Top Chef S12E08.

Sorry this week’s recap was delayed, but I didn’t see the episode until Friday night due to the winter meetings and all-day travel on Thursday (I passed on taking a redeye home, and I’m not sorry about that part).

Top Chef logo* We start with a window on last episode’s decision to send Keriann home rather than Katie. Gregory says in the stew room that “you don’t mix bananas and chocolate and call it a mousse,” to which Katie concurs, saying “that wasn’t a mousse.” Remember Tom and/or Barbara saying you could play hockey with it? Well, I guess we know now. I don’t think anything without whipped cream folded into it could be called a mousse; chocolate mousse has both that and an egg white foam (meringue) to provide structure and lightness by incorporating air.

* Gregory’s an ultra runner and has run 50 miles a couple of times. I’m not sure if I should be impressed or horrified. If I run 50 miles, it’s because there’s a large carnivorous animal chasing me.

* Quickfire: Jasper White’s in the house. I’ve been to his Summer Shack a few times and liked it. I’ve heard him credited with inventing grilled lobster, although I don’t know if that’s apocryphal.

* This is a sudden-death quickfire, involving clams, with a table full of buckets of clams available for the chefs. They’ll be making “chowdah,” as Padma says it, although I could have sworn it was said differently:

The chefs have to create their own unique versions of clam chowder. White wrote a book on the dish, called 50 Chowders.

* The winner gets immunity; the loser has to fight to survive. The chefs have thirty minutes, which isn’t much time to create strong clam flavors.

* Mei grabs the whole bucket of littlenecks, which apparently are one of the most desirable clams up there, but ends up sharing them with Adam when he asks … only to have Melissa swipe them right off her station when she heads to the pantry. That’s bad Top Chef etiquette, at best, and sleazy at worst.

* Gregory is making razor clams, which he chose because they’re juicy, tender, and really quick to cook. I’m light on clam knowledge here, since my wife is allergic and I eat clams maybe once a year when dining out.

* Adam is trying to make a light chowder, which would differentiate itself from everyone else’s, but he’s really just making a Manhattan chowder by using tomato water instead of potatoes.

* Melissa is using lemongrass in her chowder, which will taste like tom kha gai. Katie makes a black tea sourdough chowder, using the bread to thicken the chowder, which sounds like it’ll work for thickness but not for mouthfeel.

* Mei made a steamer clam and lobster chowder with yuzu aioli, celery, and fennel. Katsuji makes a green chowder with oysters, poblanos, jalapeños, and toasted garlic broth. Gregory’s dish is a razor clam and sweet potato chowder with bacon, dashi, and coconut milk broth. He grilled the clams and thickened it with the sweet potatoes, an idea I’ll definitely steal for something. Adam’s Manhattan chowder features red wine poached clams, boiled potatoes, carrots, celery, and tomato water.

* Melissa’s cioppino chowder has clams, shrimp, white wine, onions, leeks, and garlic. Doug made a grilled oyster chowder with a steamed clam broth using the clams’ liquor for flavor and fresh jalapeño. Katie’s clams in lobster stock with black tea and sourdough is a take-off on the bread bowl.

* Katie says “sudden death makes me think of death.” That might be taking it too far.

* The favorites are Adam, Gregory, and Melissa, with Gregory winning. Mos Chef is back … and has immunity. That’s his third quickfire win, with Adam apparently a very close second.

* Least favorite: Doug’s dish was very salty; Katsuji’s masked the taste of the oysters; Mei’s seemed underseasoned; Katie’s raw sourdough bread overpowered the soup and gave it a gummy texture. Katie ends up on the bottom and has to face…

* … one of the previously eliminated chefs. Those seven vote to pick one of their own to face Katie. George, who is Mike Isabella’s business partner and was eliminated in the very first quickfire of the season, gets four of the votes and wins the right to face Katie to get back into the competition.

* The challenge: cook rabbit. Katie hasn’t cooked with it in seven years, since culinary school. They have 45 minutes to cook any part of the animal that they want.

* That’s probably the protein I’d least want to face if I were in a cooking competition – that or venison. I’ve never cooked rabbit, because there’s no one here who’d eat it (my daughter is horrified that people eat rabbit, even though I’ve explained that they’re vicious animals who will chew your face off without a second thought). I also don’t love rabbit, even though I’ve had it several times; it doesn’t taste like chicken, but I find its flavor unpleasantly sharp and gamy. I’ve had it at some pretty good restaurants, but I guess I need to keep trying it.

* Katsuji hopes Katie wins because “we know she’s not the best one,” while George might be better than anyone realized. He’s right, of course.

* Adam’s running commentary doesn’t spare George: “Did I hear glazed carrots? I didn’t realize this was a CIA cookbook from 1996.”

* George’s rabbit legs aren’t braising quickly enough, so he goes back for the loins because he can cook them in less than five minutes. Can you braise any meat in under 45 minutes? Duck legs aren’t big, and they take at least two hours to braise. Even though rabbit legs are smaller, the braising process involves very low temperatures (lower than what George was using on a burner) and long cooking times to dissolve collagen in tough cuts of meat where the muscles received more exercise while the animal was alive. The collagen forms gelatin, and its extraction allows the muscle fibers to separate more easily, producing a tender dish. If you let the braising liquid boil, you’ll let the proteins in the muscle unfold and relink with each other, which produces a tough, chewy result. I know you can’t braise anything in 45 minutes without using pressure; why don’t professional chefs know that?

* Katie serves a braised leg with a Moroccan tomato sauce. George serves his roasted loin sliced over barley risotto (although I could swear he said farro, not barley, while talking to the other chefs), glazed carrots, and a mustard jus. Jasper says the clearcut winner was George. Tom votes for George as well because his rabbit was perfectly cooked. That puts George back in the competition and sends Katie home.

* George sounds exactly the priest character on Gracepoint, which, by the way, we just finished last night. I thought it was spectacular, and now that Broadchurch is on Netflix I’ll go back and watch that too since the latter series is coming back for another season.

* Elimination challenge: The chefs will cater a tasting event for 75 Top Chef fans in the TC kitchen … except the four judges are doing the shopping, and the chefs won’t see the ingredients till tomorrow. Each chef is randomly assigned to one of the judges’ pantries via knife draw.

* Richard warns his two chefs, Adam and Doug, that “I hope you like the vitamin aisle.” Adam is displeased: “there’s going to be agar or some other playful molecular shit,” rhyming “agar” with “dagger.” Just because that’s what Blais buys doesn’t mean he has to use it all, right? Having just had a blood orange gelée at Blais’ Juniper & Ivy that I presume used agar-agar, I’m a big fan of the stuff.

* Blais goes bananas in Whole Foods, taking off with his cart and heading right through produce to the proteins, mocking the other judges for lollygagging over the produce, and saying that Padma probably doesn’t do her own grocery shopping, followed by footage of her struggling to carry two jackfruit into her cart. To be fair, those things are massive. The jackfruit, I mean.

* Richard buys lecithin, a potent emulsifier that’s found in egg yolks and soybeans, among other sources. What the heck do you do with pure lecithin? I don’t think I’ve ever seen it in a non-dessert recipe.

* Padma gets her revenge on Richard by stealing his cart from the checkout line, spilling (wasting, really) a big cooler of fish. They’re all a bunch of dorks, by the way. I can only imagine the relief at that Whole Foods every time the Top Chef crew leaves.

* Richard’s pantry ends up also including liquid nitrogen (of course) and Versawhip, a modified soy protein that can replace egg whites or gelatin to create highly stable foams. I assume you all have this stuff in your cupboard right now. Adam’s concerns seem to be at least a little bit legit, although Blais did give him and Doug plenty of normal ingredients to work with.

* Melissa is making shrimp scampi with a salad, which the other chefs are pointing to as too safe. Adam, meanwhile, is doing some weird technique (hint: foreshadowing) where he’s not cooking the shrimp but scalding the exterior with very hot oil. I know some folks love raw shrimp (ama ebi, sometimes called “sweet shrimp”), but I find the texture to be gross – slippery and chewy, but with the feeling of breaking all those cell walls and proteins up with your teeth when that process should be started with heat. The only time I’ve ever seen this hot-oil trick was on an episode of Iron Chef America maybe ten years ago, where Chef Morimoto used it to crisp salmon skin by pouring the hot oil repeatedly over the fish, not just once.

* Doug can’t describe Katsuji’s dish without laughing, but says it makes sense because “Katsuji’s batshit insane.” I’d like to see someone font Katsuji that way rather than giving the name of his restaurant.

* Gregory tears open the jackfruit and says it smells like bubblegum. So maybe all those years I wanted to retch up the pink liquid amoxicillin, I didn’t realize it was just jackfruit-flavored.

* Did you know that Katsuji came to this country with just $5 in his pocket? I can’t believe he hasn’t mentioned that before. Seems like he’d want everyone to know that.

* Padma enters the kitchen with vertical striped pants that make her legs look like they’re about ten feet long.

* Richard drops a “plethora” when describing his Whole Foods trip to fans. If he were on every week, we could have a Blais vocabulary drinking game – take a shot every time he drops a ten-dollar word on the show.

* The food … Katsuji (Gail’s pantry): Tunisian potato salad and harissa-poached shrimp, plus a white sangria on the side. It sounds amazing, actually, and I usually think Katsuji’s stuff just sounds weird. Richard says it could use more heat, although he may have been mocking Katsuji there.

* Gregory (Padma): Coconut milk and chicken in Madras curry with jackfruit relish. Padma seems to love it and says the smells were “so authentic.” It’s pretty audacious to make an Indian dish for Padma Lakshmi.

* Adam (Richard): Peppadew piperade with flash-marinated shrimp, mushroom conserva, herbs, and aioli. Gail says her shrimp was just a few seconds undercooked, but that seems to be overly kind based on what the other judges say later on.

* How great is that father who brought his daughter, maybe 11 or 12 years old, to the tasting event? She ended up with Blais’ autograph and Doug gave her his menu board to take home.

* Melissa (Gail): Sauteed shrimp with harissa yogurt, roasted figs, fennel, dill, mint, artichokes, and a shaved root vegetable salad. Richard says it’s not spicy enough, Gail has it as just barely too salty. Richard calls it safe, beautiful for a cafe, not bold enough for a competition. Also, hasn’t she made something like this before? It’s Top Chef, not Top Shrimp and Salad.

* Mei (Tom): Charred eggplant puree with black garlic, rack of lamb, scallion-ginger relish, and lamb jus. The flavors are good, but the lamb starts bleating when she cuts it, a real turnoff for the diners.

* Doug (Richard): Chorizo-marinated mussels with sweet pepper and cauliflower relish, lemon preserve, and bacon crumble.

* Padma says her pantry “had enough chilis to kill a village.” Are we talking a small village or a medium-sized one? Asking for a friend.

* George (Padma): Beef/lamb kabob with green lentils and cucumber-mint yogurt. Padma and Tom praise this effusively.

* Everyone loved George’s, and Gregory’s. Gregory’s vinegar/jackfruit relish wowed Richard and he praised Gregory for introducting a new ingredient to diners. Doug chose his ingredients well (and I think the implication is that Adam didn’t, using the same pantry) and his mussels were well-cooked.

* Mei’s lamb was too undercooked and was light on flavor. Adam used a “mind-boggling technique” on the shrimp per Richard, producing “squeaky,” “slimy” shrimp, adjectives you probably never want used to describe your food.

* George, Doug, and Gregory are the top three. The winner was Doug, so Portland is dominating this season so far: one or both of Doug and Gregory has won, individually or on a team, six of the eight elimination challenges and four of the seven quickfires.

* The bottom three: Mei, Adam, and Melissa. Mei’s eggplant puree and salad were beautiful, but the lamb wasn’t cooked enough. She says she realizes now that she should have taken it off the rack to cook it. Adam says he knows the technique was risky, but Tom says beyond the shrimp being undercooked, the piperade was underseasoned. Padma asks Melissa an obvious (in hindsight) question: If she was cooking shrimp to order, so what did she do with the two and a half hours of prep time? “Knife work” is a weak answer, and I can’t remember anyone winning Top Chef based on knife work.

