Call me Ishmael … I mean, crazy. I’ve been wanting to make sure to post more regularly to “Hear! Hear!” in 2011, and WordPress has given me a jump-start toward obsessive-compulsion just in time for New Year’s Eve. So I’m going to pick up the challenge and attempt to post at least once a day in the coming year as part of their postaday2011 challenge.
But I’ve had another idea on my mind for a while. Each year I hear way more albums than I ever get a chance to review, and that means a lot of great music falls by the wayside — I’ll get a review copy and give it a couple listens, and then it disappears into the quagmire of my hard-drive, never to be found again until way later, when I can’t even remember where it came from.
So in 2011 I am aiming to do a more heady challenge than just posting each day. I want to post each album. Any album I give more than a cursory glance, I must write about it. Not necessarily a 700-word review, perhaps, but it shouldn’t be too hard to come up with a hundred words to say about each album I hear (whether that be good or bad). My theory is that in an average year I may write about sixty or seventy albums I really enjoy, but a lot of the more average material (but still deserving some note) albums just slip aside. I may hear hundreds that just are gone.
No more! 2011 will be the “Year of the Album” if it drives me over the edge.
And if you stick around and read regularly, you may end up finding yourself a few new favorites as well.
I’m going to get this one started a bit early and post about an EP I was emailed by Matt Conner over at Stereo Subversion. It’s not going to be an official contribution to the “Year of the Album,” since it’s not 2011, but it’s something new that you ought to check out:
Dov Rosenblatt (formerly of New York’s “Fools For April,” joined up with Talia Osteen (a former VP at a film production company) and somehow the duo has managed to create the perfect aural hybrid which keeps reminding me of Caedmon’s Call, particularly on the stunning “Oh New York,” which will give music producers for the likes of Grey’s Anatomy fits. The music’s kept simple, which allows the songwriting to shine through in all it’s glory. And though there’s nothing spectacularly new here, who needs new when we can get something comfortingly familiar instead? The EP is remarkably consistently developed, and I think this bodes well for where the Wellspring could take their music in the coming months.
Here’s hoping more than a few people actually get to hear it!
Hear the EP: