrong and Jelly Roll Morton. But almost as engaging as the performers was the crowd itself. All around there were guys dressed as cool cats from the 20s, losing themselves to dance.

Right in front of me was a couple dressed up in white swan feathers, covered in all sorts of white material and fabric along with plenty of beads and colorful stuff. Suddenly, there were squeals and everybody started pushing closer to the stage. The man himself Jim James was making a guest appearance. I hadn't planned on catching either of his scheduled performances, but now it's easy to see Bonnaroo wouldn't have been complete without seeing him in some capacity. They did a mournful dirge called "St. James Infirmary" that blew my mind; it's about a guy who searches for his love and then finds out she's dead. If they haven't already, I demand that they record it so I can download it on MP3 and play it endlessly.


2. Bjork

It's a safe bet that Bjork made loads of new fans with this set. Throughout her career she's always been a fringe artist, but a very well respected one who know what she's doing. The first part of the set felt more akin to performance art than a music concert. She comes out backed by about 10 or 15 choir girls clad in blue and gold outfits. With their extravagant dress, they look like a retinue that Bjork purchased from a caravan off The Silk Road or something. As for Bjork herself, her face and head are covered in long white pointy ice spikes, while the bottom half out her outfit is like a dress made out of weird squids squished together. The setlist was more balanced than what she's been doing lately; most of her shows since 2011 focused on playing most if not all of her latest album, Biophillia, but she got most of those songs out of the way early. During "Crystalline," her drummer beat on a strange dark black semicircle shaped pad that he sat between his knees, and it sounded like a marimba when he hit it. Along the way we got most of the classics from her back catalog, including the silky synths of "Hunter" and "Joga," followed by curt little thank yous following every song. Otherwise, she wasn't very vocal. Occasionally she'd come over toward my side of the stage and attempt a little funky dance, but stayed focused on her game.

As the sun began to set, she approached the mic and announced, "It's getting darker." Then shit got real. The beats, which had generally been elegant and reserved suddenly became abrasive and visceral. These are my favorite kind of beats, because it's so easy to totally lose yourself while dancing to them. The choir girls, meanwhile, who had been pretty restrained, cut loose in some amped up dancing as well. It was also refreshing to see a wholly different side of Bjork. She moved into a stunning rendition of "Hyperballad," which was a great surprise because I figured we would get either "Isobel" or "Possibly Maybe" as our Post contribution. At the end she did an awesome raging extended jam session which I later learned was "Freak" by LFO merged into the end of "Hyperballad." The next cut, "Pluto," is easily one of the most visceral songs in her catalog. I was curious to see how well she could pull off the ultra high pitched screams near the end of the song. She couldn't quite get up there, but compensated by slamming the mic stand down and bolting off the stage.

She closed the main set with fist pumping anthem "Declare Independence" before ending with the frantic "Nattura" as her encore song. Flames lit up the back of the stage, bringing back memories of the devastating  pyro show that closed out Paul's set the night before. Although Bjork couldn't come close to topping him in that department, it still resonated powerfully as a finisher to an experience that was no less unique.

1. Paul McCartney

10/10… what else? It was been supremely satisfying to witness the mass reaction to this set, both in person and with regard to what’s been posted online in the following week. There’s not much that tops seeing everyone react like hysterical squealing fangirls, which was more or less my reaction when I first saw Paul in the fall of 2010. Naturally, I don’t feel like anything can compare to my first time seeing McCartney – not even this set – but there are more than a few merits to this show that more than justify the hearty applause it’s gotten.

Not a ton has changed from the show he played at Bridgestone Arena in 2010. This time around I found myself much quicker to pick up on the stories he tells. He’s talking about writing a song to give hope to the civil rights fighters – it’s time for “Blackbird.” Now he’s talking about a guitar he wrote a song on a long time ago – here comes “Paperback Writer.” Oh, now it’s the first verse of “Live and Let Die”? Oh snap, grab your camera – and try not to have your face melted if you’re up close. But knowing how the story ends beforehand doesn’t take an ounce of enjoyment away.  A Paul concert is like watching your favorite classic film. You can watch it over and over and rewind it and play it again and it never gets old. These are top notch performances of some of the best songs ever written, and done so by a man who knows a thing or two about showmanship.

