2020 was a dark year for music, but there were bright spots

Early in 2020, it looked to be a dazzling year for live music.

Bands like the Strokes, the Psychedelic Furs, and Duran Duran were planning to deliver long-awaited studio albums, with tours likely to follow. By March, around the time COVID-19 took hold in the U.S., there were already tours announced by the likes of Nick Cave and the Bad Seeds and dates by the reunited Bauhaus (we had tickets for both). Early in the year, I’d already seen two concerts, one by 69 Eyes and another by The Reverend Horton Heat with the Buttertones.

But live music soon came to a screeching halt amid the global pandemic. Bands like Duran Duran shelved their albums. Others went ahead with their releases, giving music fans much-needed hope during a dark time.

These are some of the great albums of 2020:

The Psychedelic Furs could have waited another year; after all, the band’s previous studio album came out nearly 30 years ago. But the Furs finally delivered “Made of Rain.” The band couldn’t back the critically lauded album with live shows, but the music will be just as fresh when a return to the stage is possible. Read the review.

The Strokes ended a seven-year hiatus with “The New Abnormal,” and there wasn’t a more fitting album for its time. The New York band combined all its classic sound with a dose of ’80s flair: the track listing included writing credits for Billy Idol and the brothers Butler (of the Furs). The Strokes released a batch of stunning videos, launched a Zoom series, performed on “Saturday Night Live,” and earned their first Grammy nomination. Read the review.

The Buttertones released ”Jazzhound,” showing all the promise that had propelled them to their status as perpetual up-and-comers. About three months later, the Los Angeles band imploded amid allegations of sexual abuse (Read more). Some fans declared the band unfairly canceled, but the silence of lead singer Richard Araiza only raised questions. After more than a month, he and guitarist Modeste Cobian released a video statement on Instagram. The duo’s denial of wrongdoing and promise of a comeback in 2021 mostly failed to resonate with the band’s core fans. 

Also in 2020: Muzz, a “supergroup” led by Interpol vocalist Paul Banks, released a self-titled effort, its debut no less. When he couldn’t tour, Nick Cave recorded the haunting “Idiot Prayer,” alone with a piano at Alexandra Palace. The Damned tided fans over with “The Rockfield Files” EP. Read the review.

As for Duran, the band wants to support any new release with live shows. While that’s not possible now, at least in a conventional way, Duran opted to largely stay quiet in 2020. John Taylor delivered an entertaining round of bass tutorials and interviews after recovering from COVID. Simon Le Bon also endured a bout with the virus and carried on with his Spotify podcast. Optimistically, the band has announced live shows for next summer.

Along with an annual list of top live shows, I also won’t be compiling Duran Duran’s top moments of the year for the first time since 2011. If Duran's 2021 concerts are able to take place, its 15th studio album may finally materialize. But it appears that a true 40th anniversary celebration for the band may be falling by the wayside due to COVID. 

True, there are more important things than music in these times. But it sure would have been nice to have had one more bright spot during a dismal 2020. 

New record review: The Damned 'The Rockfield Files'

The Damned must be feeling nostalgic of late.

First, the British punk icons released a new EP, "The Rockfield Files." It's described as a "return to the scene of the crime," Rockfield studios, where the band's groundbreaking "The Black Album" was recorded some 40 years ago. The four-song collection promptly debuted at No. 1 on the British vinyl singles chart.

A few days later, the Damned did something that some expected would never happen: The band got its original lineup back together with plans for a U.K. reunion tour.

While "The Rockfield Files" (Spinefarm) is a nod to the band's past, the EP continues in the vein of modern-day Damned music. 

Opening track "Keep 'Em Alive" is a bad ass track about the modern-day plight of the bumblebee. One can imagine "Manipulator" to be about the president of the U.S., at which several lyrics on the band's 2018 album "Evil Spirits" were also squarely aimed. "The Spider and the Fly," perfectly delivered by singer Dave Vanian, is about the seductive dance between predator and prey. And "Black is the Night" appeared on the band's recent career-spanning compilation of the same name. 

