Over its long tenure as a band, Five Iron Frenzy has had some really silly songs. Songs like “Arnold, Willis, and Mr. Drummond”, “Oh, Canada”, “Blue Comb ‘78”, “The Untimely Death of Brad”, “Where is Micah?”, and many others. But they’ve also always been a really political band. On their first album, Upbeats and Beatdowns, they had the song “Anthem” which spoke about politicians wrapping themselves in themes of nationalism. “Milestone” also dealt with racism and prejudice. “Beautiful America” tackled both politics and another constant theme across FIF’s albums - rampant capitalism. Over the rest of the discography there was:

Thanks to COVID I missed out on the concert where I was going to see Paul and Storm and Jonathan Coulton. Compared to last year, I also barely bought any music.

This year I switched from using Ampache to listen to my music at work, to using Funkwhale. The more responsive interface has led to me playing a lot more albums as well as doing “artist radio” mode which plays all of an artists’ songs at random. This may have concentrated the scrobbles rather than having them be as random as in the past. That said, I did make good use of Funkwhale’s “Less Listened” radio to keep things fresh. At home I’ve been using Cantata’s “similar artists” dynamic playlists a lot which may also have contributed to a concentration of artists this year.

One of the categories of software people often go to /r/selfhosted to ask about, is for software to host music. This has become even more important with the dissolution of Google Music and Amazon and others removing the ability to upload your own music to listen to. I’ve got some experience with both FunkWhale and Ampache, so I decided to create a video to compare and contrast the two.

https://youtu.be/0dBcKNoJAso

Like, perhaps, many of my readers, I knew Jane Lui’s music mostly from her cover songs. But I really liked her voice and so I decided to back the Kickstarter for her new album, Surrija. By the time this review is published, I’ll have had the album for about 2 months. For this review I’ll first focus on my initial impressions and then my impressions after having listened for a while.

In 2019 I went to 5 concerts, starting with Neon Trees and Fitz & The Tantrums in May. Then I saw a bunch of my favorite smaller bands like The MiSbehavin’ Maidens, The Doubleclicks, Lionize, and The PDX Broadsides. Anberlin came out of retirement and so it was great to go see them in concert again for the first time in years.

I also got a LOT of albums in 2019. Some were Kickstarted and others were freely available. Others still were purchased for family members. Here is a mostly complete list of all the albums I added to my collection in 2019:

I would have backed The PDX Broadsides’ Kickstarter for Relatable Content no matter what because I loved Trust Issues and I enjoy nearly all of their older songs. But the thing that made me spread the word everyone and try to get more backers was that they had a goal to do an East Coast tour. When they came to the New Deal Cafe in Greenbelt, MD I was finally able to see them live for the first time. It was also my second time seeing The Misbehavin’ Maidens, who opened for The Doubleclicks earlier in the year.

Scarlett was watching Peg + Cat which has an episode called Mack the Fork. So she asked me if that was a song and I told her that Mack the Knife was a song and she asked me to play it. Then the following exchange with my 3.5 year old happened:

Samuel: What’s this song?

Me: Mack the Knife

Samuel: The knife can talk?

I have been following I Fight Dragons for almost a decade now, including their journey from self-produced to being a label band and rejecting that to going back to being self-produced. I was a backer on their last album, the ambitious concept record The Near Future. That was a seemingly long five years ago. I’ve said before that I ended up enjoying the B-side of the record a lot more, and I think that’s because the lyrics resonated a bit more with me. But for a while I thought maybe the stress of the Kickstarter (in which they ended up ditching an almost completed version of the album and starting over) had split the band.

When I backed The PDX Broadsides’ Kickstarter, they pointed out their friends, The Misbehavin’ Maidens, also had a Kickstarter campaign going on. As I mentioned in the review for Relatable Content, The PDX Broadsides started off as a pirate shanty band. The Misbehavin’ Maidens still are a pirate shanty band, or at least a few of their songs on Swearing is Caring follow sea shanty song structures and melodies. And, other than tamborines and drums, they’re an acapella band.

This year I have sponsored a lot of Kickstarter creative work, including lots of music. One that I was very excited to support was The PDX Broadsides’ latest album, Relatable Content. They started off as a pirate shanty band and have evolved into a nerd filk band whose songs range from silly to profound. I really enjoyed their last album, Trust Issues, which had some pretty timely songs like Noncompliant (superficially about the Bitch Planet comic, but actually about the Me Too era) and We Want Rey (about representation in nerd toydom). It also had some fun songs (both feature Christian as the lead) like Tiny Little Octopus and Robot vs Boy (which I want to see made into a mini-musical). Their last Kickstarter also had a dirty album called Lust Issues that continued their trend of Shakespeare music with the great Dirtbag Romeo and their dirtier songs from their pirate shanty days with It’s Just Sex.