* Adam is eliminated. That wasn’t my guess at all – I assumed it would be Melissa for playing it safe, rather than Adam for taking a risk that didn’t work. He seems stunned too: “If you don’t love cooking enough to be an emotional mess on national television, put the knife down.” Seems like pretty sound career advice to me.

* Power ranking: Gregory, Doug, Mei, George, Katsuji, Melissa. Tough to say where George should fit, but the fact that he executed two dishes extremely well is at least a good sign. Mei slips one spot behind Doug, although I think the reason at this point is obvious.

* Last Chance Kitchen returns as well, with two episodes the first week. The first part features all the chefs eliminated before this episode, sans George, and they have to remake the dishes that sent them home. Joy, Rebecca, and James end up the top three of the seven eliminated chefs. Joy’s veal was slightly overrested, which knocks her out. Rebecca wins for her revised seared scallop dish, edging out James. Rebecca wasn’t on the show that long, but her boasting in the confessional interviews was unbearable.

* The second part pits Rebecca against Katie and Adam in taking dry and slimy ingredients, which is based on how Katie and Adam were eliminated, to make one appealing dish. Two chefs of the three will advance. One “slimy” ingredient is miso, which is crazy-high in the glutamates that produce umami (as are many fermented foods), so I’d imagine the chefs would want to grab that right away.

* Bacalao (dried salt cod) is also on the table; can you hydrate and desalinate it that quickly? I thought soaking it in milk was an overnight process.

* Adam makes a salt-baked oyster with pickled morels, nori, and white miso glaçage. Katie made morels stuffed with pancetta and mascarpone, with a tomatillo, cranberry, and pepita salad with miso vinaigrette. Rebecca made a warm octopus and confit potato salad, toasted pepitas, and pickled onions. Tom praises all three but says Adam’s was his favorite and Rebecca’s was his least favorite, so Katie and Adam advance, and Rebecca’s “you’re in my kitchen now” speeches fall flat again. Cook more, brag less.

Top 100 songs of 2014.

As with all of my music lists, like my top 14 albums of 2014 and my top 100 songs of 2013, this represents my personal preference. I thought 2013 was a little stronger, but the second half of 2014 brought a slew of very strong albums from veteran acts that boosted the year and made stopping at 100 songs harder than I expected it to be.

If I don’t like a song, it’s not here. That wipes out some critically-acclaimed artists’ 2014 releases entirely, including St. Vincent, FKA Twigs, Run the Jewels, Beck, Mac Demarco, Ariel Pink, Bombay Bicycle Club, and Sharon van Etten. Other folks liked that stuff. I didn’t.

Some songs that were among the last ones I cut from my list, in no particular order, looking just at artists that didn’t make it: Dotan – “Home;” Viet Cong – “Continental Shelf;” Dreamers – “Wolves;” Walk the Moon – “Shut Up and Dance;” Echosmith – “Cool Kids;” Gardens & Villa – “Colony Glen;” Bleachers – “I Wanna Get Better;” Ex Cops – “Black Soap;” The Wytches – “Gravedweller;” Soundgarden – “Storm;” Max Jury – “Black Metal;” Cold War Kids – “All Of This Could Be Yours;” Sir Sly – “Gold;” Knox Hamilton – “Work It Out;” and Arkells – “What Are You Holding On To?” I’ll put together another playlist with those songs and more that “just missed” in a day or two.

The Spotify list includes 98 of the 100 songs. I didn’t take the time to craft amazon and iTunes links because it takes forever; that’s the only real income I derive from this site, so if you already wanted to purchase something, feel free to use the Amazon Link in the header.

100. Kele – Closer. The lead singer of Bloc Party goes trip-hop, which might be a permanent switch given how half-hearted BP’s last album was. The album, Trick, is wildly uneven, but the back-and-forth with the unnamed female vocalist on “Closer” and the musical nods back to ’90s two-step make this the record’s best track.

99. White Lung – Down It Goes. This would be riot grrrl material if it were still 1997, but instead it’s just bright yet angry punk with a female vocalist.

98. Twin Peaks – I Found A New Way. Twin Peaks are a bunch of snotty kids and they sound like it, but I mean that in a good way. Named after a TV show that went off the air before any of its members were born, their music has a raw, old-school feel with more current tweaks like the occasional screamed vocal.

97. Ryan Adams – Gimme Something Good. I know many of you are enormous fans of Adams and his latest album; I don’t quite share that level of enthusiasm, but this song’s sparse roots-rock hooks stood out for me. In the battle of solo albums from guys who led beloved bands, Adams beat Jack White handily in 2014.

96. Midnight Masses – Am I A Nomad? A side project from two members of …And You Will Know Us by the Trail of Dead, a band you’ll see twice further up on this list, Midnight Masses have a spacier, more ethereal sound, with pulsating drums and heavy keyboards, with reverb and delay giving the song a chaotic feel despite its simple arrangement.

95. Death From Above 1979 – Always On. Ten years after their debut album, DFA1979 came back with their second record and the same hybrid of rock, dance, and even punk; “Always On” has the best balance, which for me means more rock, including a killer guitar riff.

94. Band Of Skulls – Himalayan. Himalayan was one of my favorite albums of the year, incredibly underrated because (I think) it’s not groundbreaking and quaffs deeply on the 1970s … but Band of Skulls does it so well and the production is so strong that it feels like a fresh record. The band crafts great riffs that really groove without losing the essence of classic rock that informs much of their music. The title track was one of three to make this list, with another (“Toreador”) just missing.

93. Sleeper Agent – Waves. One of a few alt-novelty hits on my list this year, affected in part by which of them my daughter liked the most; I think this was in the middle of her list, but I found it didn’t hold up that well under a hundred or so listens.

92. Opeth – Eternal Rains Will Come. Death-metal icons turned prog-rock revivalists Opeth put out an album, Pale Communion, that has barely a metal element on it (I suppose that makes it a non-metal album) and has half of its ten songs clocking in past the six-minute mark. If you like guitar and keyboard noodling, it has some fantastic passages, although I found the middle of the disc lagged. This song opens the disc and the shorter “Cusp of Eternity” follows, serving as a more accessible intro before they get too proggy with the eleven-minute third track. I also find it fascinating that a band so closely associated with the technical/melodic death metal subgenre could morph so completely into a different genre over the course of just a few albums.

91. The Kooks – Bad Habit. The Kooks are just a goofy, fun British rock band who produce great hooks and often slip over the line into self-parody; their September 2014 album Listen had a handful of great singles, balanced out by a few songs I’ll never listen to again. “Bad Habit” was one of the great ones, the song that I heard most on Sirius XM, not quite as distinctly British as “Down,” with a little more American blues influence instead.

90. Hundred Waters – Innocent. The best album of 2014 for me wasn’t full of great singles – it’s a cohesive, imaginative soundscape that uses Nicole Miglis’s vocals as another instrument on top of the layers of keyboards and drum machines. My two favorite tracks from The Moon Rang Like a Bell are on this list, but Hundred Waters’ genius is much better appreciated on the level of the full album.

89. Colony House – Silhouettes. Another alt-novelty hit, “Silhouettes” has the good sense to get in and out inside of three minutes, which is about how long the chorus’ hook works. There’s actually more nuance in the music behind the verses with off-beat guitar strumming before the traditional chorus (complete with the cute bit of workplay) kicks in.

88. Bestfriends – Lakeshore. Indie-electro-pop with the Passion Pit-type vocals, but with a more electronic and upbeat sound than PP or Foster the People.

87. Andrew McMahon in the Wilderness – Cecilia And The Satellite. Another alt-novelty hit, right down to the name of the song and the band. A friend of mine, upon hearing the name of the then-new band Coldplay, asked, “what the hell kind of name is that? Why don’t you just name a band ‘I Wanna Poke You in the Eye.’” Coincidentally, that’s the name of my new djent-folk side project.

86. Run River North – Beetle. I felt like these guys showed a lot of promise on their debut but didn’t go far enough to creating their own sound independent of their influences, bands like Mumford and Sons and the band they mimic quite well here, Of Monsters & Men.

85. Kaiser Chiefs – Coming Home. The lead single from their Education, Education, Education, and War was their biggest hit in about a decade, and it brings the kind of wit and irony they showcased on their first two albums, but here presented over what’s practically a ballad.

84. Ásgeir – Summer Guest. This Icelandic folk singer/songwriter features lyrics written by his 72-year-old father when singing in his native tongue, but he’s found international success thanks to a reissue of his debut album with new vocals recorded in English. It’s not normally my cup of tea, but his wistful delivery and the combination of melancholy textures and lilting folk melodies is addictive. It deserves a much wider audience than it received here.

83. Future Islands – Seasons (Waiting On You). The feel-good hit of the summer, or the spring, in large part because of that dance the lead singer did on Letterman. I haven’t liked anything else they’ve done, but this is about as great as a pop/rock song can be without a guitar.

82. alt-J – Hunger Of The Pine. Lead singer Joe Newman takes top billing here, but ended up overshadowed a bit by the Miley Cyrus sample in the chorus that just didn’t add enough to the song to make it worthwhile. Of everything on their bizarre sophomore album, This is All Yours, “Hunger” did the best job of recapturing the band’s attempts to play with textures from their debut, although it wasn’t the best song on the disc.

81. Dan Sultan – Under Your Skin. Sultan won Australia’s equivalent to the Album of the Year Grammy for Blackbird, which marries blue-eyed soul with some heavier guitar riffs. If you’re old enough to remember what Little Caesar tried, Sultan does something similar but much more effectively.

80. Animals As Leaders – Tooth and Claw. Highly technical metal – I’d say this is the metal equivalent of set-theoretic topology – with masterful guitarwork from bandleader Tosin Abasi, a fretwork virtuoso who incorporates elements of jazz with speed-metal shredding for an amazing instrumental experience on their 2014 album The Joy of Motion.

79. Broods – Mother & Father. This New Zealand brother-and-sister duo produced an understated album of atmospheric electronica that hid some enormous hooks below Georgia Nutt’s soothing ambrosiac vocals. This second single from the album was its most overtly poppy song, impossible to get out of my head once I heard it. They did not receive any bonus points for the fact that I think the lead singer is really cute.

78. Speedy Ortiz – Doomsday. A one-off track recorded for the Famous Class/LAMC 7” series, which has also featured Parquet Courts and Ty Segall, “Doomsday” reminds me a lot of Helium, the former band of Mary Timony (see #72), with a deliberately dissonant, lugubrious rhythm line beneath Sadie Dupuis’ sweet, melodic vocals. One of only two tracks on this list that’s not on Spotify.

77. Young Rising Sons – High. Yet another alt-novelty hit, one of my true favorites of the year though, even with the trite lyrics, because of the vocal turns and tumbles in the chorus and its unexpected truncation a half-measure too soon. YRS will release their debut album early in 2015 after recently scoring a major-label deal.

76. Interpol – All The Rage Back Home. El Pintor marked a comeback of sorts, although I still think these guys spend every album trying to recreate Joy Division’s solitary LP. My longtime friend Pete, who has similar tastes in music, wants you to know he thinks “My Blue Supreme” was a better Interpol choice for this list.

75. Darlia – Queen Of Hearts. The Nirvana comparisons held for the length of this song, but their remaining releases didn’t have the same hook or urgency as this lead single.

74. Spoon – Knock Knock Knock. Spoon might be the most important American rock band going right now, and They Want My Soul did nothing to hurt that status … but it was a little light on experimentation. “Knock Knock Knock” and the follow-up track “Outlier” saw Britt Daniel et al stretch their legs a little and incorporate different sounds and borrow from other genres, with more electronic influences adding a new dimension to their core roots-rock sound.

73. The Kooks – Forgive & Forget. Don’t let the intro fool you; this song rocks as soon as the drums kick in, and it bursts back into life with every return to the chorus.

