The race for #1 was a close one, between glitchy and difficult electronica and all-star post punk, and my love lately for modern post punk won out.
Minor Victories are a bit of an all star band, featuring Rachel Goswell, of recently-reunited shoe-gaze legends Slowdive, and quirky folk rockers Mojave 3, Stuart Braithwaite of menancing Scottish drone-rock band Mogwai, and Justin Lockey of Brit-alt-rockers The Editors. Given that I already love Slowdive and Mogwai, it seemed natural I'd love this band.
As a band, they are equal parts of the bands they came from. Goswell brings the slow-paced disaffection and dreamy vocals of Slowdive. Braithwaite brings the drums of Mogwai, along with the slowly rising wall-of-noise assault that Mogwai is known for. Lockey brings more of a melodic, indy pop feel to the band. The result is a cascading melange of sound, at times dark and brooding, and at times soaring and orchestral.
The range of the album is remarkable. You'll find yourself bouncing from emotion to emotion as the songs change through the album, and often as the songs progress.
Sadly, this band likely won't be long for this world. This was their debut and with Slowdive reuniting and already having released an album this year, Goswell will likely be focusing on her first band. Nevertheless, this is an amazing album, and a must for lovers of drone, post punk and shoegaze.
Showing posts with label Best of 2016. Show all posts
Showing posts with label Best of 2016. Show all posts
Thursday, May 25, 2017
Wednesday, May 17, 2017
Best of 2016 #2: Factory Floor - 25 25 (DFA Records)
It came down to the wire for my #1 and #2 albums of the year. I remember picking them both up in Red Cat Records in late 2016, then listening to both repeatedly. I loved both albums, but Factory Floor ended up losing out. But it's still my second favourite album of 2016.
London's Factory Floor formed in 2005. 25 25 is only their second full length album, and the band has sported numerous remixes and 12 inch singles since they formed. Their style is a mishmash of electronic styles, most of which just aren't featured in modern electronica. First, it draws pretty heavily on hedonistic rhythms of 70s disco, and on their polar opposite, the artistic and dadaist styles of 70s krautrock. Furthermore, the late 80s house and early 90s Detroit dance styles also influence this band quite heavily. Both driving and repetitive, artistic and empty, Factory Floor defy easy categorization.
Some have called the band "post-industrial" and I can get my head around that style. It's nihilistic and hedonistic, it's fun and destructive the same way The Prodigy were. If they were a pure industrial band, they'd be close to Chris and Cosey, a goth-tinged rave-up style of dark electronica.
London's Factory Floor formed in 2005. 25 25 is only their second full length album, and the band has sported numerous remixes and 12 inch singles since they formed. Their style is a mishmash of electronic styles, most of which just aren't featured in modern electronica. First, it draws pretty heavily on hedonistic rhythms of 70s disco, and on their polar opposite, the artistic and dadaist styles of 70s krautrock. Furthermore, the late 80s house and early 90s Detroit dance styles also influence this band quite heavily. Both driving and repetitive, artistic and empty, Factory Floor defy easy categorization.
Some have called the band "post-industrial" and I can get my head around that style. It's nihilistic and hedonistic, it's fun and destructive the same way The Prodigy were. If they were a pure industrial band, they'd be close to Chris and Cosey, a goth-tinged rave-up style of dark electronica.
Thursday, May 11, 2017
Best of 2016 #3: White Lung - Paradise (Domino)
Watching Vancouver's White Lung mature into the band they have become today has been satisfying. Coming up from a scrappy, sloppy punk band from small town BC to the international acclaim they now enjoy is a great story, and it's come with some great music to boot.
Starting out in 2010 on the small, but influential, label Deranged Records, based out of Gibsons, BC, an isolated community on the BC Sunshine Coast, White Lung started as a pure punk band. In 2014, they jumped to the UK based Domino label. With the label's backing, White Lung took on a more mature sound, keeping the driving anger of a punk band, and melding it with melodic sensibilities. Today, they sound like a post-punk band along the lines of Savages or early Sleater-Kinney.
