Best Music of 2010, Pt. 2: Albums #5-1

#5
Heartland
Owen Pallett

This isn’t the first time Owen Pallett’s work appears on this list. He remains primarily known as Arcade Fire’s string arranger, working on all their albums including The Suburbs. However, few could have predicted that this Arcade Fire sideman would musically eclipse his more famous friends this year with the evocative Heartland. Although Pallett has been recording under the name Final Fantasy since the mid-2000s, Heartland is a radical artistic leap forward from anything he’s ever done. Filling out his characteristic violin loops with keyboards, horns and understated drumming, the songs on Heartland are rich with detail. “Oh Heartland, Up Yours!” pulses with subtle bass guitar, while the glistening “E Is For Estranged” simply wouldn’t work without the waltzing lilt of its piano figure. Adding in Pallett’s yearning, evocative lyricism and fragile voice, Heartland is an emotional masterpiece. It deals with the age-old themes of frustration and doubt, but does so with unmatched grace and beauty.

#4
Sir Lucious Left Foot: The Son Of Chico Dusty
Big Boi

If this had joined The Love Below on Outkast’s legendary 2003 double album, the result would have been nothing short of the best rap record of all time. Alas, at the time, Big Boi dedicated his half of that project to the mediocre Speakerboxxx. Of course, the double album would go on to win Grammy after Grammy… but oh the possibilities! From beginning to end, Sir Lucious Left Foot is bursting with slick grooves, catchy hooks and enough witty turns of phrase to keep even the most cynical rap fan content. The bouncy synths of the lead single “Shutterbugg” are only the very beginning of what this album offers. Highlights include the exquisite Janelle Monáe guest feature “Be Still” and the smooth R&B of “Turns Me On,” which serves as a nice counterpoint to the album’s heavier tracks. Big Boi also seems determined to remind us what a fantastic and unique lyricist he is, jumping from subject to subject with playfulness and humor. While Big Boi will never have the mind-expanding experimental streak of his Outkast partner Andre 3000, that was never his style. Sir Lucious Left Foot proves that he still has a tremendous amount of talent to offer, delivering the kind of high quality, mainstream rap album that has been absent for years.

#3
Small Craft On A Milk Sea
Brian Eno

Sneaking out during the first weeks of November, Small Craft On A Milk Sea received little attention. This is surprising, given that Brian Eno remains one of the world’s true cutting-edge musicians, continuing a breathtaking career that has seen him release a handful of legendary solo albums, invent a few genres and produce some of the most successful albums of all time. Small Craft fits perfectly into that legacy. Its sixteen instrumental tracks may not have words, but Eno remains a master of atmosphere. These intricate, electronic compositions range from elegant to jarring to downright violent. Whether it’s the unexpected guitar work on “2 Forms Of Anger” or the exquisite piano progression of the opening “Emerald And Lime,” Eno’s music feels perfectly realized and controlled. It may have been five years since Eno last released a solo album, but Small Craft proves that he hasn’t lost a step.

#2
High Violet
The National

It’s not easy making bleak music anthemic. Yet, that’s exactly what the National did with High Violet, a seething pit of self-loathing dressed up as the most uplifting of indie rock. The New-York-by-way-of-Ohio band has been on quite the tear since 2005, releasing three landmark albums in succession, all fueled by Matt Berninger’s distinctive baritone croon. The National have always traded in downcast songs about literate angst, but few of their songs have ever mined the depths that High Violet plunges into. The lyrics constantly turn inward, as Berninger bemoans lost loves and his own failings. The poignant lead single “Bloodbuzz Ohio” is heavy with nostalgia and regret, taxing the very limits of Berninger’s word-weary voice. The rest of the band more than delivers musically, particularly in the chiming guitar interplay of brothers Aaron and Bryce Dessner. Berninger’s emotional tumult is perfectly mirrored in the cascading arpeggios of “Runaway” or the claustrophobic pressure of “Afraid Of Everyone.” These songs are raw and emotional, but they also have a complex sense of dignity to them. They’re more than just personal expression. High Violet may not explicitly be a breakup album, but it might as well be one. The National take misery, doubt and regret and transform them into something universally relatable and compelling.