72. Ex Hex – Beast. The big comeback album for Mary Timony (ex-Helium and Wild Flag) was a lot of fun, with tight songs full of big hooks, more accessible than her earlier noise-rock endeavors, as if Timony matured and decided to make music that might get played on the radio. Rips has its share of airplay-worthy tracks, with “Beast” the best showcase of Ex Hex’s high-energy approach.

71. Waylayers – Magnets. The best Coldplay song of the year wasn’t actually by Coldplay; this synth-heavy Waylayers track sounds a lot more like material from Parachutes with a drum machine behind it.

70. …And You Will Know Us By The Trail Of Dead – Sound Of The Silk. It wasn’t the best song from IX but it was the most interesting; the Trail took their share of risks and pushed some boundaries and other cliches on the album, never more so in this mini-suite of segments that pulls a few hairpin turns before arriving at the giant climax that brings every element together.

69. Young Fathers – Get Up. Surprise winners of the 2014 Mercury Prize, this British alt-hip hop trio comprises one Liberian-born MC and one born in Scotland to Nigerian parents, so it’s not surprising that you hear African influences in their rhymes and portions of the music … but they lack the technical prowess of the old-school rappers I favor. “Get Up” is here because the track itself is strong enough to make up for some deficiencies in the vocals, and both MCs also handle some singing duties. It’s not a hip-hop track; it’s a neo-soul song that happens to have rapped verses.

68. The Creases – Static Lines. A Brisbanite quartet that bears some of the distinctive sounds of the Australian punk-pop icons the Saints, bearing better production qualities and a vocal delivery that’s laconic rather than angry. Based on their EP Gradient, which leads with “Static Lines,” I’m cautiously optimistic about them breaking out in 2015 when they finally drop a full-length album.

67. Stars – This is the Last Time. I was back and forth between this and “Trap Door” for my favorite song from Stars’ latest, but the latter track imitates New Order too closely whereas “Last Time” has Stars showing off a more independent identity within the same shameless poppy sound that their singles always seem to bear.

66. The New Pornographers – Fantasy Fools. Brill Bruisers is such an effusively upbeat experience, with so many talented musicians seemingly subverting their disparate identities to produce this cohesive album that seems like it shouldn’t have been possible. “Fantasy Fools” is a high point, without quite slipping over the edge of pretentiousness the way they do on “Dancehall Domine,” never sacrificing the energy that powers the album to its various peaks.

65. Glass Animals – Pools. I know “Gooey” was the big hit, but I found it cloying and have no interest in discussions of anyone’s peanut butter vibes. “Pools” employs drums filled with water to give it that jungle-percussion effect, and the tempo and mood are much easier on the ears and the part of the brain that handles imagery.

64. alt-J – The Gospel of John Hurt. If your favorite tracks from An Awesome Wave were “Matilda” and “Fitzpleasure,” this is the song from This is All Yours for you, with the gradual, organic buildup of diverse elements (and the harmonies spelling out a key word in the lyrics) to a giant crescendo at the finish, as well as the same allusion to a classic film.

63. Faded Paper Figures – Real Lies. A synth-pop trio from Los Angeles that produces upbeat, electronic tracks heavy on keyboards and drum machines (clap your hands everybody) with mixed results when it comes to memorable hooks. This lead single from their fourth album, Dynamo, has that solid melody in the chorus and the allure of the south Asian-style guitar line in the second half of the track.

62. Superhumanoids – Come Say Hello. A dream-pop acted fronted by Sarah Chernoff, whose powerful voice – I think she gets high enough to be safely called a soprano – stands out even over the curtains of shimmering, reverbed guitars and synths behind her. “Big Bang” is another favorite of mine from them from 2014.

61. Banks – Beggin for Thread. Do her friends call her Banksy? (Probably just once, if they’re smart.) Jillian Banks strikes me a little as the American Lorde, a singer-songwriter with clever lyrics and a distinctive, low-alto delivery.

60. Little Daylight – Overdose. A favorite of my daughter, who latches on to songs based largely on how strong their melodies are and, before I even know she likes it, seems to have the words memorized (not always accurately, but that’s one of the many true joys of parenthood – hearing how your kid fills in the blanks to song lyrics she doesn’t know). Anyway, “Overdose” is a silly alt-pop confection and we’ll probably never hear from Little Daylights again.

59. King Tuff – Black Moon Spell. Love the guitar work here, with giant riffs and stoner distortion that call Marc Bolan to mind, as well as the modulation to a minor chord right in the middle of the main lick. It almost doesn’t matter that there’s anything after the first 45 seconds of the song, although that’s all solid work that refers back to those same ’70s hard rock icons.

58. Band Of Skulls – Asleep at the Wheel. More highly referential hard rock with deep roots in ’70s rock, “Asleep” opened Himalayan in style, with a heavy, deep twist on a traditional blues shuffle before the car hits the skids and the guitars open up for an enormous offbeat riff behind the chorus. Band of Skulls’ music is time out of joint and I love it.

57. The Rentals – Thought Of Sound. The return of the Friends of P fifteen years after their last full-length was a pleasant if totally unexpected development of 2014, and they sound like they never left, with that same similarity to early Weezer (where lead singer Matt Sharp formerly played bass) in a highly pop-inflected form of guitar-and-keyboard indie rock. “Thought of Sound” will probably bring you back to the late ’90s with its music but it’s very tightly produced and less deliberately messy than their first two albums were.

56. The Kooks – Down. The goofiest, most British song on the album probably never stood a chance of airplay over here, and I didn’t even like it that much on first listen, but the more I played it the more I found it sticking with me, as long as you can get past the drunken yodeling that starts the song. Listen didn’t have enough creative moments overall, but this song was their most successful attempt to do something out of the norm, especially in the way the guitar and vocal almost do a call-and-response in the verses, and the way they layer sounds in the final chorus.

55. Gap Dream – Fantastic Sam. Light up a joint and plug in your Moog. The minimal lyrics inspire a few grins, but Gap Dream’s strength is his ability to redraw the boundaries of psycheledic music to create something that doesn’t sound 40 years out of date.

54. Doss – Softpretty. This solo electronic artist breathes her vocals on “Softpretty” rather than singing them, but her voice is just a veneer over the high-voltage drum machine and the (synthesizer) steel drum melody that powers the song.

53. HAERTS – Giving Up. HAERTS was one of my favorite albums of the year, but four of the best songs were released on an EP last fall that I didn’t hear enough until after crafting my top 100 of last year. That means some of their best songs (especially “Wings”) fell through the cracks in my rankings; “Giving Up” is the best of the album’s new songs, putting the power of Nini Fabi’s voice to good use over yet another St. Lucia-produced pop gem.

52. TV On The Radio – Lazerray. When TV on the Radio really rock, they’re great; “Wolf Like Me” and the one-off 2013 single “Mercy” are among my favorite songs of the century so far. Their new album was more mellow than I’d hoped, and more commercial than anything they’ve put out so far, which felt like a bit of a letdown. “Lazerray” is one of the two best tracks because it fucking rocks.

51. Cloud Nothings – I’m Not Part of Me. Another album that fell a bit short of expectations for me; Dylan Baldi’s indie-rock stylings haven’t grown or even changed all that much through three full-lengths, perhaps the inevitable result of how quickly he writes and records all of Cloud Nothings’ material. “I’m Not Part of Me” and “Now Here In” were my favorite tracks from the album, simple, catchy, mostly three-chord rockers … just a lot like what we’ve heard from Baldi before.

50. Radkey – Feed My Brain. This trio of brothers appeared on my list last year with “Cat and Mouse,” and now have two EPs and a few singles to their credit, with a full-length LP expected in 2015 before any of the members turn 20. They’ll get Bad Brains comps because they’re an African-American punk band, but they’re much more accessible (if no less angry), and the lead singer sounds more like the singing brother in British rock duo Drenge than H.R. I’ll be very disappointed if their album next year is anything less than great and commercially successful.

49. Hospitality – I Miss Your Bones. One of the most original singles of the year, “I Miss Your Bones” almost dares you to dislike it with the hard strumming behind the opening verse and a drum pattern of which J.P. (not Stephen) Sousa might approve. It also contains the best expression summing up the deep longing for another person I’ve heard since Everything But the Girl’s “Missing.”

48. Hooray For Earth – Keys. I hadn’t heard of HFE before Racy, their fourth album, appeared in July; their indie-rock formula often includes heavy, distorted guitar lines contrasting with New Wave-style synthesizers and a lot of very upbeat melodies – if they were on a major label, I’m sure I would have heard of them by now by virtue of the airplay they would have received. I found their slower stuff (like the title track) a little overwrought, but “Keys” and “Say Enough” are both great examples of how fresh they can sound when they go uptempo.

47. The Raveonettes – Killer in the Streets. The Raveonettes dropped an album in June with no advance notice whatsoever, which seems like it would be impossible to do in the age of leaked records and social media, but there it was. The Danish indie-rock duo sound like they could be from California with their sunny, fuzzed-out guitars and shimmering reverb throughout Pe’ahi; the sliding guitar riff made “Killer” my favorite track from the disc.

46. CHVRCHES – Get Away. I didn’t expect any new music from CHVRCHES this year with the release of their debut album last September, itself about a year in the making, but the BBC project to re-score the movie Drive brought us this track, which would have fit perfectly on The Bones of What You Believe.

45. Dum Dum Girls – Rimbaud Eyes. The lyrics to this song are all drawn from the poems of French romantic poet Arthur Rimbaud, who was known for his libertine lifestyle and eyes that a childhood friend described as “pale blue irradiated with dark blue—the loveliest eyes I’ve seen. Lead singer/guitarist Dee Dee Penny has an appealing, smoky yet not too-low voice, and the swirling guitar lines here seemed to call back to some of the acts from the early-90s Madchester scene like Inspiral Carpets.

44. Jenny Lewis – Just One Of The Guys. Lewis, formerly part of the indie-rock heros Rilo Kiley, writes and sings seriously precious folk-rock tracks, and some of that threatens to take this song into the abyss … but it never quite goes there, in part because the subject, the pressure a woman in many male-dominated settings feels to conform, is a damn good one.

43. Night Terrors of 1927 – When You Were Mine (feat. Tegan & Sara). NT27 made my list last year with their morbid “Dust and Bones,” but headed in a much poppier direction in this collaboration with Canadian duo Tegan & Sara, sounding more like the Killers than their previous songs. The fact that Blake Sennett, half of NT27, was once in Rilo Kiley with Jenny Lewis, who’s in the previous slot on the list, is a coincidence.

42. Twerps – Heavy Hands. This Melbourne quartet sound a bit like they recorded this entire EP in the back of a bus, but seldom has a band name better described an artist’s music. The song is delightfully annoying, with earworm single-note guitar lines and whisper-song vocals.

41. Cymbals – Erosion. Another band that appears to have worn out their old Joy Division records, Cymbals would have been called “darkwave” when I was younger, with gothic, gloomy, new wave-inflected songs that reflect the sensibilities that existed in the wake of the initial punk movement. They also put out a two-song EP earlier this month called What Eternity that seemed to find them in a happier mood than they showed on the late-2013 album that contained “Erosions.”

40. Wild Beasts – Wanderlust. Wild Beasts’ Present Tense was wildly acclaimed on its release, especially in the U.K., but it’s too eccentric for me and not grounded enough in the kind of pop/rock foundation that I typically enjoy, kind of like Everything Everything without the hooks. “Wanderlust” is the most accessible and ear-friendly song on the album and features the unforgettable line “don’t confuse me with someone who gives a fuck.” I won’t, I promise.

39. Bear In Heaven – Autumn. I liked their single “Sinful Nature” a few years ago, but “Autumn” ratchets up the tension with a driving drum-and-bass line before the walls of noise arrive with the tribal chorus accentuated by reverb on the vocals.

38. Ty Segall – Tall Man, Skinny Lady. So simple, yet so great. The song is built almost entirely around one drum loop and a six-chord guitar pattern, barely even varying when it reaches the bridge and we get another electric guitar noodling around without apparent direction or destination. Not on Spotify.

37. Hundred Waters – Xtalk. The best track on the year’s best album, although it isn’t a collection of singles so much as a single work of art that functions best as a complete record. The little piano line that opens the song is one of the few true pop hooks on the album, but it’s the syncopated drum line and singer Nicole Miglis’s use of her voice as a melodic instrument that makes this song the standout on a standout disc.

36. Courtney Barnett – History Eraser. I love Barnett’s storytelling both on this song and “Avant Gardner” – which has a better story but weaker music – and just wish she wrote better, less languorous music. “History Eraser” is about a night of drinking gone somewhat awry, whereas “Avant Gardner” is the best song ever written about an asthma attack (at least since “The Pop Singer’s Fear of the Pollen Count”).

35. alt-J –Left Hand Free. The story behind this song is already becoming apocryphal, but it seems like the A&R men didn’t hear a single so the band members wrote this song as something of a joke, only to discover afterwards that they actually liked it. So do I, even though it’s kind of dopey in its own way, but it is the most immediately catchy song they’ve written so far.

34. Ben Howard – In Dreams. I loved Howard’s Mercury Prize-nominated 2012 album Every Kingdom, a somewhat traditional yet intelligent and technically sound indie-folk record, but his latest album, I Forget Where We Were, takes a much darker turn; it’s a more ambitious record, with seven songs that stretch past five minutes, and featuers more musical experimentation, but it’s also less melodic and accessible as a result. “In Dreams” has the disc’s best compromise between those darker tones and the beauty of his first album.

33. To Kill A King – Love is Coal. “Love is not like diamonds/love is coal to keep you warm.” A lovely if unexpected metaphor, one which describes both this song as a whole and their Exit, Pursued by a Bear EP as well, marks the chorus of this multifacted song which adds texture with each movement, moving from a stark piano-and-vocal opener to a rock-paced third passage that leads into a traditional guitar solo that shouldn’t even be in the same song – but it all works together because TKaK understand how to build tension and then tear it apart without ever interrupting the flow of a song.

32. Snakehips featuring Sinead Harnett – Days With You. Snakehips are a pair of producers/DJs who were better known for remixes before putting out their own music this year, but the reason this song is on here is the vocal performance by Harnett, who elevates a solid trance/trip-hop backdrop with her sultry delivery.

31. Movie – Mr. Fist. Movie, the second least-googleable band name of 2014 (the first one was Perfect Pussy … seriously, don’t google that), put out a two-sided single earlier this year, “Ads” b/w “Mr. Fist,” both unabashed throwbacks to the early years of Britpop, particularly the first Blur album and its immediate followers, with a distinctly British sense of humour that permeates all of their lyrics. “Ads” and their latest song “Tusk Vegas” are also worth a listen, available on their soundcloud page.

30. Twin Peaks – Flavor. There are a ton of great hooks among the sixteen songs on Twin Peaks’ Wild Onion, an uneven effort but an impressive one for a band whose members are still unable to drink legally. The album shows more influences than you’ll hear on the two Twin Peaks songs I have on this list, but at heart they seem to be a power-pop band with garage-rock tendencies.

29. KONGOS – Come With Me Now. One of the bigger crossover alternative hits of 2014, “Come With Me Now” is actually three years old. First released in KONGOS’ native South Africa in 2011, the song popped up on U.S. alternative stations in the first half of this past year, eventually hitting the pop charts and ending up on Dancing with the Stars (in my daughter’s favorite dance of the season). KONGOS blend rock with kwaito, which Wikipedia describes as a South African variant of house music. None of that explains the accordion, though.

28. Strand of Oaks – Goshen ’97. Easily the best song on Strand of Oaks’ autobiographical Heal, “Goshen ’97” features J. Mascis (of Dinosaur Jr.) on lead guitar, and you can absolutely hear those hints of “Start Choppin” whenever his guitar enters; Mascis’ style of playing is distinctive and provides “Goshen ’97” with an energy that’s lacking on much of the rest of the album, and provides a needed contrast to the wistful lyrics of the song.

27. Band Of Skulls – Nightmares. The Skulls get psychedelic here, a brief respite from the harder sounds throughout Himalayan, producing my favorite song on the album – it grooves rather than rocks, to use the technical terms for the things.

26. …And You Will Know Us By The Trail Of Dead – Jaded Apostles. Not that Trail of Dead care about hit singles, but if there was one to be found on their 2014 album IX, I thought this would be it. Coming in with a twelve-note guitar riff that repeats in the background of the entire song, just to end up one of a host of layers of guitars and drums that create the complex, nuanced backdrop to the vocals. In a related story, Keith Law and the Jaded Apostles are currently shopping for a record deal.

25. Ages and Ages – Divisionary (Do The Right Thing). Perhaps the best music video of 2014, although I don’t watch enough to award such an honor to anyone. It’s fantastic, though, and reflects the song’s lyrics and the way the vocals build up over the course of the song, with all eight band members singing at least four different parts.

24. Kaiser Chiefs – Cannons. It seems very Kaiser Chiefs to write an anti-war song that’s rather upbeat, featuring a refrain that mocks one of Tony Blair’s slogans while talking about “smashing regimes between courses.” It’s ambitious by their own standards, but doesn’t lack the pop sensibilities that populated all of Education, Education, Education, and War. The song concludes with a spoken-word performance by actor Bill Nighy, reading a poem written by the Chiefs that fits with the song’s theme.

23. The War On Drugs – Red Eyes. I know for many of you, Lost in the Dream was the best album of the year, but the Bob Dylan references turned derivative for me after just one full listen; there are solid ideas here, but it never carved out its own sound to my ears. The length of the songs – six of the ten tracks clock in at 5:48 and up – didn’t help either. (The only sub-four minute song is a filler instrumental.) “Red Eyes” was the obvious single, one of the album’s shortest tracks so that the central riff doesn’t play itself out, and the Dylan influences sit more in the backdrop rather than front and center as they did on the nine-minute opener “Under the Pressure.”

22. Wye Oak – Glory. I liked Wye Oak’s previous stuff, which was guitar-driven, more than their sparse, synth-and-drum album Shriek released this year, both due to the shift in instrumentation and the presence of a lot of slower, minimalist songs. “Glory” is more uptempo and Jenn Wasner’s voice works better with more music tracks behind it.

21. Yellow Ostrich – Shades. Yellow Ostrich started out as a solo project of lead singer and songwriter Alex Schaaf, who later expanded the band to its current four-piece alignment. (One former member, Jon Natchez, is now part of The War on Drugs … and is also a reader here, so, hi, Jon.) Schaaf’s songwriting took a huge leap forward on their fifth album, Cosmos, which boasts a fuller sound (thanks in part to the addition of a second guitarist) and the highest production quality of any of their discs.

20. Thumpers – Unkinder (A Tougher Love). This British duo create much bigger sounds than any two-person outfit has any right to produce, although obviously they have some help in the studio. “Unkinder” was one of the most enthusiastic songs of the year, with rapid-fire, stuttered lyrics and music that practically begs you to get up and “shake the building into piles.”

19. TV On The Radio – Happy Idiot. Not quite as good as “Mercy,” TVOTR’s one-off 2013 single that was inexplicably omitted from their November album Seeds, “Happy Idiot” still satisfies my personal desire to hear these guys let ‘er rip, even though it’s more of a slow boil this time around, with singer Tunde Adebimpe drily describing the emptiness after a bad breakup over a high-bpm drum loop.

18. Grimes featuring Blood Diamonds – Go. Grimes and her partner-in-crime Blood Diamonds offered this song to Rihanna, who turned it down, which just proves once and for all that Rihanna is a box of rocks, because this would have been by far the best song she’d ever recorded. I didn’t like Grimes’ 2012 album Visions because of her babydoll delivery, but on “Go” she dials her voice down a half-step to the perfect level, and Blood Diamonds submits maybe his best work yet, with an experimental mix of trance, dubstep, and dark electronica.

17. Manchester Orchestra – Top Notch. This song’s opening riff is the Sam Cassell’s “Big Balls” dance of guitar riffs, daring you to come up with something bigger, louder, more testicular than that one sound. It puts the lie to the extreme-metal myth that guitar riffs must be faster to be better. Some other things happen in the middle, and there’s a story here about two brothers making some kind of difficult choice, but this song is about that gigantic riff.

16. La Sera – Losing to the Dark. Ex-Vivian Girl Katy Goodman now records under La Sera, and this anthemic post-punk track marries a classic hard-rock guitar track of which Iron Maiden would approve with a depressing story of dealing with a partner who can’t stop abusing alcohol and drugs.

15. Amplifier – Black Rainbow. When the Astros sign me to be their closer, this will be my entrance music. This Mancunian band draws heavily on ’70s British rock and metal acts, especially Pink Floyd Black Sabbath, but without the slow pacing. Their 2014 album Mystoria was their most successful yet, but the most interesting aspect of the album is the wild effects pedals used on the lead guitar lines.

14. Tove Lo – Habits (Stay High). This unsparing account of Tove Lo (pronounced like the Pacific Island nation of Tuvalu) trying to get over a bad breakup via drug use and casual sex set over a bouncy, R&B-tinged electronic track became a surprise crossover hit, reaching #3 on the Billboard top 100, the highest performance (per Wikipedia) by a Swedish artist in 20 years. I was just surprised the lyrics didn’t prevent pop stations from playing it, but that probably shows my age.

13. Spoon – Rent I Pay. They Want My Soul made my top albums of 2014 with a mix of what I’d call American rock and some more experimental tracks; “Rent I Pay” led the former category, still distinguishing itself with the staccato guitar line and Britt Daniel’s almost equally punctuated delivery.

12. Sleater-Kinney – Bury Our Friends. Nothing says “we’re back” by releasing one of your best songs ever as your first new track in nine years. Their album, No Cities To Love, comes out on January 20th.

11. Jungle – Busy Earnin’. I thought this London R&B collective had a shot to win the Mercury Prize, perhaps co-favorites with critical darling FKA Twigs (whose music and lyrics I find insultingly juvenile), but Young Fathers surprised everyone with their victory. Like most of Jungle, “Busy Earnin’” delivers a faithful rendition of the best soul/disco sounds of the ’70s, for whatever reason reminding me in particular of “Ain’t No Stoppin’ Us Now.”

10. Foster The People – Are You What You Want to Be? Supermodel was a top 20 album for me this year, but I only went to 14 because it’s 2014 and I need something to keep me from making these lists infinitely long. “Coming of Age” and “Best Friend” are solid, but “Are You What You Want to Be?” brings the African beats behind the verses before the big four-chord riff that opens the song comes back for the chorus. I want Mark Foster to do a whole album of experimental pop like this, without the expected moments like “Coming of Age” provided.

9. Broods – Bridges. The song that put Broods on the map, varying from the sweet, balladesque introduction to the trip-hoppy chorus where singer Georgia Nutt dials up to falsetto notes she just barely reaches.

8. Prides – The Seeds You Sow. It’s all about opportunity; this song reminds me quite a bit of Bastille’s massive hit “Pompeii,” certainly enough that “The Seeds You Sow” should have merited some airplay on alternative stations, but this Glaswegian pop trio, who have yet to release a full-length album, garnered just a brief appearance on the British top 100 and no notice whatsoever here in the U.S. This isn’t the ideal test of a song’s merits, but everyone I’ve introduced to this synthpop anthem has raved about it.

7. Milky Chance – Stolen Dance. The vocal style here annoyed me at first, as did the German duo’s ridiculous name, although I guess it’s possible that ridiculous just makes it more memorable. The chorus of “Stolen Dance” gets my earworm of the year award, though, and I love the lo-fi approach to an electronic genre that usually abides by a more-is-more philosophy. Their debut album, Sadnecessary, is just $5 right now on amazon.