There were, of course, many great moments worth going over here as well. “Lovely Rita,” “Being for the Benefit of Mr. Kite,” and “Your Mother Should Know” are all great mid/late period Beatles tunes that haven’t seen the light of day in some time. Also impeccable were his accents of Russian government officials that he met when he played a concert there, which served as the lead in to his free Pussy Riot declaration.  And to cap it all off, a fan threw a plush walrus on stage, which Paul took and put on top of his piano while he played “Golden Slumbers/Carry that Weight/The End.” It provided a fitting finale for Bonnaroo’s definitive set.

Killer Mike and El-P rock the crowd with Run the Jewels live show

The collaborative efforts between Killer Mike and El-P were easily one of hip hop's high points in 2012. New York bred rapper El-P brought his deep knowledge of breakneck beats to the production booth for Killer Mike's R.A.P. Music, while both men provided guest spots on the other's album. Now they're giving all of us a gift by collaborating even more closely with a new project called Run the Jewels. They present two vastly divergent styles, but manage to meet at the same end point. In their Tuesday night performance at Exit/In, they showcased the elements that make their sets differ from one another, but also preeminently demonstrated the similarities that make the two such a compelling onstage tandem.

Killer Mike expresses his disdain for former President Ronald Reagan.

Killer Mike's act is all about working the crowd.  He engages a crowd by putting his colorful personality on display, and they eat it up. At the core of it all is distrust and resentment toward the government, coupled with love and pride toward the South.  After getting hit single "Big Beast" out of the way early, he then proceeded into a few of the more political tracks from R.A.P. Music. "Don't Die" sees Mike unleash an overwhelming torrent of rage toward corrupt police, but his defining moment of the night was reserved toward a former occupant of the Oval Office. He stunned the crowd into a hushed silence by preforming an acapella version of "Reagan," a throat stomping piece that examines how policies put in place by nation's fortieth president caused severe detriment to minorities and the poor. Mike slammed the war on drugs and the prison industry, along with Regan's background as an actor, and claimed many of the policies he put in place continue up to the present day. And he didn't even need a beat to do it. He had the crowd in the palm of his hand. When he finished, he had them chanting the song's closing refrain along with him, "I'm glad Reagan's dead!"

Mike's act is certainly informed by nasty politics, but by no means is it defined by it. His pride for the South was also on full display, not only in songs but also in personal tidbits he shared. One of those included his love for former pro wrestler Ric Flair, a Memphis native and one of Mike's favorites growing up. There were Deep Southern/religious overtones to his set as well, without getting directly into matters of religion or dogma. "This, to me, is not even a rap concert," he declared. "This is, what we call in the South, a revival." At one point he jumped down into crowd and began preforming a spitfire freestyle proclaiming his love for the South. If Mike hadn't made it as a rapper, he very well could have found a place as a fire breathing preacher. He capped it off with a performance of the title track from R.A.P. Music, a piece promoting respect for the accomplishments of African Americans, both to music and society in general.

Brooklyn rapper El-P seeks divine inspiration.

By comparison, El-P does his damage much differently. His set is focused on creating an aggressive atmosphere through beats, lighting, and short, declarative statements that are delivered like a boxer's jab. El-P, clad in his trademark red baseball cap, is clutching the mic stand dropping rhymes interrogation style on a dimly lit stage, and then he gives us a line an infectious line in place for his hook, " I WOULDN'T WANT TO BE A PART OF ANY CLUB THAT WOULD HAVE ME!" And the crowd is just eating it up.

His setup is more involved; he brought along a guitarist along with his production specialists, so the sound is bigger and louder. While Killer Mike may by far be the more powerful rapper, El-P has the advantage in speed. During "The Full Retard," the rhymes are coming so fast and hard that it feels like physical body blows.
But he can also lay down devastation with just his beats and a hook. "Drones Over BKLYN," a tune which warns about America's increasing transition into a surveillance state, features a chorus section so intense that heading back into the verses feels like coming up for a breath of air.

El-P had come out for a guest spot during Mike's set for a performance of "Butane (Champion's Anthem)," the song he had guested on from Killer Mike's album, and similarly Mike came out during "Tougher Colder Killer," their collaboration from El-P's Cancer 4 Cure album. He even had Despot on hand to perform his verse, by virtue of the fact that he was one of the opening acts.

El-P came across confidently and put on a great show. Of the two, Killer Mike's act translated better to the stage by virtue of the fact that it relies on less. Though El-P's set was great, the beats didn't carry the same power they do on the record (although that would be hard to do). At times, it seemed like he had to fight to be heard above the beats, and vice versa.