#1
My Beautiful Dark Twisted Fantasy
Kanye West

We live in a world where it’s hard to be a Kanye apologist. For those few of us who have kept the faith through all the award show stupidity, PR fiascos and overblown demonstrations of ego, My Beautiful Dark Twisted Fantasy is nothing short of the holy gospel. Coming two years after his extraordinary-but-alienating 808s And Heartbreak, Kanye has finally reclaimed his throne atop the pile of mainstream rappers. Hell, that’s not even a big enough mountain for Kanye. Listening to Fantasy, it’s tempting to put Mr. West in the esteemed company of Messrs. Cobain and Mathers in the pantheon of great pop artists. Like both of those legends, Kanye’s genius manifests itself in controversial ways. It’s clear that in our celebrity-obsessed world, someone as volatile as Kanye will never be fully accepted. Yet that doesn’t matter when he makes music this strong. There was no song this year better titled than “Power,” the King-Crimson-sampling barrage that was unleashed upon the world late in the summer. It only gets better from there. You’ve got the slinky pop of “Devil In A New Dress,” blending two of Kanye’s favorite themes, religion and sex, into a seamless whole. There’s the snarling, spitting rage of “Monster,” featuring an all-star team of guests, all foaming at the mouth to rip their detractors to shreds. On top of everything, there’s “Runaway,” a shockingly personal confession regarding everything Kanye’s done in the past two years. He’s seen his stock sink to its lowest, but through sheer willpower and incomparable musical talent, he’s risen from the ashes and delivered the year’s best album. Kanye will never be a great rapper, singer or maybe even a good person. His flaws are big and very, very public. But there simply aren’t any other pop stars putting so much of themselves into their music. That Kanye can do so while still scoring hit after hit is truly astounding. As he says, “I guess every superhero needs his theme music” and with My Beautiful Dark Twisted Fantasy, the world’s greatest pop star has that soundtrack.

Best Music of 2010, Pt. 1: Short Form and Albums #10-6

It’s my favorite time of the year: best-of list season! While Pretzel Logic has had a confused and somewhat schizophrenic year, that won’t prevent me from tossing my own vote into the fray. Despite a wealth of great releases, I’ve decided to pare the list down to eleven entries, covering one short form release and ten long-playing albums. These select few represent the music I’ve enjoyed the most over the past twelve months, forging the way into our brand new decade. So, read ‘em and comment away. Tell me what you liked and what you hated. If something piques your fancy, go listen. Above all, enjoy the great music that 2010 has brought into the world.

Best Non-Album Single/EP Release of the Year
“Art Czars”/“Racer-X”
Japandroids

Vancouver’s Japandroids had a lot of work to do in 2010, touring and promoting last year’s Post-Nothing album and generally doing all those things ambitious young rock bands need to do to make a name for themselves. Yet, amidst the busy schedule, they found time to release a series of incendiary 7” singles, each backed by a cover song. Of the three that appeared this year, “Art Czars” is the most thrilling and vibrant, honing the noise of their debut album into lean, mean, anthemic aggression. Yet, it’s the b-side cover of Big Black’s “Racer-X” that steals the show, somehow topping the original in terms of snarling nastiness while still retaining that crucial, precise edge. In a year when old fashioned, loud rock music was all but extinct, Japandroids kept things kicking with this fantastic single.

#10
The Suburbs
Arcade Fire

Even when they’re off their “A” game, Arcade Fire manage to win. The Suburbs is a massive work, clocking in at a clean hour and spread across sixteen tracks. There’s no denying it: some of those songs are weaker than others. The Suburbs is the first Arcade Fire album that feels unessential at times. Yet, the high points of the album are truly wonderful. From the spiky “Ready To Start” to Win Butler’s chest-beating breakdown in the middle of “We Used To Wait,” The Suburbs delivers those classic moments fans expect. There’s a running narrative about childhood and suburban life tucked within the tunes, but the best selling point of The Suburbs remains Arcade Fire’s patented brand of larger-than-life drama. The size and scope of their music seems to know no bounds and The Suburbs will only catapult them to newer, grander heights.