6. The Holidays – Tongue Talk. Another obscure one, at least in the U.S., since The Holidays are successful in their home country of Australia, winning the Australia Music Prize award for the best debut album in 2010. Their second album, Real Feel, came out in February, with a few solid singles including “All Time High” and “Simple Pleasures,” as well as the standout “Tongue Talk,” which elevates their normally mellow pop sound with the addition of one fast guitar riff to turn it into a pulsating driving song.

5. Phantogram – Black Out Days. A good electro-pop song that becomes sublime thanks to the soaring vocals of Sarah Barthel, who reminds me of the vocalist from School of Seven Bells but with more power to hang with the gyroscopic synth line in what amounts to the song’s chorus, the strongest track from their second album, February’s Voices.

4. alt-J – Every Other Freckle. This is the alt-J we know and love, a song about obsession that features wild and sometimes inappropriate analogies (“I wanna bed into you like a cat beds into a beanbag/Turn you inside out, and lick you like a crisp packet”), unexpected musical shifts, tempo changes, and layered vocals. It’s looser than anything from their incredible debut album, An Awesome Wave, but the closest link between that album and their 2014 follow-up This Is All Yours.

3. Belle & Sebastian – The Party Line. Raise your hand if you saw this coming: an unapologetic dance track from sardonic Scottish folk-rockers Belle & Sebastian. Well, it’s here and it’s awesome, as if this was the kind of music the group was born to make. (You can’t have “The Boy with the Arab Strap” back, though.) The title of their forthcoming album, Girls in Peacetime Want to Dance, due January 20th, promises more of the same.

2. The New Pornographers – Brill Bruisers. The title track of their 2014 album is the ne plus ultra of the New Pornographers’ sound, that of six musicians fusing all of their individual talents into one ebullient, stomping whole. Brill Bruisers was my #2 album of this year because of how well A.C. Newman, Dan Bejar, Neko Case, et al all melded their sounds, never more fully than on this indie-pop gem.

1. Royal Blood – Out of the Black. My pick for the best song of 2014 is this dark, menacing, bass (with octave pedal) and drum track that would sound equally at home in a doom-metal mix as it does here on a list that’s mostly alternative rock. Their self-titled debut album didn’t quite live up to the expectations of this massive single, especially the four-note lick at 2:37 that brings it back to the chorus one last time, the best guitar riff of the year.

Top 14 albums of 2014.

My Insider content from the last few days:
* The Jimmy Rollins trade
* The Mat Latos and Alfredo Simon trades
* The Matt Kemp trade
* The Rick Porcello/Yoenis Cespedes trade
* The Wade Miley trade
* The Howie Kendrick/Andrew Heaney trade and Brandon McCarthy signing
* The Dee Gordon trade
* The Jon Lester signing
* The Francisco Liriano re-signing
* The Miguel Montero trade
* The Jeff Samardzija trade (and David Robertson signing) and Oakland’s return
* The Jason Hammel signing
* The Brandon Moss trade

My review of the boardgame Concordia is up at Paste, and I did an interview about baseball and metal with Decibel.

My ranking of the top 14 albums of the year is below, and reflects my own personal preferences, with a balance between albums that have a few standout songs and ones that worked better as cohesive units. You can see last year’s top 13 albums list for a comparison and to see if something you expected to see here actually made last year’s list (e.g., CHVRCHES, Arctic Monkeys). I heard a lot more than I ranked here, but getting to fourteen albums I truly liked and would recommend wasn’t even easy.

Linked album titles go to full reviews. My ranking of the top 100 songs of the year will follow in a few days.

14. The Kooks – Listen. Goofy British pop-rock songs that didn’t work so well as a collection, especially with a few tracks worth skipping, but featured a number of very strong singles, including “Bad Habit,” “Down,” and “Forgive and Forget.”

13. Animals as Leaders – The Joy of Motion. (amazoniTunes) An all-instrumental technical/progressive metal-fusion record … or something like that. If you love guitarwork, including jazz-inspired soloing, with unconventional song structures, featuring numerous musicians operating at the far right end of what is possible with their instruments, you’ll love this album. Otherwise, maybe just move on to #12.

12. To Kill a King – Exit, Pursued by a Bear. (amazoniTunes) It’s an EP, which is kind of cheating since I hadn’t included EP releases on previous lists, but 1) this is my list so I get to make up the rules 2) I love the title and 3) it’s a really fucking good EP. They remind me in particular of Animals that Swim, a British band from the 1990s and early 2000s that made folk-rock songs that often sounded like great drinking songs and made great use of horns as well as guitars. To Kill a King aren’t afraid to work the horns, the acoustic and electric guitar, the piano, unconventional percussion sounds, and backup harmonies that range from the typical to the borderline-annoying. Wikipedia’s entry compares them to The National, but To Kill a King’s lead singer actually sings rather than mumbling his lyrics. Opener “Oh My Love” plays like a dirge with a nod to Andrew Marvell; “Love is Coal” seems like a straight middle finger to Mumford & Sons and all of their clones, saying “this is how you do the slow-fast-slow thing, posers.”

11. Insomnium – Shadows of a Dying Sun. The best metal album of the year for me comes from this Finnish melodic death-metal act previously known for primarily downbeat and often soporific music that wasn’t saved by the technical prowess of its guitarists. Shadows brings them much more firmly into the melodic camp, with the occasional clean vocal, far more ornate song structures (with actual movements in some tracks), and somewhat less dreary lyrics. There aren’t many bands operating in this demilitarized zone between classic thrash, classical metal, and straight-up death metal, but it’s a sweet spot for my particular tastes.

As an aside, my top metal albums of the year: Insomnium, Animals as Leaders, Pallbearer’s Foundations of Burden, Horrendous’ Ecdysis, and At the Gates’ At War With Reality.

10. Band of Skulls – Himalayan. I like to rock, or more specifically, I like to listen to bands that rock, preferably without apology or relent. (I do like to rock a little, though.) Band of Skulls draws deeply on genres from 1970s classic rock to the more commercial part of 1990s grunge, and most of this album is driven by huge guitar riffs, blues shuffles, and bass-heavy grooves. This is music for people who just love hard rock that isn’t metal and still boasts great melodies, from the title track, “Asleep at the Wheel,” “Toreador,” and the psycheledic “Nightmares.”

9. Ex Hex – Rips. It’s good to have Mary Timony, formerly of noise-rock icons Helium and the all-female Wild Flag (with Carrie Brownstein of Sleater-Kinney, whose 2015 album should appear on my list next year), back with a new band. Ex Hex is punk-pop more than anything else, hook-filled with a slew of short, punchy, fast-paced songs that are a little light lyrically but incredibly fun to listen to, including “Beast,” “Don’t Wanna Lose,” and “New Kid.”

8. Kaiser Chiefs – Education, Education, Education, and War. The big comeback album for the band best known for their 2004 hit “I Predict a Riot” was by far their most mature, measured, balanced effort ever, easing up on the overly clever lyrics just a bit and filling the album with compelling hooks and more nuanced songwriting. Lead single “Coming Home” found them almost serious and pensive, while “Cannons,” “Ruffians on Parade” and opener “The Factory Gates” brought the electricity you’d expect from the Chiefs along with newly thoughtful, sardonic lyrics. This album, with a title mocking a speech once given by Tony Blair, didn’t chart in the U.S., but hit #1 in the UK and went gold, their best showing since their second album came out in 2007.

7. Broods – Evergreen. (amazoniTunes) This New Zealand brother-and-sister duo first hit with their single “Bridges,” a top 10 song for me this year due to its stunning contrast from the sweet, piano-driven verse to the thumping chorus where singer Georgia Nutt shifts up to a falsetto that almost strains her range. Their full album has great contrasts throughout within that dream-pop/electronic framework, most with strong melodies, showing a lot of range for a very young pair of songwriters on their first album.

6. …And You Will Know Us By the Trail of Dead – IX. With their ninth album (duh), the ol’ Trail of Dead are at their most melodic and textured, with tremendous percussion work by their tandem of drummers and hypnotic, swirling guitar lines, without losing the structural complexity that has marked nearly all of their work. It might not have received the insane acclaim of Source Tags and Codes, but it’s a more accessible and thoughtful album, led by “The Doomsday Book,” “Jaded Apostles,” “Lie Without a Liar,” and the closer “Sound of the Silk” that just left me on the floor gasping for air.

5. Spoon – They Want My Soul. Spoon has become, for me, the definitive American rock band, or perhaps rock-and-roll band, drawing as they do on influences from throughout rock history while incorporating folk, country, and more current electronic elements in their songs. They Want My Soul was a bounceback of sorts after a pair of less exciting albums, bringing more experimentation and a wider range of styles with barely any hiccups along the way (other than the single “Inside Out”). You’ve heard and probably liked the straightforward singles “Rent I Pay” and “Do You,” but when Spoon get nostalgic on the cover “You Just Don’t Understand” or start playing around with structure and synths on “Outlier” or “Knock Knock Knock” they manage to expand boundaries without losing their ability to craft compelling hooks.

4. HAERTS – Haerts. Three of the five best songs on here appeared on an EP late last year, but that’s not to say the remaining songs on the band’s full-length debut, produced by St. Lucia (who appeared on last year’s list with his own debut album), which all showcase singer Nini Fabi’s powerful, slightly smoky voice over masterfully crafted strata of keyboards and drum machines. “Giving Up” is the best new song and the only one on my top 100 this year, but “Wings,” “Hemiplegia,” and “All the Days” are standouts from their first EP.

3. alt-J – This is All Yours. It wasn’t as groundbreaking or mindblowing as their debut album, An Awesome Wave, my favorite album not just of 2012 but of the decade so far, so I could call This is All Yours a mild letdown … and yet it’s still a work of great imagination and continues the trio’s refusal to work within the conventions of modern music, even within what’s generally called “alternative” but isn’t quite as radical as the name might indicate. This is All Yours is uneven, with a few songs they could just as easily have omitted (“Choice Kingdom” and “Pusher” in particular), but they soar with the manic complexity of “Every Other Freckle,” the slow expansion of “The Gospel of John Hurt,” the four-vocalist gimmick that actually plays on “Warm Foothills,” and the so-bad-it’s good “Left Hand Free.” It’s not as cleanly produced as their debut, unfortunately, which cuts into the atmosphere it creates and stunts the beauty of tracks like “Warm Foothills” or “Hunger of the Pine.”

2. New Pornographers – Brill Bruisers. I don’t know how a collection of singers and songwriters this broad and diverse could push out an album this cohesive, but Brill Bruisers is an ebullient power-pop masterpiece; what it might lack in invention (compared to, say, Twin Cinema) it more than makes up for via its sheer pop brilliance. The title track is one of the best songs of the year, landing in my top 10, but “Dancehall Domine,” “Fantasy Fools,” and “War on the East Coast” all shimmer with gorgeous pop hooks and note-perfect performances across the board.

1. Hundred Waters – The Moon Rang Like a Bell. (amazoniTunes) I never reviewed this album because I didn’t quite get it when I first received it a review copy back in May; it was just too weird, too unconventional, almost the way I never quite got the Cocteau Twins. But I kept coming back to certain songs that stuck with me – “Xtalk,” “Innocent,” “Out Alee” – and realized the issue was that I had to get used to the production, which put singer Nicole Miglis’s voice so front and center that you can almost hear her thinking. This is cerebral music, but that doesn’t mean it requires more of the listener than an open mind; think of Hundred Waters’s songs as the pattern on a lake when hit by a raindrop or a skipped stone, with each track within a song rippling outward on its own to create a gorgeous, cohesive whole. I haven’t heard anything quite like it before, which is something I want to say about any album I’m calling the best of its year.

Saturday five, 12/6/14.

The hot stove was cooking with gas this week, so I managed to get a fair amount of writing done about the various deals, such as …

* Friday’s three-way trade involving the Yanks, Tigers, and Dbacks
* The Andrew Miller contract with the Yankees
* The Nick Markakis deal with Atlanta, with smaller deals like the Happ/Saunders trade included in this post
* The Nelson Cruz deal with Seattle, maybe the worst of the offseason so far

I also posted a review of the two-player deckbuilding game Star Realms late Friday night.