Paradise is every bit as heavy as 2010's It's the Evil, but vocalist Mish Way-Barber finding a more melodic and direct way of singing. It's not as rough around the edges as a punk band, but instead has the driving insistency of post-punk, a need to be heard, to have the listener to sit down and listen to every note of this album, no matter how difficult it might be to hear.
Starting out in 2010 on the small, but influential, label Deranged Records, based out of Gibsons, BC, an isolated community on the BC Sunshine Coast, White Lung started as a pure punk band. In 2014, they jumped to the UK based Domino label. With the label's backing, White Lung took on a more mature sound, keeping the driving anger of a punk band, and melding it with melodic sensibilities. Today, they sound like a post-punk band along the lines of Savages or early Sleater-Kinney.
Paradise is every bit as heavy as 2010's It's the Evil, but vocalist Mish Way-Barber finding a more melodic and direct way of singing. It's not as rough around the edges as a punk band, but instead has the driving insistency of post-punk, a need to be heard, to have the listener to sit down and listen to every note of this album, no matter how difficult it might be to hear.
Wednesday, May 3, 2017
Best of 2016 #4: Duchess Says - Sciences Nouvelles (Bonsound/Slovenly)
I'm gathering material to get my blogging back on track, and I have a couple of ideas in the can. In the meantime, I'm shooting for a regular Wednesday updates, dear readers. We're getting there, we're getting there...
Montreal's Duchess Says combine the confronational early days of punk, blasts of noise and angular new wave. They've been making music in the always fertile Montreal music scene since 2003. Their first two albums were released on the always diverse and strange record label, Alien8 Records, home to other musical weirdos like Picastro, Nadja, Mecha Fixes Clocks and more. This is their first for the more indy styled label Bonsound, and their first for California's Slovenly Records worldwide.
Slovenly makes a perfect home for this band, where they're right at home with other electro-punkers like Puff and fellow Montrealer's Red Mass.
Simply put, this band blurs musical lines, and are difficult to categorize, but they are firmly planted in the weirder ends of the 80s electro movement.
Montreal's Duchess Says combine the confronational early days of punk, blasts of noise and angular new wave. They've been making music in the always fertile Montreal music scene since 2003. Their first two albums were released on the always diverse and strange record label, Alien8 Records, home to other musical weirdos like Picastro, Nadja, Mecha Fixes Clocks and more. This is their first for the more indy styled label Bonsound, and their first for California's Slovenly Records worldwide.
Slovenly makes a perfect home for this band, where they're right at home with other electro-punkers like Puff and fellow Montrealer's Red Mass.
Simply put, this band blurs musical lines, and are difficult to categorize, but they are firmly planted in the weirder ends of the 80s electro movement.
Thursday, April 20, 2017
Best of 2016 #5: Savages - Adore Life (Matador)
Now that my brain is no longer a big pile of mush (thanks Grad school and 10 page, turning into 16 page paper, and a group project due the same day), I can get back to what's important, writing about music nobody but me listens to!
Savage's debut in 2013, Silence Yourself, was a punch in the mouth. Described as "deadly serious post-punk", Savages demanded to be heard. And I heard them and loved them, so much I made them my favourite album of that year. Their follow up, Adore Life, sees the band in similar territory. Pure, angry post-punk, very tight and driven, an album that demands you listen to it from start to finish and pay attention to every chord and word. Adore Life is a bit less loud than Silence Yourself. There's some almost ballad like stuff here (the last song "Mechanica" is nice and brooding), and there's a bit of electronics here and there, but it's the same driving stuff they put out in the first album.
With Sleater-Kinney back, maybe Savages are less unique now? But they still kick ass. And S-K still kick ass, maybe in a bit more of a mature, veteran band way. Savages are now the scrappy snot-nosed punks of the post-punk/riot grrl world, and they fit right into that role.
Savage's debut in 2013, Silence Yourself, was a punch in the mouth. Described as "deadly serious post-punk", Savages demanded to be heard. And I heard them and loved them, so much I made them my favourite album of that year. Their follow up, Adore Life, sees the band in similar territory. Pure, angry post-punk, very tight and driven, an album that demands you listen to it from start to finish and pay attention to every chord and word. Adore Life is a bit less loud than Silence Yourself. There's some almost ballad like stuff here (the last song "Mechanica" is nice and brooding), and there's a bit of electronics here and there, but it's the same driving stuff they put out in the first album.