#9
Plastic Beach
Gorillaz

During the five year silence between Plastic Beach and Gorillaz’s last album, Demon Days, most people assumed we’d never see Damon Albarn’s cartoon band ever again. They always felt strangely temporary, with their gimmicky concept and sporadic output. Then along comes Plastic Beach, a staggeringly complete and crafted album, bursting with guest artists and musical diversity. Albarn and his conspirators have moved noticeably away from hip-hop, but the songs here are still unlike anything else around. Lead single “Stylo” sounds like Ground Zero for some future Bee-Gees revival, while the lovely “On Melancholy Hill” and “To Binge” return Albarn to his English-rock songwriting roots. Above all, though, is the fact that Gorillaz are clearly no longer a cartoon band. Plastic Beach meditates on serious issues of ecology, responsibility and loss. Albarn has asserted control, put all joking aside and delivered the great Gorillaz album we always knew could happen.

#8
Homeland
Laurie Anderson

“And so finally, here we are, at the beginning of a whole new era, the start of a brand new world… and now what?” This is the question Laurie Anderson asks at the beginning of “Another Day In America,” the eleven-minute centerpiece of Homeland. Anderson doesn’t have the answers, but she’s more than willing to shine an analytical light on where America stands at the beginning of our very young century. The result is an icy, eerie trawl through the repercussions of the past hundred years of society, witnessing the consumption of the world’s resources and the fracturing of our emotions. However, Anderson’s social critique is never as blunt and heavy-handed as all that. Homeland’s songs have the brisk beauty of snow, a motif that reoccurs constantly throughout the album. Whether she’s singing in her natural, piercing voice or processing it through her trademark vocoder, her words have an alien, poetic grace to them. Anderson’s return to the recording industry is more than welcomed. The world needs artists like her.

#7
Hidden
These New Puritans

No one can ever fault These New Puritans for not having enough ambition. On only their second album, this young English band decided to pull out all the stops: bassoons, Japanese drums, elaborate sampling, Foley work and a seemingly endless ability to stretch the definitions of rock music to the breaking point. Hidden is an angular, claustrophobic work, recalling the oppressive atmosphere of postpunk, while also relying heavily on the rhythmic assault of contemporary rap. This is an album ruled by percussion, meaning that listening to it is always a visceral experience. There’s little humor to be found, but there was never room for irony in the first place with music this iconoclastic and eclectic. These New Puritans have delivered a true art rock album, letting their wildest musical fantasies loose and turning in an astonishing sophomore effort in the process.

#6
The ArchAndroid (Suites II and III)
Janelle Monáe

It’s probably no coincidence that Outkast’s Big Boi appears on “Tightrope,” the lead single of Janelle Monáe’s world-conquering debut album. It's time that Outkast passed the torch of progressive pop music to someone and Monáe has proved herself to be a very capable heir. There’s just so much within The ArchAndroid to love. The lean funk of “Tightrope” is sandwiched neatly between anthemic electro-pop (“Cold War”), folk balladry (“Oh, Maker”) and basically every other genre known to humanity. Oh, and did I mention that the whole thing is united by a storyline inspired by sci-fi classics like Metropolis and name checks Philip K. Dick? Monáe has arrived and the world is still trying to understand just where she came from. We can only hope that she stays for as long as possible before hopping back in her spaceship and returning to her home on the planet of perfect pop.

The Cust Era Begins

The Mariners have a designated hitter. His name is Jack Cust. He's left-handed. He hits home runs. He's from New Jersey. Let joy ring out.

All kidding aside, I like the Cust signing. The M's have picked up a guy who more-or-less suits their needs, for a very reasonable price. Cust is essentially another Branyan type of player: walks, strikeouts and home runs. Thankfully, he doesn't have Russ' injury history and is coming off a somewhat surprising year for Oakland. His .395 OBP is something special, to be sure. He won't be the savior of Seattle, but he looks to be a decent cog in our slowly improving offensive. Hopefully, he'll bat fourth or fifth, knock in some runs, get on base and generally play good baseball.

The Winter Meetings also brought news that we're on the verge of signing Miguel Olivo as our primary catcher. This is a substantially less awesome move, but I'll save that commentary for when everything becomes official. There are also rumors that we've offered a contract to Laynce Nix. Oh boy.

Finally, we snagged reliever Jose Flores from Cleveland in the Rule 5 Draft. His numbers look decent, but they come from Single-A. Flores doesn't look like a great shot to make the team by opening day.

Addition By Subtraction

...and we've survived the deadline to tender contracts to arbitration eligible players. It's been a long, suspenseful evening and there are some big stories for the Mariners.

