Best of 2013: Justin's Favorites

In 2013, I developed more new tastes than I have in recent years. Artists like William Tyler, Alexander Turnquist and Steve Gunn opened my ears to American primitive guitar music that pushes the boundries of the instrument can do. This opened the doors for a fascination with experimental and ambient music like William Basinski’s The Disintegration Loops and Tim Hecker’s Virgins.

While my horizons broaden, my love for rock and folk deepened thanks to some incredible records. Two stand out above all: Scout Niblett’s It’s Up To Emma and Jason Isbell’s Southeastern. Both are similar in that they approach their topics with unflinching honesty.

Hopscotch 2013 Night 3: Scout Niblett, Lonnie Holley, John Cale

Photos by Kevin Norris

In the small cube of Kennedy Theater, a half-seated, half-standing crowd witnessed the set of the festival from Scout Nibett.

Niblett’s It’s Up To Emma is a brutal album, but the songs reach unbelievable levels of intensity live when paired with her burning stare and ferocious vocal delivery. This was a performance felt in the gut.

Her performance was both terrifying and cathartic. Terrifying because her anger is so palpable it’s easy to believe she might act on her macabre thoughts. Cathartic because the brooding, sparse guitar builds into gargantuan drum hits and cleansing guitar solos. She played the audience perfectly building up the tension until it just had to burst.

Album Review: Scout Niblett - It's Up To Emma

Scout Niblett’s seventh album, It’s Up To Emma, opens with a foreboding two-note pattern and the line, “I think I’m gonna get me a gun, a nice little silver one.”

“Gun,” the album’s opening murder ballad is transportive. Niblett draws the listener into the narrator’s anger and hurt as she fantasizes about a bloody end for her ex. “Maybe you’ll be holding her hand or watching her shitty band,” Niblett sings.

Niblett’s spartan and raw style is the perfect complement for a break-up album. Her voice hardly needs any support or ornamentation from the guitar and drums because she easily twists pain, confusion and defiance together.