The lineup for "The Rockfield Files," recorded last year, included Vanian, founding guitarist Captain Sensible, "Black Album"-era bassist Paul Gray, longtime keyboardist Monty Oxymoron, and now-former drummer Pinch.

The lineup will look a little different next summer, pandemic permitting. The four original Damned, Vanian, Sensible, Brian James and Rat Scabies, held a socially distanced press conference, the first in the U.K., to announce the reunion. The tour presumably will be only for five shows.

Sensible isn't likely to want to play second fiddle to James on guitar for more than those few gigs. But there's a tantalizing possibility that Scabies could fill the band's permanent opening on drums. Scabies has expressed a desire to get back with the band and even collaborates with Gray in Professor and the Madman.

Whatever the future holds, it's great that the Damned have a chance to reunite the original band. From there, one can imagine a version of the band touring the world in late 2021 or 2022. Hopefully, Gray will be there ... and maybe even Scabies. 

The sad saga of the Buttertones: #MeToo allegations and a band's demise

@robbersden

It has been almost two months since the Buttertones, a band that once had so much promise, instead imploded under the weight of sexual misconduct allegations.

It started with a single story about what seemed like a consensual encounter between the band’s bassist, Sean Redman, and a female fan on Instagram. It wound up with a band unraveling, one member being fired and two others quitting, the Buttertones’ label dropping the band, and then a disappearing act: first by the band on social media, then by most of its music off streaming services.

Some fans have declared the band unfairly canceled. Some are vowing to listen to the music regardless of the accusations. Others have stopped listening, permanently or at least for now. But everyone can agree that the Buttertones, instead of an up-and-coming band, are now a cautionary tale.

The sad saga of the Buttertones is a story about not just the band, but about Clem Creevy, Ava Hawk McDean, and many others.

After an Instagram account titled “Exposing the Buttertones” posted the story about Redman, others flowed in. The stories detailed accusations of sexual abuse in many cases and alleged misconduct in others, and the accounts were mostly anonymous.

Then Clem Creevy shared a brave account of her relationship with Redman, her former bandmate in Cherry Glazerr. The bassist initiated a sexual relationship with Creevy when she was just 14, falling solidly into the category of statutory rape. According to Creevy, Redman gave her a sexually transmitted infection and was a cheater and an abuser. The woman who made the initial allegation against Redman on Instagram had said that he didn’t ask her age or tell her that he had an STI before they had sex, which jibed with Creevy’s account.

Once the respected indie-rock frontwoman posted her story, the fallout was swift. The Buttertones offered a one-sentence statement on Instagram saying that Redman was no longer in the band. The remaining band members, save for singer Richard Araiza, posted their own more sincere statements.

Guitarist Modeste Cobián apologized for not speaking up sooner but denied the allegations against him. Keyboardist and sax player London Guzmán left the band, vowing to donate future royalties from the band to support women. Drummer Grant Snyder also called it quits. Innovative Leisure, the Buttertones’ label, dropped the band and soon removed their music from Spotify. Somewhere along the line, social media accounts for the band and various members were deactivated.

During all of this, there has been one constant: the silence of Araiza, who maintains an active Instagram account but hasn’t responded to the allegations. Privately, in messages detailed by fans, Araiza assured them that he’d post a statement soon. Almost two months later, we’re still waiting.

The Buttertones came into my life in 2017. I wrote blog posts praising the band, even declaring them "the next big thing.” I saw the band twice with guitarist Dakota Böttcher, a key member of the band who quit under somewhat mysterious circumstances last year. 

But things never really materialized for the Buttertones. Since the allegations surfaced about Redman, as well as Araiza and Cobián, fans have speculated about what role the band’s long-rumored behavior may have played in their trajectory.

The accusations against other band members centered on abuse, sexual and otherwise, and were mostly anonymous. The singer of the Aquadolls, Melissa Brooks, posted her story about an encounter with Araiza, but it seemed to stop short of sexual assault. 

