Michael Sevigny

Retrospecticus: Sleater-Kinney

Shortly after the release of last year’s Start Together box set, Sleater-Kinney announced that they were returning after a ten year hiatus with a brand new album. The news made me ecstatic, and I don’t think the return of any other defunct rock band could make me feel quite the same way. Sleater-Kinney were a very important band to me, even though I only caught up with them a few years after they’d already broken up. A lot has been written about Sleater-Kinney’s impact on music in general, and many people have similar stories about how important their music was to shaping their taste, their personal politics, or even their identity. While I don’t have a particularly unique story about how I discovered their music or what it meant to me personally, I can say that they’ve opened my mind and rocked my face in a way few bands have. Here’s my take on their discography, including some tentative thoughts on their new album, No Cities to Love.

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Michael’s Top Ten Movies of 2014

I’d like to apologize to everyone who was anxiously awaiting the unveiling of my list. I’m sorry this is so late. And I’m sorry that I saw so few movies this year. I tried doing a log this year, writing my thoughts on every new film that I saw. Some of these reviews are copied from that (sorry). Others are reviews that I threw together this morning because, holy shit, I still haven’t submitted my list yet! Sorry about that again. So, without further apology, here’s my top ten sorry.

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Michael’s Top Ten Albums of 2014

Yo! I’m Michael. This is my first post here, which makes me pretty nervous. Plus, when you consider that my first post is also a top ten list, well… I’m pretty confident when I say that no person has ever felt the level of pressure that I feel right now.

Anyway, I listened to a lot of music in 2014. In fact, I don’t think I’ve ever kept up with new releases as much as I did this past year. Perhaps because of that, I feel it was a pretty great year for music, making it difficult to choose only ten of the 100-ish new releases I heard. Besides the albums on my honorable mentions list, there are albums that a) I heard too late in the year to fully embrace (D’Angelo’s Black Messiah, Nicki Minaj’s The Pinkprint), b) were technically considered EPs (Vince Staples’ Hell Can Wait, Isaiah Rashad’s Cilvia Demo) or c) only existed in a weird dream I had on Thanksgiving night (Kill Machine, the new collaboration by Frank Black and my middle school P.E. teacher). Still, I think I can stand by this list.
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