Culturally and politically 2016 was one of the most explosive and consequential years in recent history. As we go to press with the news of the end of the Syrian Rebel resistance in Aleppo, the year will equally be remembered for unbridled human depravity and genocide from all corners of the world. We shouldn’t bum out with so much shit news because, really, what’s that got to do with music?
Well, actually it has everything to do with music. Music is what helps define us, offers respite, and even vicarious expression. It’s supposed to, anyway—when it’s done right.
This is the final little installment of 2016 music done right in Tucson, stuff that enhanced and educated me throughout the year. Again, this isn’t a complete list of my personal favorites. Rather, and as twilight descends on ’16, these are local records that helped shape my memories. …
Freezing Hands—Freezing Hands II (Burger)
The journey from punk to garage rock to post-punk singer/songwriter makes sense. Punk is the rejection of rock ‘n’ roll for folks who secretly love rock ‘n’ roll, garage rock has attributes that can make it appear to be the pinnacle of rock ‘n’ roll for punks, while maturation and life experience usually demands a broader emotional palette—the singer/songwriter archetype. But for musicians who take this road, that last stop is tempered by lessons learned from their earlier incarnations, specifically economy and an aversion to traditional sentimentality and introspection. Which isn’t to say that singer/songwriter/guitarist Travis Spillers has become a drag on the second Freezing Hands album. But his song sketches are closer in viewpoint and tune to, say, XTC’s Andy Partridge at his most eloquently nostalgic and reverent. Being that this is under the authority of Spillers’ pen, there’s a certain layer of American junk culture presiding, but his tales of domesticity and daily life resonate as much as they ever have.
Foxx Bodies—Foxx Bodies (self-released)
Who said youth is wasted on the young? Nobody who ever meant much to Foxx Bodies, apparently, easily the year’s most arresting and affecting new local band. The riot-grrrl surf-punk quartet shattered genre stereotypes while taking on gender stereotypes but still managed a tuneful, vital and mostly implicit political record that lets the listener connect the dots of policy and progress, while the music and singing is an explicit joy of startling performances. The songs connect the personal to the political with nary a seam in sight.
Lando Chill—For Mark, Your Son (Mello Music Group)
The year’s most ambitious area record doesn’t mince words. In fact, Lando Chill and his words flow, his beats stand up, and it’s all beautifully coherent. In terms of articulation and sonic breadth, it’s one of the year’s greatest musical achievements, period. While it doesn’t rewrite the book on soul-searching soul, Chill’s irrepressible and razor-sharp flow and evocative verses detail every sensation they touch upon. It’s a triumph, to be sure, especially for a debut album. Bonus points for employing found sounds and ultra-limber grooves that erase the line between timely and timeless. For Mark, Your Son is an endlessly inspiring record.
This article appears in Dec 22-28, 2016.
Lando Chill? Seriously?
Lando Calrissian rocked way more than this phony ever could.
Hell, Sammy Hagar rocks more than either one of them.
There’s more than one way to rock, but Lando Chill will never figure that out.
report
What Actual Music Fan said about Lando Chill.
That guy has zero chance of making it in the music business. Listened to the album from the link in the article. His album has it all: bedroom production, flat voice, cringey lyrics.
Lando Chill is almost as bad as that pudgy Tooth Taker guy.
Tucson is lucky to have both Lando Chill and isaiah Toothtaker. It’s unrealistic to expect world-class talent from such a small town. Most kids leave for New York or LA as soon as they can. Those artists who stick around are serving audiences that appreciate their effort, regardless of having hits or being known nationally.
PS- Why take a swing at isaiah’s weight struggle? That’s just mean. Since day one, hip hop has embraced all body types. Ever hear of Biggie Smalls? Get real!
Biggie Smalls was THE most overrated rapper of his time. 1 Pac wasn’t too far behind for that title. Rap lost all of its flava after Flava Flav admitted to being a major crack addict. Public Enemy was the shit, Chuck D is a fuckin genius, but the hip-hop/new jack/rap world died creatively somewhere around 1994. If you truly listen to that sad excuse for “music”, you might just have an epiphany and realize that. Let Toothlicker and Mr. Calrissian go to NY or LA and they can wait tables or wash dishes, and if they’re truly talented, someone with enough time, money, patience and PR savvy may be able to introduce them to the national, maybe even international, business of music. Until that happens, they’re in Tucson, a place where they will never be truly appreciated because their music isn’t all that appreciable. Time to Get Real! and time to follow the rules of the business, if these guys actually want to launch their career.
I like Lando. He is experimenting and pushing boundaries with his music and I think that is admirable. He is not a misogynist, not violent, he is introspective, emotional and positive. The same cannot be said for the other rapper mentioned in these comments.
Lando could easily move to LA and break out, but here in Tucson he is in control of his music and his art and it seems like that is more important to him than having neutered single go gold… He will get his, but it will be as an artist and not as a performer. Big Diff.