This week’s links…

  • Our Ability To Digest Alcohol May Have Been Key To Our Survival. The common ancestor we share with chimps and gorillas developed an enzyme, ADH4, about 10 million years ago, that enabled them to digest foods that had begun fermentation. You had me at “alcohol,” though.
  • Also via NPR, Why did non-GMO versions of cereals lose their vitamins? Maybe the whole GMO/non-GMO dichotomy isn’t as clean and simple as the labeling advocates (with whom I tend to side) argue it is? Besides, I’ve pointed out before that no GMO foods will mean no more bananas some day soon.
  • So much for the Big Bang’s afterglow, which confirmed the standard theory of cosmology so well that researchers are actually disappointed. By the way, did you know the Big Bang theory was first proposed by a Catholic priest, the Belgian George Lemaître?
  • There were a lot of great (if infuriating) stories this week about hockey blogger/creeper Steve Lepore harassing women via Twitter DMs and Gchat, but this story from the Blonde Side was the best/most infuriating, because it happened so long ago and because Lepore’s boss/editor/some authority figure at the time just blew it off.
  • This ThinkProgress piece argues that a 21st Circuit Court judge could appoint a special prosecutor in Ferguson and try to get a new indictment. I fully concede I’m not a lawyer and don’t know if this is accurate, but a fresh grand jury proceeding with an impartial prosecutor sounds like a good idea for the community. I’d love to hear some lawyers in the audience weigh in on whether this is a legitimate argument and/or whether it would be a smart move.

Star Realms.

My Insider pieces on the Andrew Miller signing by the Yanks and the three-team Yanks/Tigers/Dbacks trade are up for Insiders.

The runaway success of Dominion, which appears twice in the top ten of my boardgame rankings (once for the original game, another for the standalone Intrigue expansion), has spurred a huge boom in deckbuilding games of all stripes, many hybrids that incorporate other game types, but some that just take the basic Dominion formula and tweak it with new themes and slight changes to mechanics. I haven’t seen any takeoffs quite as faithful to Donald Vaccarino’s original game as Star Realms, a Kickstartered two-player deckbuilder that borrows liberally from Dominion, with the primary difference the change in goal from victory points to direct combat.

In Star Realms, each player begins the game with ten cards, seven coin cards worth one monetary unit apiece and three combat cards worth one damage point apiece. On a turn, a player draws a hand of five cards and – stop me if you’ve heard this before – resolves them by making purchases and using action cards. Neither buys nor actions are limited in Star Realms, and action cards come in four different categories (colors) that have some interactive effects if played during the same turn. Each player begins the game with 50 authority points, and the goal is to reduce your opponent’s authority total to zero via attacks.

Each action card has one or more features that can be used any time it’s played, including monetary value, attack points, authority points (like a healing spell), or the ability to scrap (trash) a card from your hand or discard pile (think Chapel strategy if you’re a Dominion fan). Cards may also have a one-time ability that comes from trashing the card, again things like damage or added purchasing power. The interactions between cards allow for rapid gains in powers as the game progresses, and produces a slight benefit to focusing your card purchases in, say, two of the four categories/colors, although in my experience playing dozens of games in the app, you’re better off purchasing the best card available than taking a weaker card just to stay within a preferred color.

Those interactions are particularly useful when you play one or more bases, cards that remain on the table for future turns. Such a move gives you a better chance of one of those interactions the next time around, which can mean doubling your attack points or your cash, or getting the ability to draw another card or trash one. These bases also have their own point values for defense if your opponent chooses to attack one of them and remove the special ability it grants you. Some bases are Outposts, which also prevent your opponent from hitting your main base of authority points until s/he destroys the Outpost too. Unfortunately, once the attack points values start reaching 8-10 regularly by any game’s midpoint, no Outpost is going to survive another turn, which I find one of the game’s biggest flaws – if I play a card to the table intending to use it next turn, but there’s basically no chance it survives that long, then it hasn’t done me much more good than a typical card I’d play and move to my discard pile.

StarRealms

The iPhone/iPad itself is free, but better AIs are in-app purchases and well worth the cost – the free app is just a tutorial, in essence, but the hard AI was good for forcing me to learn some strategy. The campaign in the app is very entertaining because it changes the ground rules and/or starts your opponent with different configurations of cards and points, so the game itself gets a lot of variation. Without that, however, the game would have become stale for me; it’s too much like Dominion, and while the combat angle provides an element of direct competition that the base Dominion game lacks, it’s not like there’s a whole lot you can do to stop your opponent, either, so it’s more a matter of hoping the lumps you take are less than the ones you dish out.

By far the best thing about the physical game is its price: For $12, you get a real game with plenty of replay value that would fit in someone’s stocking. Try putting Power Grid or Agricola in an oversized sock hanging by the chimney and see if you don’t pull the whole mantle down in the process. There are also some expansions (called Crisis, coming in little packets like old-school baseball card packs) coming soon that I expect will address some of the weaknesses in the main game – the minimal utility of bases and the too-strong resemblance to Dominion. Until then, it’s a good game for the price, but more of a trifle than a staple like its ancestor.

Top Chef S12E07.

My Insider post on the Markakis, Torii Hunter, and Saunders/Happ deals is up, and I’ll be chatting today at 1 pm ET.

Here on the dish, I rewrote my annual gift guide for cooks from scratch this year, covering just about anything I own and find useful in the kitchen, as well as a fresh list of my favorite cookbooks.

Now, to this week’s episode … it’s Restaurant Wars! This is always the best episode. I still fondly remember the Restaurant Wars of ’09, which left four chefs and a judge dead among several other casualties.

Top Chef logo

* Barbara Lynch is in the house. She’s the queen of the Boston restaurant scene … but in all the time I lived there I don’t think I ever went to any of her restaurants. My loss, apparently.

* The chefs draw knives to see which two will get to draft the teams. Melissa and Katie make the selections, with Melissa going first. She takes Doug, a mild surprise but perhaps a reaction to Gregory scuffling last time out, after which Katie takes Gregory. Melissa takes Mei and Adam; Katie takes Katsuji and ends up with Keriann by default. Lynch: “Stay focused and less is more.” Her cliché per minute ratio is quite impressive.

* Doug volunteers to be exec chef of his team. Mei wants the job too but says “we all know women are better line cooks.” I’m just going to leave that there. Meanwhile, Adam volunteers for front of house, which makes sense because he’s second only to Katsuji in the never-shutting-up department.

* Katie volunteers to be executive chef, saying that because she owns a pop-up restaurant business she knows what’s required to get a restaurant off the ground quickly. Keriann is front of house. Katsuji says Katie’s good at … “somebody help me to fill in the blank.” Not that I thought he was any kind of gem, but Katsuji reveals himself to be a complete pig in this episode, like saying Keriann’s a good choice for front of house because of how she looks in a dress.

* Katie’s team decides to do an “international menu,” which sounds a lot like “we each want to do whatever we want to do.” Katsuji worries about cohesion on the menu, but neither he nor Gregory (who admits to playing it safe after last episode’s mistakes) puts up much of a fight here.

* The chefs go shopping for furniture, décor, and flatware … which is boring. I’m sure it matters, I know it matters if it sucks, but it’s boring to watch. Let’s cook already.

* Whole Foods has no pork shoulder. How is that possible? I’m not sure I’ve ever been in a Whole Foods that didn’t have one. And I’m pretty sure every pig has two.

* Katie’s team takes their global menu concept and names their restaurant Magellan, apparently unaware that he was hacked to death by Filipino natives before he could finish circumnavigating the globe. The name turns out to be a perfect choice for the ensuing disaster, though.

* Doug’s team calls their restaurant 4 Pigs because they found four quirky piggy banks while décor shopping. There had better be a lot of pork on the menu, right? I’d expect a restaurant with that name to serve barbecue.

* Katsuji says of Doug’s role as head chef, “good for you little thing.” Later we hear him saying, “thirty minutes left … bitches.” And when Keriann has to make her crepes ahead of time because she’ll be front of house, Katsuji says in the confessional that he could offer to make them for her, but won’t because “I only care about myself.” That’s probably the wrong way to approach a team challenge. I’m just saying.

* Doug braises his pork shoulder in PBR. Wouldn’t you want to use a good beer for that?

* Mei freezes the butter for Melissa’s biscuits with liquid nitrogen, so now my own attempts at biscuit-making seem woefully inadequate. I need to make friends with some local chemists.

* Somehow, a whole hotel pan of cleaned clam shells to be used for serving Adam’s starter has gone missing. It’s probably with the pea puree. Meanwhile, he shucks another 130-plus clams to use … but are they really tossing all that meat just to use the shells?

* Team Magellan is already on the rocks. Keriann is training the servers, Katie doesn’t like the way she’s doing it, but she won’t take charge or even speak up. Around here we call that “foreshadowing.”

* Kristen Kish and Stephanie Cmar are there … but I don’t think we get more than two or three words total out of them the whole episode. That seems like a waste, since Kristen actually won her season and Stephanie was extremely funny in hers.

* I admit I had to look this up, but in the argot of the kitchen “all day” means “in total.”

* The server at 4 Pigs didn’t recognize the judges. Really, Padma Lakshmi walks in and you’re like, “oh, there’s an attractive woman I’ve never seen on my television a hundred times?”

* The food starts coming out, finally, with 4 Pigs serving first. Adam’s starter is salt-baked clams with ramps, bacon, and sunflower seeds. Mei’s is chicken liver toast with plum puree. Tom thought Adam’s was a little dense but otherwise strong. Mei’s is good, with some comps to a peanut butter and jelly sandwich (attention Ken Tremendous), which I think may have been the idea – it’s the same concept of a smooth, savory spread with a sweet-tart complement.

* Magellan, meanwhile, is racked with service problems, with dishes going to the wrong tables, servers not knowing the table numbers, and the kitchen badly backed up. Gregory says there’s “no sense of unison” between the front of the house with the back – but he doesn’t speak up either. No one on this team seems to be willing to say anything to anyone else that might seem like taking charge. Katie at least goes to the front of house to try to clear it up, going right to the servers to try to troubleshoot – but really, at this point they’ve taken on too much water to save the ship.

* Doug’s braised pork comes with baked beans, pickled red onions, pickled mustard seeds. So it’s basically a grown-up pork and beans dish, and everyone loves it. Melissa serves seared scallops with radish salad and grapefruit. But the scallop is way too salty and Padma’s face does that thing that cartoon characters used to do when they would accidentally eat alum. Mei’s second dish is fried Brussels sprouts with an anchovy vinaigrette. The judges seem to be picking apart some of the details – maybe a little too much acid – but I just think that’s a dish I’ve seen on lots of menus in the last two years.

* Mei compliments Doug on his expediting skills. Every season one of these restaurants hums and one is a dumpster fire. That may just have been evident a little earlier than normal this year.

* Melissa’s dessert looks unreal – buttermilk biscuit cobbler with apples, mixed berries, and cardamom cream. That is fall in New England all the way. Did Magellan serve a single dish that was really creative, though?

* Back to the circus, Keriann seems to pin the blame for all the trouble on the kitchen. Stephanie Cmar gets some screen time, but it’s just her looking miserable. Meanwhile the judges are left waiting out front because Keriann is busy putting out fires, which always goes over well with Padma.

* The next disaster – I know it’s hard to keep count – comes when Katsuji tries to plate Keriann’s dessert, but finds the banana mousse unspreadable. Gregory and Katsuji do chip in here with ideas to fix it, so there did come a point where they abandoned their me-first stances this episode. Ultimately, Katie takes Gregory’s suggestion to warm the dish up and has Katsuji reheat the crepes in a skillet over simmering water while they also warm the mousse.

* The edit was a little jagged, but we see Katie being completely indecisive between Katsuji and Keriann when debating how much food to send out to the judges at once. You can’t be a leader of any team, even one of four people, if you let everyone push you around, but that’s what happens here – she accedes to any argument she’s given.

* Katie’s starter is roasted beets with Sri Lankan curry, toasted coconut, and pickled cauliflower. The judges all agree that nothing worked together – and you can even see it on the plate. I’m also not sure I’ve ever had a good beet dish without some kind of citrus involved. Katsuji’s hamachi sashimi with roasted poblano, blistered tomato, garlic chips, and citrus-habanero (there’s no tilde over the n, Keriann) salsa seems to just not be awful, while his dry “posole” with chilis, dungeness crab, and chicharrones at least gets points for a creative concept.

* Gregory’s seared haddock with spiced tomato, garam masala, and pickled mushrooms is cooked well, but Tom says should have stopped at fish and tomato. Has Mos Chef hit a midseason slump?

* Gregory’s second dish is better – a hoisin-glazed pork tenderloin, with bay scallops, xo sauce, and broccolini. I just don’t get the love for pork tenderloin. I do eat it, but it’s among the least interesting cuts of pig for both flavor and texture, and the shape means you’ll never really get the whole piece to cook consistently.

* Meanwhile, the grey team barely breaks a sweat as they finish their service. I’m not surprised by Doug, Melissa, and Mei all executing and working well together, but this is two straight challenges where Adam, who was all mouth while Aaron was around, has been a consummate team player.

* Keriann discovers her dessert is hot, not cold. It’s the same components – a vanilla crepe, burnt banana mousse, macerated cherry, ginger, and pistachio – but the temperature change alters the whole dish. There’s no color on the crepes, which is also odd, because color means flavor. Barbara says “you could play hockey with this.”

* Keriann is furious and tries to confront Katie, but Katie just wilts and avoids eye contact. Katsuji, of course, can’t redirect the blame to Katie fast enough.

* 4 Pigs faces the judges first for an entirely positive review – even Melissa’s scallop dish, which may have been their only subpar offering, doesn’t earn a mention. Tom basically says he likes things that are great and good things are fantastic.

* Magellan, on the other hand, might as well have left judges’ table in flames. Tom just starts with two words: “Rough service?” Katie nods and you can see everyone hanging their heads. Padma asks where Keriann was all night because she didn’t see her enough on the floor. Keriann is answering all of the questions, not Katie, even when the latter clearly should be answering if only to say she abdicated her responsibilities. Her beet dish never came together. Keriann’s crepes were soggy, which prompts her to explain that that wasn’t her original dish. Katsuji drops his new catchphrase, “it’s not my call,” at which point Katie at least makes an actual statement, saying “this was not mousse in my opinion.” She didn’t call Keriann for a consult, and Keriann didn’t run back to demand they fix it.

* Keriann didn’t train the staff well, showed no sense of urgency, and her dish was hijacked. Katie tried to fix a bad dish, didn’t hold the team together, wasn’t a leader, and was in over her head. Barbara Lynch just says, “I had a problem with her,” without really elaborating, but it seems like she’s just angry to see a leader fail to lead.

* 4 Pigs win, and the individual winner is Doug for his dish and running the team well. There isn’t much surprising there – Adam could have won for front-of-house service, but usually it’s the team leaders who win or face elimination in Restaurant Wars.

* Magellan loses, and here’s where it gets interesting. Keriann is eliminated for failure to train the staff properly or run the front of house well, but Tom also says she had the “worst dish on the team.” Is it fair to send her home when her dish was altered without her approval, and when she wasn’t the team leader, who, by acclamation, didn’t lead and prepared just one dish that the judges also didn’t like? If front of house is a problem, isn’t the responsibility shared between Keriann and the chef who was, for the purposes of the challenge, her boss? I thought Keriann was the weakest contestant remaining, but based on what we saw on the episode and the history of Restaurant Wars challenges, the decision to send her home rather than Katie seems inapt

* Rankings: Gregory, Mei, Doug, Melissa, Adam, Katsuji, Katie. That top three seems pretty solid at this point. Next week we get both the return of Last Chance Kitchen and the possibility of the return of a previously-eliminated chef (anyone but Aaron, please).

The Teleportation Accident.

I had never heard of Ned Beauman’s The Teleportation Accident before a conversation with a restaurant hostess in August, where she noticed I had a book with me (The Magic Mountain, which, let me tell you, is just a great book to get the ladies interested) and we started chatting about novels, mostly classics. She raved about Beauman’s book so much that I bought it, and just crushed it over about 72 hours this past weekend because it is totally insane, clever, and hilarious, even though I’m not really sure it’s “about” anything at all.

Winner of the peculiar Encore Award (given to the best second novel of the year) and long-listed for the Man Booker Prize (so top twelve), The Teleportation Accident follows the transparently-named Egon Loeser, a set designer in Berlin in the early 1930s who is obsessed with the 17th-century set designer Adriano Lavicini, whose prop “teleportation device” failed in spectacular fashion, killing over two dozen spectators and the designer himself. Loeser is also obsessed with sex, of which he’s not getting any since his breakup with his most recent girlfriend, only to become infatuated with the unfortunately-named Adele Hitler (no relation), whom he eventually chases to Paris and then Los Angeles, where he gets entangled in a giant conspiracy involving an attempt to make an actual teleportation device at CalTech. Through all of these escapades, mostly occurring between 1931 and the end of World War II, Loeser remains blissfully ignorant of the charged political atmosphere around him, even when it puts him or his friends in immediate danger.

That last bit is part of how Beauman subverts almost everything about the modern historical novel – where any other author would insert his protagonist Zelig-like into the major historical events of the era, Beauman keeps Loeser in the dark, makes only oblique references to the rise of Hitler and the Holocaust, and even mocks the standard practice by using a secondary character, the bizarrely-named Scramsfield, who claims to know all the famous people in Paris (referring to James Joyce as “Jimmy”) but actually knows none of them. You expect Loeser to be pushed or dragged along by the force of history, yet every plot twist comes about due to accident or coincidence. This is Zadie Smith’s hysterical realism grafted on to Isherwood’s Berlin, Pynchon’s grandiose plotting with Vonnegut’s cynicism and Fforde’s wit. It’s madcap absurdity without devolving into the impossible (except for one last masterstroke in the final few pages).

Beauman’s decision to make Loeser’s obsession sexual is really a Macguffin, as his long dry spell is more of a plot convenience to keep him chasing after Adele and to push him into these bizarre conspiracies and a sort of meaningless competition with the fatuous English writer Rackenham. In fact, I’m not sure the book is about anything at all, which is probably why the blurb on the back does such a poor job of describing the story. It’s not about sex, and it’s only slightly about Lavicini or teleportation. It is, however, wildly funny, often in ridiculous ways, such as the wealthy car-polish magnate whose agnosia makes him unable to distinguish a picture from reality, so a glass of ginger ale spilled on a map leads him to shout “Ambulance! Thousands drowned!” – and that’s before it deteriorates further into “ontological agnosia,” which might be the most apt description of the book’s central theme (assuming there is one at all).

Also tucked into this bizarre picaresque are a grotesque murder mystery, a quack doctor who claims to promise eternal youth by sewing monkey glands onto your testicles, a conflict over public transportation in Los Angeles, a scientist whose mind (at least) jumps back and forth in twenty-year intervals, and eventually another attempt to tell Lavicini’s story and build another stage version of a teleportation machine. Beauman masterfully ties up all his loose ends in that concluding passage and the three epilogues, each more bonkers than the previous one, yet never veering so far from the central plot’s threads that he can’t narrow it all down to a singularity in the final few words. It’s one of the best books I’ve read all year, and I can’t wait for his next novel, Glow, to come out here in the U.S. in January.

November music update.

My analysis of the Nelson Cruz signing went up yesterday for Insiders, as did my annual gift guide for the home cooks on your list this year, the latter here on the dish.

I’ve already begun sketching out my top 100 tracks of 2014 list as well as a ranking of my favorite albums of the year, but I’m holding that until after baseball’s winter meetings, which are next week in San Diego, just to steal myself another week or so to make sure I haven’t missed any songs I’ll regret omitting. In the meantime, here’s one more monthly playlist to tide you over, with a few songs that will appear on the year-end ranking.

Kele – Closer. Bloc Party’s lead singer goes in a totally different direction in his solo work, with elements of trip-hop, two-step, and more traditional electronica. The album is uneven, but “Closer” is its best track between the tempo changes and the duet with an unknown female artist (I can’t find proper credits for the track anywhere).

TV on the Radio – Lazerray. I was psyched for their latest album, Seeds, to come out, but was mildly disappointed in how much of it is 1) mid-tempo or slower and 2) vaguely commercial-sounding. When they really let ‘er rip, they’re at their best; “Lazerray” should bring back memories of last year’s one-off single “Mercy” or their first crossover hit, 2006’s “Wolf Like Me.”

Young Fathers – Get Up. Young Fathers were the surprise winners of the 2014 Mercury Prize; this British rap trio’s album Dead was … well, let’s just say I wouldn’t have given it the award. But “Get Up” winks back at ’60s/’70s Motown-era soul in the chorus, and YF’s technical shortcomings are far less evident because the verses are tight and the music is strong.

King Tuff – Black Moon Spell. That fuzzed-out guitar riff seems lifted off some lost ’70s vinyl, maybe a Thin Lizzy B-side, and the slight shift into a minor chord when it repeats the second time through each chorus is just perfect. I’m a sucker for a distorted lead guitar hook.

Dreamers – Wolves. Indie-rock with a good sense of melody, not terribly distinguished (so far) from a few dozen other bands with similarly ungoogleable names, but with the benefit of some early support on Sirius XM that at least is getting this strong lead single (“and if you lie down with wolves/learn to howl”) some airplay in advance of their debut album, due next year.

Death from Above 1979 – Always On. I didn’t know these guys did heavy, but the grinding guitar riff overpowers the grunge-pop drum and vocal lines here to take the song beyond the generic.

Ex Cops – Black Soap. I actually assumed Ex Cops were from somewhere in Scandinavia, just based on their sparse arrangements and lead singer Amalie Brunn’s voice (turns out she’s Danish, but the band is based in Brooklyn). I guess she was involved in a controversy earlier this year when she put out a dark metal record under the name Myrkur without revealing her identity, to which I give a giant ¯\_(?)_/¯. Anyway, “Black Soap” is a solid alt-pop track that’s gotten some quick buzz thanks in part to the involvement of Billy Corgan in producing the record. Not to be confused with Futurecop, which also put out an album last month.

Empires – Please Don’t Tell My Lover. It’s electro-pop, I think, but the guitar riff is more pronounced than most tracks in that subgenre, which is worth extra points in my book.

Dan Sultan – Under Your Skin. Winner of the ARIA award for Best Rock Album for his Blackbird (just $5.99 on iTunes right now) this year, Sultan is an Australian Aborigine singer/songwriter who draws deeply on 1960s/1970s soul sounds … which a lot of folks do these days, but Sultan actually pulls it off without sounding a bit like a fraud. “The Same Man” is the other standout track from Blackbird, but I like “Under Your Skin” best for its snarling intro riff and tight two-and-half minute run time.

Stars – This is the Last Time/Trap Door. Stars made my 2012 top 40 with their New Order-mimicking “Hold On When You Get Love.” Their latest album doesn’t plow any new soil at all; they’re playing it very safe, hewing close to their new-wave inspirations, but they do that sound particularly well, regardless of which vocalist takes the helm. The former has a hint of New Pornographers when Neko Case takes the mic; the latter is the song that reminded me most of that 2012 standout track.

Broncho – Class Historian. This song is going to annoy me if I listen it too much, due to that weird “duh-duh-duh” thing they do every thirty seconds, and I don’t love tracks that overproduce the vocals to make them sound low and distant, but there’s a decent pop hook underneath here and I think the song’s going to get a ton of airplay.

CHVRCHES – Get Away. Mentioned earlier this year, now available on Spotify. The song is from the BBC’s “re-scoring” of the movie Drive.

Banks – Waiting Game. Yeah, “Begging for Thread” is the best song from her Goddess album, but I figure you’ve probably heard that already; this was my second-favorite.

My 2014 gift guide for cooks.

My analysis of the Mariners’ deal with Nelson Cruz is up for Insiders.

I’ve seen a few “Christmas gift guides for the cooks in your life!” go by already this fall, but most of them are like this one from Grub Street, with recommendations for things that no one could possibly need – a “rosemary stripper” (I have two of those; I call them “hands”); a “banana slicer” (use your paring knife, genius); a $140 toaster (makes toast); and a $1600 set of Thomas Keller-branded pans, which, unless he forged them personally out of pure adamantium, are a colossal fucking waste of money. These are not gifts to by the cook in your life; these are gifts to buy the person in your life who pretends to cook but really just likes playing with toys. Toys don’t make you a better chef; they just make you a less socially responsible one.

I do have a few pricier toys in my kitchen, but aside from one, they’re all highly functional, at the middle to low end of the price range for their jobs, and built to last a long time. I’ve had my chef’s knife for over a decade, my food processor for 17 years (new bowl but original motor), my Dutch oven for about eight years, and just replaced my 18-year-old stand mixer when we moved last June. You are free to call me cheap, but I think I’m just prudent. I’ll spend money in the kitchen if it gets me something I need. I will not spend money to get a famous name, a fancy design, or a paperweight to live at the back of a gadget drawer until we move again. If I can make do with something I already have in the house – binder clips, a (clean) putty knife, a (clean) paintbrush – I’ll gladly do that instead. I’d rather be cheap when it doesn’t matter and spend the money when half price means a quarter of the value.

Therefore, what I recommend here – for your cheffy friends or for yourself – is largely what I own and use. If what I own isn’t available, or isn’t good value for the price, I recommend something else. I am also willing to answer any and all questions about these or other suggestions; if I include it here, that’s an endorsement that it’ll be money well spent. I’ve already posted my cookbook recommendations in a separate entry.

The most important tool for any cook is a good chef’s knife, and I love my Henckels 8″ chef’s knife, the “four-star” model (which just refers to the handle style). It’s a workhorse, has only needed professional sharpening once, and is a comfortable grip and weight for my rather small hands. However, it’s $100, and I doubt it’s worth the premium over the $30 Victorinox 8″ chef’s knife, which America’s Test Kitchen has long recommended and, therefore, so have I.

The basic knives any home cook must have are a chef’s knife, a paring knife, and a bread (serrated) knife. The bread knife is good for more than just slicing bread – serrated blades are safer for slicing tomatoes, and they’re excellent for chopping chocolate and other hard foods. I have another Henckels four-star model, also eight inches, but the same blade is available with a different handle for just $9. You might look at a 10” blade if you get a lot of large, artisanal loaves. Any strong paring knife will do, such as this OXO 3.5″ paring knife for $7. With a modicum of knife skills, you can tweak and hull strawberries with one of these without any risk to your fingers or waste of fruit. It’s also good for cutting citrus supremes, slicing apples and pears, pitting olives and cherries, and other fine-motor-skills work.

I do have two other knives I use frequently, but they’re not essential for most cooks. One is the santoku, a very sharp knife with a thin edge but wide body that’s ideal for slicing vegetables and hard fruits; I recommend a 7” blade, which you can get in this two-santoku Henckels set for $21 and just … I don’t know, regift the 5” version or something, because I can’t see any use for it. I also own this exact Henckels boning knife, which is ideal for breaking down a whole chicken – it’s substantially cheaper to buy a whole chicken (sometimes called a broiler-fryer, usually 3-5 pounds total weight) and cut it into parts, and you get the bones to make stock – or for deboning other cuts of meat like short ribs. Some folks recommend a flexible blade instead, but I have never used that kind so I can’t give an opinion. I do not own a home sharpener.

My pots and pans aren’t a single set any more; I have some remnants from an All-Clad anodized aluminum set I got with rewards points in 2001, but have swapped out certain pieces to get better nonstick (coated) skillets. What you really should get for your loved one (you may include yourself in that category) is a a 12″ Lodge cast-iron skillet, an absolute workhorse that can handle about 90% of what I need from a skillet or a saute pan. I still use a nonstick skillet for egg dishes, and a saucier (sadly one that’s no longer made) for sauces or custards, but the Lodge skillet is past a decade old and just keeps getting better. The work of seasoning them is nowhere near as arduous as you’ve heard.

If you want to splurge on something, get an enameled cast-iron Dutch oven, great for soups, stews, braises, deep-frying, jam-making, and caramelizing huge batches of onions. Cast-iron doesn’t distribute heat well, but it holds heat for a long time. These pots are heavy, but I use mine for every saucepan duty that doesn’t involve boiling water or cooking grains on their own. They go stove to oven (as do the skillets) and can take the hours of low heating required for a proper braise. I own a Le Creuset that I got on sale at an outlet store because the color was discontinued; if you’re not quite that fortunate, try the 7.8 quart Lodge model for $85.


                           Isn’t she lovely?

I don’t own a proper mandolin slicer, but I do pretty well with a handheld mandolin for about $20 that works great for things like root-vegetable chips or thinly slicing onions. I love this digital instant-read thermometer, which at $10 is cheap enough that I don’t feel bad when inevitably I drop it into something and ruin it. (I’ve only done that once.) Amazon tells me that I bought my Microplane classic grater in November of 2003, and I’ve had their coarse grater for almost that long. The former is great for zesting citrus fruits or grating nutmeg; the latter is ideal for creating a snowfall of hard cheese over a pasta dish. In that same 2003 order, I bought my first Silpat silicone baking mat; I now own two and won’t bake cookies without them.

I own two scales – a chef I’m friends with on Twitter made fun of me for this – one, this American Weigh pocket scale for weights up to about 2 kg, which is ideal for precise measurements like grams of coffee (more on that in a moment), and a larger scale that’s long discontinued. This $13 Ozeri scale looks like a more than adequate replacement, measuring up to 12 kg; I rarely need to measure more than about two pounds of anything, maybe a little more for some large-batch baking but that’s about it. You need at least one good scale if you’re serious about baking, though; the best bread and pastry recipes all use grams, not cups or liters. I’ve also done horrible things to this digital oil and candy thermometer over the ten years or so that I’ve had it, including making forty or more batches of jam, dozens of batches of macarons, and engaging in numerous deep-frying experiments, and it still rocks. You absolutely must have one of these to make caramel, any kind of jam or preserves, or true buttercream frosting.

Other things I always appreciate getting or often end up buying for myself: Wooden spatulas (not spoons), silicone spatulas, good (not decorative) metal measuring spoons, Pyrex or similar measuring cups for liquids (never measure liquids in a plastic cup designed for measuring solids).

Now, for the expensive stuff:
* I believe this Cuisinart classic 7-Cup food processor is what I own; we got ours in 1996, and in all that time I’ve just had to replace the plastic bowl, which cracked during a move. At $100, it is an essential, at least in my mind; it makes so many things easier, from pie doughs and biscuits to pesto and hummus and nut butters and mayonnaise (although I do that by hand because I’m a wacko) … and the pumpkin pie I make every Thanksgiving.

* I have this Vitamix 1782 TurboBlend “food preparing machine” (it’s a blender, stupid), and it’s amazing. I can make smooth vegetable soups with it, no cream required; don’t toss those broccoli stalks, just peel, quarter, and roast them, then blend them with some vegetable stock and season to taste, maybe with some basil oil and toasted pumpkin seeds on top. It’s nearly $400, however, too much if you’re just making milkshakes and smoothies (and there is nothing wrong with just making milkshakes and smoothies). You’ll probably be fine with just a basic blender and the food processor.

* I have the 5-quart KitchenAid stand mixer, which is down to $229 right now after a $50 rebate. I kind of wish I had the next model up, mostly for bread-baking, which is still a bit of a chore for this model, but it’s great for everything else – mixing up cookie dough, brownie batter, quick breads, whipped cream, and Italian meringues (for macarons). The pasta-maker attachment is overpriced, but it does the job, and the grinder attachment has been good for me in a handful of uses, especially for turning stale bread into bread crumbs.

* Coffee is my big kitchen weakness, at least when it comes to spending money; I’m fortunate to have a few friends in the industry (whom I met through social media) who work for direct-trade roasters and have tipped me off to good sources of coffee and helped me pay for the gear I own, which is wonderful but expensive. The Baratza Virtuoso burr grinder is the least expensive grinder of its kind and caliber; when my first one had an issue with the motor, I sent a quick video of it jamming to Baratza and had a new machine within two weeks. I do make pour-over coffee at home using this 8 ceramic dripper, but my preference is espresso, for which I use a Rancilio Silvia machine that is a wonder. The boiler is huge, so it bounces back quickly between shots and you can heat up the steam wand before your shots go cold. If you get your ratios right (for me it’s 17.5 to 19 grams per double shot, depending on the bean and roast), you’ll get great crema, 32-35 grams of output in 25-30 seconds, with almost no bad pulls. I use it every morning and I miss it when I travel.

I’m also a big fan and customer of Penzey’s, a chain of spice stores that also does a brisk mail-order business. They offer gift boxes and a la carte purchases; I buy nearly all my bulk spices from them as well as vanilla beans and Dutch-processed cocoa powder. Buy a box of bay leaves and a jar of whole nutmeg seeds and the recipient will have reason to remember your gift for years to come.

Saturday five, 11/29/14.

I know a lot of you are new to the dish – welcome, thanks for stopping by – so here’s the point of this post. On most Saturdays, I put together two sets of links, one to everything I wrote for my day job over the last seven days, and another to interesting articles (originally just five, but that’s more of a minimum now) from the same period, usually about non-baseball topics like science or food. Comments are welcome as long as everyone’s civil, and I’m always taking suggestions for links for the next post.

I was as busy with baseball posts as I’ve been during any previous Thanksgiving week, with five over the last five days:

* The Josh Donaldson trade
* Arizona signing Yasmani Tomas
* Boston signing Pablo Sandoval
* Boston signing Hanley Ramirez
* The White Sox’ and A’s’ signings from last weekend

I’ve also been updating my offseason guides/rankings, with the top 60 boardgames ranking before I went dark on Twitter and the favorite cookbooks guide right after.

And now, the weekly links:

  • At this time of year, many people with disposable income will think about giving money to charity – it’s the holiday spirit, or maybe just advice from the accountant. NPR’s The Salt has a great piece up on what goods to donate to food pantries. A little thought goes a long way. Food pantries can always, always use money, which, since I seldom buy canned foods anyway, is my preferred method of helping – and since food pantries focus on small, achievable goals, they’re among the best places to donate.
  • Two good pieces I read this week about Ferguson, Missouri, and the murder of Michael Brown: This piece by Prof. Carol Anderson from the Washington Post, arguing that the core issue is “white rage” against racial progress; and a piece from the British left-wing paper The Guardian, annotating the grand jury decision with critical notes on subtext.
  • The Embryo Project at Arizona State tweeted me this link to their site, on Charles Darwin’s study of embryos as part of his argument in favor of evolution as the mechanism behind the origins of species. Speaking of which, this graphic plotting countries’ GDP against what percent of their populations believe in evolution is distressing. But there’s good news – ornithologists discovered a new bird species on the Indonesian island of Sulawesi.
  • A little basic for this crowd, but this Washington Post piece reminds you not to ask for antibiotics when you have a cold.
  • A powerful piece from the New York Times by a mother, remembering the Thanksgiving her then two-year-old son spent in intensive care.
  • Maybe it was buried by Ferguson and the holiday, but the news that Alaska’s Mount Pavlof went boom again this past week should have gotten a lot more play. The eruption column reached nine miles; by comparison, the 1991 eruption of Mount Pinatubo, which was so powerful that it lowered global temperatures for the next year-plus, reached twelve miles.