First, here's who's gone:

-Jose Lopez: It finally happened. The Jose era of Seattle baseball is officially over. Right at tonight's deadline, the club traded him to the Colorado Rockies for right-handed pitcher Chaz Roe. Yes, that's a real name, get over it. Roe looks like a decent starter, especially considering the minor league environment he was pitching for with Colorado. As for Jose...I wish him the best. I'm just glad that he'll be not getting on base for another team instead of mine.

-Ryan-Rowland Smith: I am sad. My fellow Aussie has not been tendered a contract by the Mariners. Of course, he could still re-sign with the team, but currently, he is indeed a free agent. He had an undeniably horrible year, but the promise he's shown in the past could very well resurface. We'll see what happens.

Ahh, but there were additions as well!

-Josh Wilson: Our favorite overachieving infielder is back! The team tendered him a contract, meaning the Paperboy will be keeping his route with the Mariners for yet another season. Hopefully, in 2011, he stays as a backup infielder rather than our full-time shortstop like he was for most of this past season. Remember, Kazmar and Rodriguez are breathing down his neck for that backup job.

-Erik Bedard: Oh yeah. He's back, too. Our infamously fragile Canadian, who has been dominating when he's been healthy...which has also been never. Awkward. He's reportedly going to be ready for Spring Training, but we've heard this routine before. Of course, if he does put everything together, he could be a huge asset for the team in 2011. But that's a ridiculous "if." It's worth noting that his contract is non-guaranteed, meaning that he'll actually have to pitch to make money. Better take care of that shoulder, Erik. Your paycheck depends on it.

Day 16 – A song that you used to love but now hate

Song: "Been Caught Stealing" - Jane's Addiction, Ritual De Lo Habitual (1990)

Don't get me wrong: I don't hate "Been Caught Stealing." I just like it way less than I used to. High-school-Simon was a huge grunge fanatic and Jane's Addiction were a band that came along with those obsessions. Since "Been Caught Stealing" was their biggest single, I felt compelled to love it on principle. But the years have not been kind to the song. The media has overexposed it, especially on any VH1-esque feature on music downloading. Plus, as I've discovered more and more bands and songs and sounds, Jane's Addiction have been relegated to a third or fourth tier interest. I respect them for their the musical ground that they broke and their reputation and legacy among other artists. I just tune out when I hear those dogs barking.

(30 Days List)

Day 15 – A song that describes you

Song: "One Chord Wonders" - The Adverts, Crossing The Red Sea With The Adverts (1978)

"I wonder how we'll answer when you say,
'We don't like you, go away,
Come back when you learn to play'"

I'm tremendously proud of being a self-taught musician. Aside from three extremely rudimentary bass guitar lessons in tenth grade, everything I know on both bass and guitar has been picked up through trial, error and a hell of a lot of time listening to music. I idolize figures like Brian Eno, who championed the concept of the "non-musician" while his contemporaries worked to incorporate complex chord progressions and musical theory to overblown rock 'n' roll. Yet, for all my talk about pride in my untutored musical abilities, performing live has always been a stressful ordeal for me. I've never hid my love for unexpected and conventionally "bad" playing, but audiences are not always the most accepting. "One Chord Wonders" does a superb job of capturing that terror. There's always that moment right before you go on stage where you wonder if the songs you're about to play are just going to piss everyone off. The songs are too sad, too angry, too chaotic, too calm, too emotional...it's always something. Without the shield of some "classically trained" bullshit to hid behind, self-taught musicians can only keep playing, or, as TV Smith sings, "The Wonders don't care, we don't give a damn."

(30 Days List)

Mariners Minors Madness!: Returners, Reclamations and Rodriguez Edition

So far, it's been a dull offseason for the Mariners. We have yet to sign a player to a major league contract or trade anybody. Of course, the Winter Meetings are still a week away, which is when many deals are likely to take place. While we wait for that, however, let's look at the handful of Mariners minor league deals that have been going on.

RHP Yusmeiro Petit, LHP Chris Seddon and OF Mike Wilson have all re-upped with the team. Only Seddon saw any major league time in 2010, but all three played important roles for Tacoma during their playoff run. They could very well provide depth for the Mariners over the course of the 2011 season.

Then we've got the new guys. Three new pitchers are lurking within our system, including righties Chris Smith and Charlie Haeger, along with lefty Fabio Castro. Smith has floated throughout the Brewers organization recently, acting as their Triple-A closer in 2010. His strikeout numbers could be sign that he's more than just a random minor league fill in. Haeger is another interesting pickup, if for no other reason than the fact that he's a knuckleballer. He's failed to get his career started anywhere he's been, but maybe Seattle will be different.