Anyone who had doubts about Araiza’s character got some certainty when former girlfriend Ava Hawk McDean posted an account of her time with the singer. She broke her silence a couple of weeks after the band’s demise. According to his girlfriend of two years, Araiza was verbally abusive; transferred cocaine into her mouth, breaking her sobriety; and threatened her against speaking out after the two broke up.

Her account did not accuse the singer of assault specifically but was a tale of alleged abuse and poor character. Without hearing Araiza’s side of the story, followers of the band are left with questions and frustrations.

The Buttertones appear to be "no more," as fans have quoted Araiza as saying. The band isn't the first musical act to face misconduct allegations, and its music could still live on. But the band might be among the first to be done in by #MeToo allegations.

I'll still listen to the Buttertones. But with so many questions unanswered, it will be difficult to go back to earlier this summer, "a time when everything was fine." 

****

Epilogue (February 2024): The Buttertones, nearly derailed by the 2020 allegations and with only two members left from its previous incarnation, are releasing new music again and recently played a string of live shows.

At top, this illustration by Jordan Wright (@robbersden) depicts the Buttertones in better times. The band's latest album, "Jazzhound," was released in April. About three months later, #MeToo allegations brought the band's seeming demise.

On Duran Duran Appreciation Day, a ‘Distraction’ well worth Duranies' time

Happy Duran Duran Appreciation Day! 

I must admit that I was a little stumped as to what to write about this year. It has been nearly five years since Duran Duran released a studio album, the band (and most others) has stopped touring amid the coronavirus pandemic, and even John Taylor’s excellent “Stone Love Bass Odyssey” tutorials have been on hiatus (though John and Nick Rhodes did plan an Instagram Live for DDAD).

It was during my search for this year’s DDAD topic that Duran superfan and archivist Andrew “Durandy” Golub reached out to me. During quarantine, Andy has been entertaining fans with his “Duranie Distractions” on social media. For DDAD, he’s sharing fans’ Duran Duran stories: what the band means to us, why we love them, and how Duran has affected our lives.

Putting together my submission was surprising easy. A few minutes and well more than the requested 75 to 100 words later, I had mine:

Duran Duran is more than my favorite band, it’s a way of life. My love of the band has left its stamp on my music collection, so much of which is filled with artists that Duran influenced or was influenced by. Duran has also led me to embrace movies, fashion, and even a more inclusive mindset. 

The band’s mood-lifting music made me a fan. It didn’t hurt to see the beautiful faces behind it. 

Hearing Roger’s four-on-the-floor drumming, John’s syncopated bass lines, Andy’s wicked riffs, Nick’s innovative synths, and Simon’s voice, instantly recognizable as Duran Duran, had me hooked. And here I am, near a quarter of a century later.

Duran has inspired me to travel to countless shows, where I even got the chance to meet John and Nick. I will never forget witnessing my first concert, when the band was a slimmed-down three piece with a “new” guitarist; the thrill of the reunion shows; or bringing my now-husband to his first Duran concert, at Red Rocks, of all places. I became a journalist so I could write about Duran for the school newspaper, then Examiner.com, and now at Duran Duran and Beyond.

I edited that bad boy down and sent it off, and Andy added his flourish to the ending of it.

Check out my story and many more on the DDAD edition of “Duranie Distraction.”

Me with John in 1997, and Nick in 2001, at top.

New record review: The Psychedelic Furs ‘Made of Rain’

It’s been 29 years since the Psychedelic Furs released its last studio album. Not only is “Made of Rain” (Cooking Vinyl) most definitely worth the wait, but it has the classic sound and energy of the band’s epic live shows, too. 

As a fan who has reviewed quite a few Furs shows over the years, I was excited when guitarist Rich Good told me last year that the Furs were preparing to release the long-awaited new album. An early 2020 release turned into spring and then, delayed by the coronavirus, summer. But it’s finally here. 