With Sleater-Kinney back, maybe Savages are less unique now? But they still kick ass. And S-K still kick ass, maybe in a bit more of a mature, veteran band way. Savages are now the scrappy snot-nosed punks of the post-punk/riot grrl world, and they fit right into that role.
Wednesday, March 8, 2017
Best of 2016 #6: David Bowie - Blackstar (Columbia)
It's cliche to put this kind of an album on a year end list. The last album from a legendary artist, as a last hurrah for his stellar career. One last celebration of his long career. Like the Grammys did with Ray Charles, giving him the best album Grammy for a mediocre album, because he'd been snubbed so often in the past.
But this is not that kind of entry, nor is Blackstar that kind of album.
In a lot of ways, David Bowie's swan song reminds me of Warren Zevon's last album, The Wind. Warren Zevon knew he was dying of cancer, and made no attempt to hide it. Instead, he celebrated it. With his last three albums, he mused endlessly about death, his own mortality and joked about the experience. 2000's Life'll Kill Ya was a celebration of his life, albeit in a morbid sort of way. 2002's My Ride's Here had the cover art of Warren sitting in the back of a hearse. 2003's The Wind ended his long career with the brutally sad "Keep Me in Your Heart for a While."
Bowie's last album was similar. Bowie knew he was dying, but kept it secret from all but his closest friends. Blackstar came out just a week before he died. The initial reaction to the album was positive, seeing it as a dark, spacy album of Bowie's typical output. Once his death became reality, the depth of the album opened up.
Blackstar seems to echo all of David Bowie's career, from his psychedelic pop and mod 60s, the angular prog-pop of the 70s, the disaffected new wave of the 80s, into his dabbling into electronics of the 90s. Blackstar brought all of his personas together with a forward looking album, melding his influences with electro-jazz and hipster indy pop. His previous album, 2013's The Next Day, was also a backwards and forwards looking album, using the artwork from Heroes on the cover, with the music a space-age mix of 70s prog/electronics and pop with modern pop influences.
The lyrics mirror Bowie's struggle and acceptance of the coming end of his life, and reflect upon his legacy as a musician and as a person. He faces his fate with dignity, with humility and with grace. This album is a masterpiece, a fitting testament to Bowie's career and his weight as a musician and cultural figure.
As a piece of art, the album still continues to give. Early after his death, fans were finding secrets hidden in the album's artwork, and those easter eggs are still being discovered today. Just how much did David Bowie hide in this album? How much is hidden in the music itself?
But this is not that kind of entry, nor is Blackstar that kind of album.
In a lot of ways, David Bowie's swan song reminds me of Warren Zevon's last album, The Wind. Warren Zevon knew he was dying of cancer, and made no attempt to hide it. Instead, he celebrated it. With his last three albums, he mused endlessly about death, his own mortality and joked about the experience. 2000's Life'll Kill Ya was a celebration of his life, albeit in a morbid sort of way. 2002's My Ride's Here had the cover art of Warren sitting in the back of a hearse. 2003's The Wind ended his long career with the brutally sad "Keep Me in Your Heart for a While."
Bowie's last album was similar. Bowie knew he was dying, but kept it secret from all but his closest friends. Blackstar came out just a week before he died. The initial reaction to the album was positive, seeing it as a dark, spacy album of Bowie's typical output. Once his death became reality, the depth of the album opened up.
Blackstar seems to echo all of David Bowie's career, from his psychedelic pop and mod 60s, the angular prog-pop of the 70s, the disaffected new wave of the 80s, into his dabbling into electronics of the 90s. Blackstar brought all of his personas together with a forward looking album, melding his influences with electro-jazz and hipster indy pop. His previous album, 2013's The Next Day, was also a backwards and forwards looking album, using the artwork from Heroes on the cover, with the music a space-age mix of 70s prog/electronics and pop with modern pop influences.
The lyrics mirror Bowie's struggle and acceptance of the coming end of his life, and reflect upon his legacy as a musician and as a person. He faces his fate with dignity, with humility and with grace. This album is a masterpiece, a fitting testament to Bowie's career and his weight as a musician and cultural figure.