Though when these two come together, it's the perfect union. Killer Mike brings the power, El-P brings the speed, and they both prove they can switch it up to a certain extent. It provides a great variety, and they both complement one another in perfect harmony. Clad in their gaudy golden chains, they ripped through a selection of highlights from Run the Jewel's self titled LP, including "36 Chain," the video for which had just hit airwaves that very day. The beats were more subdued than they were during El-P's set, which put the focus square and center on the two emcees. They brought aggression and plenty of smooth wordplay on tunes like "Run the Jewels" and "Banana Clipper" and complained about police aggression on "DDFH," while showing they can toss in a softer, more melodic hook on "Sea Legs."

Run the Jewels prove their mettle as one of hip hop's top acts.

Preservation Hall Jazz Band seeks to leave their mark with That's It!

It may be strange to say a band is on the rise 50 years into their career, but in the case of Preservation Hall Jazz Band the evidence is undeniable. In the past year they've been venerated at major North American music festivals, collaborated with guest stars as wide ranging as The Del McCoury Band and Steve Earle, and now they release the first album of original material in the band's history, That's It!. Creative director David Jaffe says it's an effort by the band's current members to leave their mark on the modern musical landscape, as the great New Orleans jazz musicians of the past did in their day.

They have some well renowned friends to help them do it.  This is not their first time working with Jim James of My Morning Jacket: they collaborated on "St. James Infirmary Part 1" on last year's St. Peter & 57th Street. This time he brings his expertise to the producer's booth, using his laser focused attention to detail to fine tune the band's sound. There are also a slew of well known songwriters at work on That's It! Most notable is Paul Williams, best known for a string of hits beginning in the 1970s and most recently involved with writing on singing on Daft Punk's Random Access Memories.

Many of the songs are pretty straightforward in terms of tone and theme, usually based upon some story of love or loss, or some facet of New Orleans. Yet it's the presentation of the message that determines the success or failure of a recording, and PHJB's composition most certainly has some meat on its bones."I Think I Love You" provides some great clarinet and offers a fantastic shuffling beat sure to get your hips twisting. Meanwhile, "Dear Lord (Give Me the Strength)" triumphantly fuses jazz and gospel to create a rapture inducing performance.

That's It! gives a great sense of the roots and tradition of New Orleans jazz.  There are many frilly and jovial and brassy numbers, developed much in the style that was championed by old greats like Jelly Roll Morton. Tracks like "Rattlin' Bones" and "The Darker It Gets" are great examples. "Rattlin' Bones," in particular, does a fantastic job of showing off that eerie/creepy but awesome side of New Orleans jazz with a litany of blaring horns and shrill, piercing trumpets. It talks about skeletons rising up from their grave, which gives it a very morose, but awesome feel.

As would be expected with any jazz release, there is plenty of jazz improvising and soloing. The title track, along with "Sugar Plum," do a fine job of showing off the band's instrumental prowess. But other numbers break away from the mold and offer something different.

Newer listeners will likely be drawn in more by the band's traditional New Orleans sound, as it the sound they have been known for all these years, and makes a very distinctive mark upon our collective cultural landscape. However, those hungry for something else will most certainly find suitable servings. "I Think I Love You" fits into this mold, but also of note is "August Nights,"  a somber noire sounding piece not unlike something that would have been produced in the era of Miles Davis's Kind of Blue. It all caps off with the haunting piano based closer "Emmalena's Lullaby." The rattling, shaking sounds of the old organ serves as a reminder that the history of the city isn't always a pretty one.

Jaffe and crew have succeeded in showing off the many multifaceted sides of New Orleans, and produced a disc that showcases a variety of different moods and styles. Furthermore, the engaging nature of the material, combined with the bite size length of the songs, makes this an ideal listen for those who have an interest in jazz but who may struggle with wandering attention spans during longer or more free form jazz works. Despite a spotty track here and there, That's It! most certainly accomplishes Jaffe's goal of making living, breathing, vital music for our time.

Score: 84/100

Totally Unauthorized 2013 Mid Year Recap: Top 10 First Half Albums

With a series of smashing releases that pull from a wide spectrum of styles and genres, 2013 is shaping up to be a banner musical year. As each year seems to be getting better than the year before it, this era of music is beginning to stake its claim that it may be one of the all time best. Here are but a few of the best sounds on display through the year's first half:

10. Atoms for Peace - Amok

Thom Yorke has a clear sense of purpose, and this time he has friends to help him execute it. Yorke and producer Nigel Godrich's joy of concocting sublimely hypnotizing dancefloor electro-pop is almost equal to the bliss that comes from consuming it, resulting in a much more friendly and inviting offering than The King of Limbs. Flea and Joey Waronker provide an added emphasis on percussion and rhythm, giving Amok a fiercer bite.