The album comes roaring out of the gate with “The Boy That Invented Rock & Roll,” bringing to mind the opening of the band’s first self-titled album that helped usher in the post-punk era of the early ’80s. 

A classic album is better than the sum of its parts, and on that count, "Made of Rain" delivers.

Some of the singles that the band released leading up to the album belie the greatness of the album as a whole. Heard in the context of the rest of “Made of Rain,” songs like “Don’t Believe” and “Come All Ye Faithful” have added punch. When sprinkled among aching ballads like “Wrong Train” and “This’ll Never Be Like Love,” higher-energy tracks like “No-One” get the chance to shine. 

The album, as much as the Furs’ live show, provides the perfect showcase for all the band has to offer. Richard Butler's vocals soar, his ever-acerbic lyrics backed by Good, bassist (and brother) Tim Butler, keyboardist Amanda Kramer, drummer Paul Garisto and Mars Williams on sax. It’s also a guitarist's album; Guns N' Roses guitarist Richard Fortus serves as producer, and the album ends with "Stars," which closes with a guitar solo.

The only letdown that comes with the release of “Made of Rain” is that the Furs, like most touring acts, won’t be able to play new music in concert until next year. But until fans can see the band live again, they can enjoy an album 29 years in the making. What’s a few more months of waiting to hear the songs live?

Happy birthday, JT: How 2020 made a longtime Duranie a John girl

I’ve been a Duran Duran fan for nearly a quarter-century, and band founders Nick Rhodes and John Taylor have vied for my affection over those years.

John was my favorite member until the late '90s, around the time that he departed the band; Nick has been my fave the rest of that time.

My Nick fandom was solidified when I met the keyboard guru in person during a tour after John left. It’s an encounter that’s immortalized in my Blogger profile picture.

I haven’t soured on Nick. But 2020 has been a bigger year for John than for any other member of the band. And now I think I may be back in the John-girl camp.

During the coronavirus pandemic, it has been hard for any band to be at center stage, when new releases (like Duran’s forthcoming 15th studio album) and concerts have been postponed. 

And John was personally affected by the pandemic when he became infected, subsequently recovered, and posted about his bout with the virus and his recovery in a hopeful message on social media.

John has added another bright spot to dark times with his “Stone Love Bass Odyssey” series of tutorials and interviews, of which there have been six. With his trusty drum machine and behind-the-scenes help from wife Gela, John has taken Duranies on a joyful ride through some of his biggest hits: “Planet Earth,” “Girls on Film,” “Rio,” “The Reflex,” “A View to a Kill,” and the Power Station’s “Some Like It Hot.” Appealing to more than just musicians, he not only offers tips about technique but also talks about the background of how the songs came to be.

Following the bass tutorials, he’s had a fascinating run of interviews with Duranie friends and colleagues: David Macklovitch from Chromeo (and fiance of John’s daughter Atlanta), Susanna Hoffs of the Bangles, Mark Ronson, Nile Rodgers, Billy Idol, and his partner in rhythm, Roger Taylor.

Despite John’s admittance that he’s not the most technically savvy, he dives head-first into the online interview. He’s a natural, sharing his enthusiasm for music and getting interesting tidbits out of his subjects. Some might fault a lack of fan questions, but really, does anyone actually care what Duran thinks of Depeche Mode?

Instead we get to hear about how one of super-producer Ronson’s favorite songs that he’s ever worked on is “All You Need Is Now.” (Now just play it live again!) We hear about Rodgers’ non-musical passions, like cooking with vegetables and civil rights. And we see a softer side of Billy Idol, who said he was serious about the quarantine so he could meet his new granddaughter.

Roger shares the story of how he played briefly with punk icons the Damned, taking Rat Scabies’ seat behind the drum kit before Brian James kicked him off the stage mid-song. We get an update on the new album (Duran is working on the mixes) and meet his new dog, Luna.

Hopefully, John continues his odyssey with a new series: There’s still “Notorious,” “Sin of the City,” and countless other songs to revisit ... and two more members of the band to interview.

For now, watch all six in the series. You won’t regret it. You might even become a John girl (or guy) in the process.

Photo by Christopher Windle

New record review: The Strokes 'The New Abnormal'

The Strokes are back to bring some much-needed chill to the chaos of the world with the band’s first album in seven years, the somewhat prophetically titled “The New Abnormal.”

It’s appropriate that the Strokes, a band that rose in the shadow of one of the country’s most chaotic times, have returned today. The New York band’s first album, “Is This It,” surfaced on CD in the U.S. after the Sept. 11 attacks. The CD, the preferred format of the time, was delayed for release due to its “sexually explicit” cover, and the song “New York City Cops” was scrubbed from the post-9/11 track list. 

Of course, the delay didn’t stop the Strokes’ trajectory. Over the course of five albums, the band perfected its sound when so many other bands of the late '90s/early 2000s garage rock/post-punk revival stalled or faded away.

In 2020, the Strokes have released an album that sounds like the Strokes at their catchiest, produced by Rick Rubin, to boot. It’s a shame that the band members are quarantined like the rest of us, promoting the album via a Zoom listening session instead of onstage.

But as Julian Casablancas sings, “life is such a funny journey.” The song in question, "Eternal Summer," is perhaps the album’s best and most adventurous track, with Casablancas choosing to use his falsetto instead of his trademark croon. (It also samples the Psychedelic Furs’ '80s gem “Ghost in You.”) "At the Door" is reminiscent of "80s Comedown Machine," the best and most experimental song on the band's previous full-length album, "Comedown Machine."

Still, it’s comforting to hear that Casablancas croon alongside an Albert Hammond Jr. riff, and “The New Abnormal” delivers plenty of those moments. “Why Are Sundays So Depressing” and “Not the Same Anymore” are perhaps the most classic-sounding Strokes tracks here. 

The new wave side of the Strokes is apparent on “The New Abnormal,” too, and it’s as appealing as ever. The chorus of “Bad Decisions” sounds so much like “Dancing With Myself” that ’80s icon Billy Idol gets a writing credit. On “Brooklyn Bridge to Chorus,” Casblancas even asks: “And the eighties bands? Oh, where did they go?” 

The album closes with “Ode to the Mets,” a sad tribute to the baseball team, or perhaps anything that lets one down. “The New Abnormal” is not one of those things.

There are so many cool elements on the album, perhaps none more so than in “Ode to the Mets” when Casablancas interjects mid-song, “Drums please, Fab.” 

Moments like those make it seem like the Strokes have never been more content to just be the Strokes. Hopefully, when this is all over, they still are, because the world still really needs them.

At top, the album cover features the Jean-Michel Basquiat painting "Bird on Money" circa 1981. (Cult and RCA Records)

New record review: The Buttertones deliver soothing anthems for our time on 'Jazzhound'

2020: It was a year that started out with promise.

For the Buttertones, and for the rest of the world, this year was supposed to be so much better than 2019. For the band, last year held the departure of one member, a health scare for another, and a canceled tour. 

But as 2020 began, the Buttertones had emerged from all of that to open a tour for the veteran act the Reverend Horton Heat, and then had a headlining tour lined up in support of the band’s first album in more than two years. 

Well, we all know what has happened now. 

A pandemic has postponed the Buttertones’ tour and countless others. Albums have been shelved, and musicians’ and fans’ lives have been turned upside down. 

But thankfully, we still have the Buttertones, and the band’s new album, “Jazzhound” (Innovative Leisure) may be just what the world needs now. Music can heal, and Richard Arazia with his buttery-smooth baritone and his band are here to soothe us.

The band recorded the album last November at Electro-Vox and Jazzcats studios, with producer Jonny Bell once again at the helm. Araiza has described the album as poppy, saying it's titled “Jazzhound” because “Pophound” just didn’t have the same ring to it. 

As the singles dropped, fans could tell this album was going to be one of the Buttertones’ best. The title track is a glorious realization of the band’s foray into post-punk started on “Midnight in a Moonless Dream” and continued on the standalone single "Madame Supreme." “Fade Away Gently” is an anthem for our time, culminating with Araiza singing, “Loneliness. Fuck loneliness.”

The latest single, “Phantom Eyes,” gets the album off to a cracking start. It’s irresistible, along with much of “Jazzhound.” Sean Redman’s bass lines are catchier than ever. Longtime drummer Modeste Cobian makes the seamless transition to guitar, lending jangly riffs throughout. London Guzman provides the link to the band’s past with his saxophone, and the future, with his keyboards. His sax is in the spotlight on songs like “Bebop” and “Velour,” which perhaps sound the most like the Buttertones of old, with added punch.

Although much of the music is upbeat, there is an air of sadness throughout Araiza’s lyrics. He sings of dreams fading away (“Fade Away Gently”), and of crying “out alone in the night” (“Rise and Shine”). On “Denial, You Win Again,” with resignation he proclaims, “I’ll happily lose to you.”

The Buttertones may just be taking up the “happy-sad” mantle of post-punk icons the Cure. It’s a future worth being excited about.

After all of this is over, bands will tour again. As for the Buttertones, they're hoping they can be back out on the road in the summer. 

But until we emerge from the darkness, music like “Jazzhound” will be there, to soothe us and show us the promise of a better future.

The Buttertones treat fans to smooth sounds, new songs in Denver

After a challenging 2019, the Buttertones are back, kicking off 2020 with a coveted opening slot on the revered Reverend Horton Heat’s latest tour.

This spring, the Buttertones will release a long-awaited new album. Nearly two years will have passed since the release of the band’s fourth album, “Midnight in a Moonless Dream.” It probably wasn’t planned that way.

Last year, longtime guitarist Dakota Böttcher departed the band. Then, drummer Modeste “Cobi” Cobián had to undergo a cornea transplant after suffering an eye injury and infection. The band was forced to cancel its U.S. tour.

But the band has risen above those challenges. The new album, “Jazzhound,” is due April 10. Cobián has made the seamless move to guitar — and rocks a killer eyepatch to boot. A new drummer, Grant Snyder, is on board as the band plays its first U.S. tour of the year with the Reverend Horton Heat.

Photos by Christopher Windle

The Buttertones are impressing fans of the veteran rockabilly act with old and new songs. On Feb. 13 at the first of three shows with the Reverend at the Bluebird Theater in Denver, the band played three tracks from “Jazzhound.”

According to singer Richard Araiza, the album has some of the darker elements exhibited on “Midnight.” But after listening to the new songs and how well they fit into the setlist, there’s also plenty of the classic Buttertones sound to be heard to please fans of the band’s first three albums.

The Buttertones opened the set with the first single off “Midnight,” “Baby C4,” then launched into “Velour,” one of the three new tracks. The band was a flurry of manic energy through the first third of the set, which was designed to grab the audience’s attention. The next songs, as Araiza said, were to win the crowd’s hearts.

Another new song, the gorgeous “Denial, You Win Again” was sprinkled in among slower songs like “Baby Doll.” “Bebop” was sandwiched nicely between early Buttertones track “Orpheus Under the Influence” and the rousing “Ghost Safari.”

The band’s members haven’t even reached their 30s, but they already have an impressive back catalog. Could it be that the Buttertones have defined their sound?

Over the band’s four albums so far, there have been forays into surf, rockabilly, and even new wave. Araiza’s voice is the factor that helps bridge those musical styles. Sean Redman’s bass grooves are a constant; so are London Guzmán’s distinctive stylings on saxophone, and increasingly, keyboards.

The band closed out the concert with a trio of songs off “Gravedigging.” If there were still doubters in the crowd in “old Colorado,” they were silenced, literally, by “Sadie’s a Sadist,” “Matador,” and “Gravediggin.’”

After a tough year, the Buttertones have kept on going, going, going — and they’re still growing as a band.