As a piece of art, the album still continues to give. Early after his death, fans were finding secrets hidden in the album's artwork, and those easter eggs are still being discovered today. Just how much did David Bowie hide in this album? How much is hidden in the music itself?
Saturday, February 25, 2017
DNTTA Playlist for January 20, 2017 - Best of 2016 Part 2
Artist - Song - Album (Label) * indicates Canadian Content
Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca
--
Walrus - Feels* - Goodbye Something EP (Madic)
Wishkicker - Mainline* - Wider Vision EP (Independent)
Solids - Blank Stare* - Else EP (Independent)
Beauts - Covers* - Waves/Wash EP (Independent)
MoonMuseum - Manta Ray* - Eternal Return EP (Independent)
Villas - Lifejacket* - Medicine EP (Independent)
Kalan Wi with Ridley Wallace - Love Light* - Listen to Our Heartbeat (WAVS)
Girl Meets Bear - Lit Up* - Flight Path EP (Independent)
Air - Moon Fever - Twentyears (Polydor)
Dri Hiev - Last Gen* - Place to Live EP (Craft Singles)
Death Kart - Love Like Lobotomy* - 16 for 16 (Baffled Octopi)
The Forbidden Dimension - 13 Bloody Graves* - Every Twisted Tree Watches as You Pass (Sounds Escaping)
Red Arms - In Frauds We Trust* - Let Every Nation Know (Yeah Right!)
Owlface - Triceratops* - Spiral Sleep EP (Independent)
Aiwass - Dominate* - Demo (Independent)
Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca
--
Walrus - Feels* - Goodbye Something EP (Madic)
Wishkicker - Mainline* - Wider Vision EP (Independent)
Solids - Blank Stare* - Else EP (Independent)
Beauts - Covers* - Waves/Wash EP (Independent)
MoonMuseum - Manta Ray* - Eternal Return EP (Independent)
Villas - Lifejacket* - Medicine EP (Independent)
Kalan Wi with Ridley Wallace - Love Light* - Listen to Our Heartbeat (WAVS)
Girl Meets Bear - Lit Up* - Flight Path EP (Independent)
Air - Moon Fever - Twentyears (Polydor)
Dri Hiev - Last Gen* - Place to Live EP (Craft Singles)
Death Kart - Love Like Lobotomy* - 16 for 16 (Baffled Octopi)
The Forbidden Dimension - 13 Bloody Graves* - Every Twisted Tree Watches as You Pass (Sounds Escaping)
Red Arms - In Frauds We Trust* - Let Every Nation Know (Yeah Right!)
Owlface - Triceratops* - Spiral Sleep EP (Independent)
Aiwass - Dominate* - Demo (Independent)
Wednesday, February 22, 2017
Best of 2016 #7: Merchandise - A Corpse Wired for Sound (4AD Records)
This is another album I was very slow on the uptake with. I had heard a couple of decent tracks from A Corpse Wired For Sound on KEXP, and I was also familiar with the band's earlier work, mainly 2014's After the End, which I quite liked. It was during a late 2016 trip to Vancouver, I found the album sitting in the used bin for $6, along with Glass Animals' new one, so I bought both.
Glass Animals was a bust, but Merchandise was a steal for $6.
As with a lot of bands I like, Merchandise are hard to categorize. There's a bit of a punk swagger to their work, less from the music but more from the attitude. Their name alone screams making fun of crass commercialism, and a self-referential nod to themselves being merchandise of a sort. There's a melodic pop feel to their work, along with a disorienting psychedelic murk. There's a goth/electronic vibe going along there too. There's post punk. There's dance.
The band also tend to reinvent their sound after each album. Whereas After the End was an enjoyable and slightly skewed take on indy pop, their previous album, Totale Nite, was a sprawling experimental rock gem. This album is much darker, murky and difficult than After the End, but well worth digging into.
Glass Animals was a bust, but Merchandise was a steal for $6.
As with a lot of bands I like, Merchandise are hard to categorize. There's a bit of a punk swagger to their work, less from the music but more from the attitude. Their name alone screams making fun of crass commercialism, and a self-referential nod to themselves being merchandise of a sort. There's a melodic pop feel to their work, along with a disorienting psychedelic murk. There's a goth/electronic vibe going along there too. There's post punk. There's dance.
The band also tend to reinvent their sound after each album. Whereas After the End was an enjoyable and slightly skewed take on indy pop, their previous album, Totale Nite, was a sprawling experimental rock gem. This album is much darker, murky and difficult than After the End, but well worth digging into.
Monday, February 20, 2017
DNTTA Playlist for January 13, 2017 - Best of 2016 Part 1
Artist - Song - Album (Label) * indicates Canadian Content
Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca
--
Liima - Roger Waters - ii (4AD)
Bear Mountain - Always Been You* - Badu (Last Gang)
Weaves - Candy* - Weaves (Buzz)
Merchandise - Right Back to the Start - A Corpse Wired for Sound (4AD)
David Bowie - Girl Loves Me - Blackstar (Columbia)
Savages - Slowing Down the World - Adore Life (Matador)
Duchess Says - Poubelle* - Sciences Nouvelles (Bonsound)
White Lung - Narcoleptic* - Paradise (Domino)
Factory Floor - Slow Listen - 25 25 (DFA)
Minor Victories - A Hundred Ropes - Minor Victories (Fat Possum)
Listen to Do Not Touch This Amp every Friday 8-9 PM Pacific at www.thex.ca
--
Liima - Roger Waters - ii (4AD)
Bear Mountain - Always Been You* - Badu (Last Gang)
Weaves - Candy* - Weaves (Buzz)
Merchandise - Right Back to the Start - A Corpse Wired for Sound (4AD)
David Bowie - Girl Loves Me - Blackstar (Columbia)
Savages - Slowing Down the World - Adore Life (Matador)
Duchess Says - Poubelle* - Sciences Nouvelles (Bonsound)
White Lung - Narcoleptic* - Paradise (Domino)
Factory Floor - Slow Listen - 25 25 (DFA)
Minor Victories - A Hundred Ropes - Minor Victories (Fat Possum)
Wednesday, February 8, 2017
Best of 2016 #8: Weaves - Weaves (Buzz Records)
Weaves were a band I was vaguely familiar with. In the past, I played their first EP on my radio show and I liked it, but didn't give it much attention. After hearing their first full length this past year, I heard a band come into their own, a full fledged swaggering punk/noise mess.
Weaves are a weird band. They've got the obtuse weirdness of a band like Deerhoof or Devo, the post punk chops of a band like Sleater-Kinney or White Lung, and the soulful warble and sloppy, sexy wetness of Future Islands or the late Sharon Jones. Their sound is a real mess. It's got muscles, real rock/punk muscles, but it also meanders and shrieks like experimental rock. They are very hard to pin down or categorize.
A few years ago, I heard a band called Algiers, a soul/punk band from the States. While their sound tended to sprawl over a 5-6 minute track, Weaves takes that sound and crunches it down to 2-3 minute punches.
This is a band to watch.
Weaves are a weird band. They've got the obtuse weirdness of a band like Deerhoof or Devo, the post punk chops of a band like Sleater-Kinney or White Lung, and the soulful warble and sloppy, sexy wetness of Future Islands or the late Sharon Jones. Their sound is a real mess. It's got muscles, real rock/punk muscles, but it also meanders and shrieks like experimental rock. They are very hard to pin down or categorize.
A few years ago, I heard a band called Algiers, a soul/punk band from the States. While their sound tended to sprawl over a 5-6 minute track, Weaves takes that sound and crunches it down to 2-3 minute punches.
This is a band to watch.
Wednesday, February 1, 2017
Best of 2016 #9: Bear Mountain - Badu (Last Gang)
To be honest, I added Bear Mountain to my Top 10 list as almost an afterthought. After my first review of my favourite albums, I had Phantogram's Three in my Top 10. After many listens to Phantogram, the album started to sour on me. Then I picked up Bear Mountain and things became clear. This is the album that Three was trying to be, but falling a bit short of the mark.