9. Wayne Shorter - Without a Net

If you can make an album like this at age 80, hats off to you. The former saxophonist from the groundbreaking jazz fusion outfit The Weather Report still packs a punch, supported by one of the best backing bands in the business. Without a Net sees Shorter presenting a mind warping but a set of original tune and reinterpretations of old classics, along with a jaw dropping 23 minute collaboration with the Imani Winds quintet.

8. Deerhunter - Monomania

Very few people who would have guessed Deerhunter would release a grimy dive bar rock and rock and roll record in the year 2013. Even fewer would have expected them to pull it off well, yet here we stand with one of the year's best records, albeit in a dramatically different tone from the band's past offerings. Bradford Cox has come into his own as a magnetizing frontman, and the sound is presented with such an honest clarity and sense of humanity that one can't help but be caught up in the undertow.

7. Daft Punk - Random Access Memories

Daft Punk's latest album feels like an event.  The French electronic duo have ditched house for a 1970s inspired funk/disco sound, and have brought along plenty of collaborators for the party. It's hard to decide which is more fulfilling: getting down with Pharrell and Panda Bear, or jamming out to stories of the olden days with famed producer Giovanni Giorgio. One thing is certain: Daft Punk's shindig doesn't sound like it's ending anytime soon.

6. Bad Religion - True North

When a song called "Fuck You" is one of the more mellow pieces on an album, you know you'd better hold on to your ass. They may be pushing 50, but Bad Religion's crackling intensity has lesser bands pushing up daisies. The lyrics are as socially conscious as ever, as Greg Graffin urges personal self development above all else. After a long wait, Bad Religion has finally made a record that can stand against their best work.

5. The Knife - Shaking the Habitual

It's hard to decide which is more en vogue in 2013 -  electronic duos releasing comeback albums, or electronic duos releasing albums somewhere around two hours in length. The Knife decided to do both. It's tough to say the entire opus is a gripping listen, it's a guarantee that The Knife's exotic vision never gets dull.  In an industry that thrives on the flow of new ideas, the importance of their work cannot be understated.

4. Savages - Silence Yourself

Before this album, I couldn't stand anything post-punk. This band forced my mind open. I'd have to dig deep to think of higher praise to give a band than that. This all-female outfit present their subject matter from a woman's vantage point, but do so with the straightforwardness of men. Jehnny Beth's impassioned shrieks combine with Gemma Thompson's razor edged guitar and Ayse Hassan's propulsive bass to forge one of the year's most explosive releases.

 3. Vampire Weekend - Modern Vampires of the City

Pop music is often considered disposable, but Vampire Weekend doesn't see why it has to be that way. Modern Vampires of the City contains slick enough hooks to land most of its tracks on the radio, but there are deeper forces at work here. Nods toward religion, history, and death couple with fresh approaches to the band's songwriting to present an convincing argument that pop music is not only a respectable institution, but also a vital one.

2. Queens of the Stone Age - ...Like Clockwork

It's said good things come to those who wait. Six years is no short interval, but Josh Homme and crew made it worthwhile by dropping this undeniable gem of an album. ...Like Clockwork widens the band's sonic footprint by masterfully presenting moody atmospheres, tripped out soundscapes, and smooth doses of Trent Reznor inspired sensuality. The fact that they manage to craft so many distinct styles so well makes this one of the can't miss albums of 2013.

1. Steven Wilson - The Raven That Refused to Sing (and Other Stories)

Eclectic 1970s style prog freakouts. Basslines that burrow into your brain. Spacey, chilled out astral washes, Pink Floyd style. Demented King Crimson scales and battering ram drum work. Jazz fusion freakouts. Haunting flute and acoustic guitar combos, along blazing solos from guitar prodigy Guthrie Govan. It's all capped off by one of the most touching piano ballads in recent memory, and structured around the theme of supernatural ghost stories. And that's without even mentioning the genius mind of Steven Wilson pulling the strings like a master puppeteer. Best wishes to anyone putting out an album the rest of the year. The Raven That Refused to Sing (and Other Stories) sets the bar for music releases in 2013.

