The Theorist: Pearl Jam & The Pursuit Of The Good Life

By Spencer Davis. For a kid whose love of rock music was originally sparked by the early 90s grunge movement, seeing Pearl Jam’s recent induction into the Rock And Roll Hall Of Fame was an odd sort of milestone in my own musical journey. Standing there together on stage, trying to find words to capture what the moment meant to their music and to their own personal lives, you could almost see Eddie Vedder, Mike McCready, Jeff Ament, Stone Gossard, and Matt Cameron—along with original drummer Dave Krusen!—mentally struggling to grasp the enormity of the past 25 years. There was a childlike shock at being there, as if their adult selves were momentarily jettisoned and replaced with six naive, energetic, swaggering kids from 1991. And from that perspective, the whole thing was no doubt impossible to compute.

But watching on the television, knowing as we do know that, as this was filmed, the world was just weeks away from losing yet another legendary Seattle frontman in Chris Cornell, the induction of Pearl Jam took on a wholly different kind of historical relevance. With so many of their grunge-era contemporaries—Soundgarden, Nirvana, Alice In Chains, Stone Temple Pilots—lost or fundamentally altered by premature death, and so many others rendered defunct by eternal squabbling, lineup changes, or on-again, off-again breakups, Pearl Jam is now the last band standing. And there’s a monumental lesson in that about the nature of fame, creativity, and indeed life—either as musicians or just as people. Continue reading

The Mixologist: Remain/Rewind

By Spencer Davis. Been taking a bit of a break lately, but don’t worry—S&N isn’t going anywhere! And what better way to come back after a recharge than with a brand new S&N mix? Well, I say “brand new,” but as you’ll see with this batch of tunes, newness can be relative. Because while these songs all come from 2017 releases, you’ll notice an obvious theme: they make what’s new sound old again. Tapping into a vibe that’s distinctly 80s, these artists skirt that creative line between looking back and moving forward. And they prove it’s not so much a line as a spectrum. Continue reading

The Consumer: Late Winter Picks

By Spencer Davis. Longtime readers of S&N might notice a surprising name missing from this edition of The Consumer: Ryan Adams. His latest, Prisoner, dropped last month, but I’m sad to say I can’t recommend it. Continuing in the vein of 80s power rock that he explored on his 2014 self-titled album, Adams can still pen a great song almost effortlessly—and having heard a few of Prisoner‘s tracks during his live acoustic tour last year, I can confirm that there are some great songs hiding here. But they’re buried under lackluster production and a muddled mix, resulting in an album that feels like a cheap imitation—not only of its more obvious 80s influences (like Springsteen or Petty), but of Ryan Adams himself. So what have I been listening to instead? Aside from some killer EPs by Middle Kids and Maggie Rogers, lots of contemplative songcraft from the likes of Spoon (pictured above), Laura Marling, Leif Vollebekk, and Rose Elinor Dougall. Continue reading

The Projects: The Vintage Collector, Vol. 5

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By Spencer Davis. Time to pick back up where we left off with The Vintage Collector, our continuing series on the overlooked throwback records you need to add to your vinyl (or digital) collection. This edition highlights a team-up of jazz titans, plus some innovative punk pioneers, a progressive French provocateur, a delta blues legend, and a classic rock name you might not know—but ought to sound plenty familiar. Continue reading

The Contrarian: “Great” Artists You’re Wrong About, Vol. 2

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By Spencer Davis. You thought I got it all out of my system last time? HA! Apparently you don’t know me at all, because while the hate I rained down on Frank Ocean, Sufjan Stevens, Beach House, and The Cure was impressive—and despite what you might’ve read in the comments section, totally warranted—there’s plenty more where that came from. So sit back and let me explain why a few more of the so-called artists that Pitchfork and All Songs Considered keep conning you into appreciating are, if you’re really being honest with yourself, stains on the very soul of humanity. Continue reading