Vancouver's Bear Mountain started as a solo project in 2012, but quickly became a full band. Their debut EP, XO, was very solid, a nice mix of melodic, upbeat electro-pop. The full length album Badu continues upon the path they laid down, with a bubbly, soulful take on electro-pop. What Bear Mountain has over Phantogram (who did put out a good album) is a lack of cynicism.
XO was more on the electronic end, but Badu adds some soulful, poppy vocals to the mix, making them sound like a more electronic version of Future Islands. It's a sunny, fun and uplifting listen. This is a band to watch and they can only go up from here.
Vancouver's Bear Mountain started as a solo project in 2012, but quickly became a full band. Their debut EP, XO, was very solid, a nice mix of melodic, upbeat electro-pop. The full length album Badu continues upon the path they laid down, with a bubbly, soulful take on electro-pop. What Bear Mountain has over Phantogram (who did put out a good album) is a lack of cynicism.
XO was more on the electronic end, but Badu adds some soulful, poppy vocals to the mix, making them sound like a more electronic version of Future Islands. It's a sunny, fun and uplifting listen. This is a band to watch and they can only go up from here.
Wednesday, January 11, 2017
Best of 2016 #10: Liima - ii (4AD Records)
I'll be moving my regular blogging day to Wednesdays for the time being, since my spring Masters class is on Thursdays.
We'll begin my countdown of my Top 10 albums of the year today.
Liima is not exactly a new band. Liima is the project of the three members of Danish electro-pop band Efterklang and Finnish percussionist Tatu Ronnko.
While this band's sound doesn't stray too far away from where Efterklang normally toils, it's different enough to make my ears perk up. Efterklang are a great band, but they've not strayed too far from where they started their careers.
Liima put Ronnko's skills to good use on this album, with the music being much more percussive and fuller sounding than the sometimes spacy sound of Efterklang. The music has the textured and angled pop styles of Brian Eno, pushed in a bit more of an aggressive and melodic direction. The vocals are very reminiscent of John Cale, detached, but melodic and emotional.
Sometimes it takes a new person's vision to push a band out of a rut. It seems Efterklang found an similar minded collaborator that can enhance their sound and push them in new directions.
We'll begin my countdown of my Top 10 albums of the year today.
Liima is not exactly a new band. Liima is the project of the three members of Danish electro-pop band Efterklang and Finnish percussionist Tatu Ronnko.
While this band's sound doesn't stray too far away from where Efterklang normally toils, it's different enough to make my ears perk up. Efterklang are a great band, but they've not strayed too far from where they started their careers.
Liima put Ronnko's skills to good use on this album, with the music being much more percussive and fuller sounding than the sometimes spacy sound of Efterklang. The music has the textured and angled pop styles of Brian Eno, pushed in a bit more of an aggressive and melodic direction. The vocals are very reminiscent of John Cale, detached, but melodic and emotional.
Sometimes it takes a new person's vision to push a band out of a rut. It seems Efterklang found an similar minded collaborator that can enhance their sound and push them in new directions.
Sunday, January 1, 2017
Top 10 Albums of 2016
Here's my picks for best album of 2016. We'll be doing the review countdown starting next week, and on my radio show on Friday, January 13th.
1) Minor Victories - Minor Victories (Fat Possum)
2) Factory Floor - 25 25 (DFA)
3) White Lung* - Paradise (Domino)
4) Duchess Says* - Sciences Nouvelles (Bonsound)
5) Savages - Adore Life (Matador)
6) David Bowie - Blackstar (Columbia)
7) Merchandise - A Corpse Wired for Sound (4AD)
8) Weaves* - Weaves (Buzz)
9) Bear Mountain* - Badu (Last Gang)
10) Liima - ii (4AD)
Honourable Mentions:
Cygnets* - Alone/Together (Negative Gain), MSTRKRFT* - Operator (Last Gang), Haelos - Full Circle (Matador), LNZNDRF - LNZNDRF (Brassland) , Greys* - Outer Heaven (Carpark)
1) Minor Victories - Minor Victories (Fat Possum)
2) Factory Floor - 25 25 (DFA)
3) White Lung* - Paradise (Domino)
4) Duchess Says* - Sciences Nouvelles (Bonsound)
5) Savages - Adore Life (Matador)
6) David Bowie - Blackstar (Columbia)
7) Merchandise - A Corpse Wired for Sound (4AD)
8) Weaves* - Weaves (Buzz)
9) Bear Mountain* - Badu (Last Gang)
10) Liima - ii (4AD)
Honourable Mentions:
Cygnets* - Alone/Together (Negative Gain), MSTRKRFT* - Operator (Last Gang), Haelos - Full Circle (Matador), LNZNDRF - LNZNDRF (Brassland) , Greys* - Outer Heaven (Carpark)
Friday, December 30, 2016
Who we lost in 2016
2016 was a truly tragic year for music, with many talented musicians, both big names and up and coming talents falling prey to the shittiness that was 2016. (Canadian musicians marked with a *)
Paul Bley*
Long John Hunter
Nicholas Caldwell (The Whispers)
Kitty Kallen
Otis Clay
Red Simpson
David Bowie
Rene Angelili*
Gary Loizzo (The American Breed)
Blowfly
Mic Gillette (Tower of Power)
Dale Griffin (Mott the Hoople)
Glenn Frey
Jimmy Bain (Rainbow)
Colin Vearncombe aka Black
Signe Toly Anderson (Jefferson Airplane)
Paul Kantner (Jefferson Airplane/Starship)
Jon Bunch (Sense Field)
Brad Kent (D.O.A.)*
Joe Dowell
Maurice White (Earth Wind and Fire)
Dan Hicks
Roy Harris
Vanity*
Paul Gordon (The New Radicals)
Vi Subversa (The Poison Girls)
Lennie Baker (Sha Na Na)
James Atkins (Hammerbox)
Gavin Christopher
George Martin
Aaron Huffman (Harvey Danger)
Andrew Loomis (Dead Moon)
Ray Griff*
Ernestine Anderson
Keith Emerson
Ruth Terry
Frank Sinatra Jr.
Steve Young (Colourbox)
Phife Dawg
Joe Skyward (Sunny Day Real Estate)
Thunderclap Newman
Bill Henderson
Merle Haggard
Jimmie Van Zant
Jade Lemons (Injected)
Tony Conrad
Gib Guilbeau (Flying Burrito Brothers)
Richard Lyons (Negativland)
Pete Zorn (Steeleye Span)
Lonnie Mack
Prince
Billy Paul
Eddie Watkins (Polvo)
Papa Wemba
Isao Tomita
Candye Kane
John Stabb (Government Issue)
Peter Behrens (Trio)
Marlene Marder (LiLiPut)
Guy Clark
John Berry (Beastie Boys)
Nick Menza (Megadeth)
James King
Joel Hastings*
Floyd Robinson
Thomas Fekele (Surfer Blood)
Dave Swarbick (Fairport Convention)
Bobby Curtola*
Christina Grimmie
Randy Jones
Henry McCullough (Spooky Tooth)
Attrell Cordes (PM Dawn)
Brian Rading* (Five Man Electrical Band)
Pierre Lalonde*
Ralph Stanley
Bernie Worrell
Rob Wasserman
Genevieve Elverum/Woelv/O Paon
Alan Vega
Lewie Steinberg (Booker T and the MGs)
George Reznik*
Pat Upton (Spiral Starecase)
Nigel Gray
Penny Lang*
Pete Fountain
Ruby Winters
Glenn Yarbrough
DJ Official
James Walley (Nine Inch Nails)
Lou Pearlman
Tom Searle (Architects)
Toots Thielemans
Fred Hellerman (The Weavers)