Totally Unauthorized 2013 2nd Quarter Playlist: April - June

Of all the quarterly reports, the midyear/summer one is always the toughest. April through June are typically the most fertile breeding for mindblowing music releases, and this year has proven that to be more true than most. After painstakingly narrowing it down, here is the best of the past three months.

TYLER, THE CREATOR - COWBOY

Tyler has grown and matured since his last album, and in the process his mood pieces have become even more impressive. "Cowboy" serves as a dual threat by offering a relaxed, chilled out hook and beat while contrasting that with Tyler's deep sense of personal and social tension.

BASSEKOU KOUYATE & NGONI BA - JAMA KO 

Here's a nice change of pace for you. Malian musician Bassekou Kouyate is skilled with the ngoni - a West African lute instrument. "Jama Ko" is full of political tension and dissension that has marred his homeland, but is also brought to life by rich African harmonies and intricate yet electrifying sound from Kouyate's strings.

THE KNIFE - FULL OF FIRE

No doubt one of the most insane songs of the year, "Full of Fire" is a masterwork that explores nearly every area of electronica conceivable. It's filled with primal, instinctive jungle beats, passionate sexual tension, and distorted vocals stretched to the breaking point. And that barely begins to scratch the surface.

DEERHUNTER - PENSACOLA

Few would have predicted dreamy shoegaze heroes Deerhunter would have started pumping out dive bar music, and even fewer would have guessed they would do it this well. The guitars and drums are dirty, grimy, and totally captivating, while Bradford Cox's hazy storytelling method will leave you spellbound.

SAVAGES - SHUT UP

Post punk revivalists Savages sound like a powder keg under extreme pressure throughout this song. Vocalist Jehnny Beth resurrects the image of a defiant and empowered rock and roll vocalist in stunning fashion, while Gemma Thomspon's guitar strains pierce your consciousness like shards of broken glass.

DAFT PUNK - GET LUCKY

The definitive song of summer for many, Pharrell's blazing collaboration with this French pop electronic duo had fans salivating. The long awaited return of Daft Punk was headlined by this tune, which features a supersize dose of sensuality, smooth falsetto vocal, and a heavy helping of Daft Punk's funky disco vibes.

DARK TRANQUILITY - THE SCIENCE OF NOISE

The original wave of Gothenberg melodic metal bands have been dropping like flies, so it's nice to see that at least Dark Tranquility is still putting out quality content. "The Science of Noise" is melodic metal at its best, combining winding leads with catchy, driving hooks and rhythms.

LAURA MARLING - MASTER HUNTER

Many people think of folk music as something mellow, but Laura Marling shows that intensity can crackle with nothing more than her voice and an acoustic guitar. The dizzying guitar work grabs your attention, giving Marling the chance to assert her claim as a dynamic force to be reckoned with.

QUEENS OF THE STONE AGE - I SAT BY THE OCEAN

Queens of the Stone Age have one of the best comeback stories in recent memory, and this cut is easily among the most compelling of their new material. Grooving rock and roll riffs combine with Josh Homme's heady wordplay to create one of the most footstomping sing alongs of the year thus far. 

PORTUGAL. THE MAN - CREEP IN A T-SHIRT

Funky psychedelic rockers Portugal. the Man strike back in a big way. John Gourley's high falsetto may remind some of Dan Auerbach, but the musical backdrops are far more varied. "Creep in a T-Shirt" boasts driving piano, a big brassy sound, and lilting melodies that will burrow their way into your brain.

BOARDS OF CANADA - REACH FOR THE DEAD

 With 2013 serving as the year of comebacks, this Scottish electronic duo couldn't allow themselves to be outdone. They're capable of covering many different emotional planes, but "Reach for the Dead" aims for a more blissful and serene type of vibe. It's the perfect type of sound for chilling out and vegging out.

KANYE WEST - NEW SLAVES

Kanye reinvents himself on each successive release, but now he's gone somewhere far beyond what anyone could have imagined. Aphex Twin couldn't imagine beats this dense and foreboding in his worst nightmare, while Kanye himself unleashes a unprecedented torrent of anger over racial and economic inequality.

 

RUN THE JEWELS FEAT. BIG BOI - BANANA CLIPPER

When three of the most explosive emcees of the year converge on a single track, you should expect things are going to get heady. This collaborative project between Killer Mike and El-P features lots of braggadocio and repping of Atlanta, while Big Boi steps in with his smooth delivery to provide a little contrast.