Kacey Jones
Bob Bissonnette*
Prince Buster
Ken Aldcroft*
Jerry Corbetta (Sugarloaf)
Trisco Pearson (Force MDs)
Buckwheat Zydeco
Oscar Brand*
Caroline Crawley (This Mortal Coil)
Guy Nadon*
Issa Bagayogo
Pete Burns
Bobby Vee
Paul Demers*
Bap Kennedy
Kay Starr
Jean-Jacques Perrey
Eddie Harsch* (The Black Crowes)
Leonard Cohen*
Doug Edwards*
Leon Russell
Holly Dunn
Mose Allison
Sharon Jones
Craig Gill (Inspiral Carpets)
Ray Columbus
Micky Fitz (The Business)
Mark Gray
Greg Lake
Esma Redzepova
Joe Ligon
Barrelhouse Chuck
Gordie Tapp*
Mick Zane (Malice)
Rick Parfitt (Status Quo)
Alphonze Mouson (Weather Report)
George Michael
Debbie Reynolds
Paul Bley*
Long John Hunter
Nicholas Caldwell (The Whispers)
Kitty Kallen
Otis Clay
Red Simpson
David Bowie
Rene Angelili*
Gary Loizzo (The American Breed)
Blowfly
Mic Gillette (Tower of Power)
Dale Griffin (Mott the Hoople)
Glenn Frey
Jimmy Bain (Rainbow)
Colin Vearncombe aka Black
Signe Toly Anderson (Jefferson Airplane)
Paul Kantner (Jefferson Airplane/Starship)
Jon Bunch (Sense Field)
Brad Kent (D.O.A.)*
Joe Dowell
Maurice White (Earth Wind and Fire)
Dan Hicks
Roy Harris
Vanity*
Paul Gordon (The New Radicals)
Vi Subversa (The Poison Girls)
Lennie Baker (Sha Na Na)
James Atkins (Hammerbox)
Gavin Christopher
George Martin
Aaron Huffman (Harvey Danger)
Andrew Loomis (Dead Moon)
Ray Griff*
Ernestine Anderson
Keith Emerson
Ruth Terry
Frank Sinatra Jr.
Steve Young (Colourbox)
Phife Dawg
Joe Skyward (Sunny Day Real Estate)
Thunderclap Newman
Bill Henderson
Merle Haggard
Jimmie Van Zant
Jade Lemons (Injected)
Tony Conrad
Gib Guilbeau (Flying Burrito Brothers)
Richard Lyons (Negativland)
Pete Zorn (Steeleye Span)
Lonnie Mack
Prince
Billy Paul
Eddie Watkins (Polvo)
Papa Wemba
Isao Tomita
Candye Kane
John Stabb (Government Issue)
Peter Behrens (Trio)
Marlene Marder (LiLiPut)
Guy Clark
John Berry (Beastie Boys)
Nick Menza (Megadeth)
James King
Joel Hastings*
Floyd Robinson
Thomas Fekele (Surfer Blood)
Dave Swarbick (Fairport Convention)
Bobby Curtola*
Christina Grimmie
Randy Jones
Henry McCullough (Spooky Tooth)
Attrell Cordes (PM Dawn)
Brian Rading* (Five Man Electrical Band)
Pierre Lalonde*
Ralph Stanley
Bernie Worrell
Rob Wasserman
Genevieve Elverum/Woelv/O Paon
Alan Vega
Lewie Steinberg (Booker T and the MGs)
George Reznik*
Pat Upton (Spiral Starecase)
Nigel Gray
Penny Lang*
Pete Fountain
Ruby Winters
Glenn Yarbrough
DJ Official
James Walley (Nine Inch Nails)
Lou Pearlman
Tom Searle (Architects)
Toots Thielemans
Fred Hellerman (The Weavers)
Kacey Jones
Bob Bissonnette*
Prince Buster
Ken Aldcroft*
Jerry Corbetta (Sugarloaf)
Trisco Pearson (Force MDs)
Buckwheat Zydeco
Oscar Brand*
Caroline Crawley (This Mortal Coil)
Guy Nadon*
Issa Bagayogo
Pete Burns
Bobby Vee
Paul Demers*
Bap Kennedy
Kay Starr
Jean-Jacques Perrey
Eddie Harsch* (The Black Crowes)
Leonard Cohen*
Doug Edwards*
Leon Russell
Holly Dunn
Mose Allison
Sharon Jones
Craig Gill (Inspiral Carpets)
Ray Columbus
Micky Fitz (The Business)
Mark Gray
Greg Lake
Esma Redzepova
Joe Ligon
Barrelhouse Chuck
Gordie Tapp*
Mick Zane (Malice)
Rick Parfitt (Status Quo)
Alphonze Mouson (Weather Report)
George Michael
Debbie Reynolds
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