The biggest deal, though, is probably infielder Luiz Rodriguez, a former Major League shortstop with the Padres and Twins. As other blogs, such as U.S.S. Mariner, have pointed out, Rodriguez went ape in Triple-A last year for the White Sox, smashing double digit homers and doubles. Expect Rodriguez to compete for one of the revolving infield positions during Spring Training.

Day 14 – A song that no one would expect you to love

Song: "Don't Panic" - Coldplay, Parachutes (2000)

Reasons I should hate Coldplay:
-they're often boring
-they're often cliched
-all their songs are just platitudes and sweeping emotional nonsense
-Chris Martin plays the same, plunking piano chords in every song
-they suffer under serious delusions of grandeur
-they've spent a good portion of their career ripping off Radiohead

Reasons I love "Don't Panic":
-that sparkly little guitar line at the very beginning of the chorus
-it's so darn purdy

We live in a beautiful world. Any questions?

(30 Days List)

Day 13 – A song that is a guilty pleasure

Song: "Don't You Want Me" - The Human League, Dare (1981)

I hate the idea of guilty pleasures. They irritate me on many levels, both practical and philosophical. At the end of the day, though, I simply don't want to be ashamed of things I enjoy. So, as I expound upon my love for the Human League, understand that there is no guilt attached.

Liking the Human League can be considered part of the hipster party line, assuming you're talking about their early, "Being Boiled"-era singles and albums. Those recordings are cornerstones of early electronic music and are discussed with hushed tones and reverence. But then two-thirds of the band left, leaving singer Phil Oakley with the Human League name and not much else. How many bands can you think of that have survived when the songwriters just up and leave? A year later, though, Oakley would be laughing, as Dare and its associated singles wrecked havoc on the pop world. In a nutshell, this is why I adore "Don't You Want Me." It's one of those rare moments when futurist experimentation and total mainstream success collided into a perfect nugget of music. On one hand, it can be seen as a devious and brilliant coup for music snobs, when something this cold and jarring can sell millions of copies. But that ignores the fact that it redefines what "catchy" can mean. Even with Oakley's oddly flat voice, the song is irrepressibly fun, culminating in a chorus that refuses to be forgotten. The New Wave hits from the 1980s have not been treated fairly by history, getting relegated into the category of novelty hits and nostalgia. It's time we reclaim these songs for the good of pop music everywhere.

(30 Days List)

Day 12 – A song from a band you hate

(Link to song)

Song: "Tusk" - Fleetwood Mac, Tusk (1979)

Alright, so, rather than just hatin' on the Eagles some more, I decided to have a bit of fun with this selection. I decided that I was going to find a song that I liked from a band I hated. There is no better place to look for these types of songs than the Fleetwood Mac catalog. About 95% of their songs infuriate me. They're either too mellow and ethereal ("Landslide"), too overblown ("Don't Stop") or feature excessive use of Stevie Nicks (everything else). Yet, there a few songs here and there that just work for me. As classic rock songs go, you can do much worse than "Rhiannon." A few of Lindsey Buckingham's "grr, I'm angry!" songs are also enjoyable. But "Tusk" takes the cake when it comes to inexplicably wonderful tracks. It's goofy, corny and indulgent. But it's fun as hell and when the bass suddenly comes sneaking in the back door, I start grinning like a lunatic. The marching band is coming! The marching band is coming!

(30 Days List)

Day 11 – A song from your favorite band

Song: "Climbing Up The Walls" - Radiohead, OK Computer (1997)

Alright, Thanksgiving has come and gone and now it's time to catch up with these darn meme posts. I've already waxed poetic about Radiohead for Day 1, so I'll spare you more starry-eyed dramatics. Just listen to the song. It's haunting and frightening and beautiful and unique. All these things are what Radiohead mean for me.

(30 Days List)

Day 10 - A song that makes you fall asleep

Song: "Untitled 3" - Sigur Ros, ( ) (2002)

So, rather than writing about something I find boring, I'm gonna write about a song I love. While I'm certainly not the first college student to stumble upon the sublime beauty of Sigur Ros, I can't deny that they're one of the best acts to listen to when you need to calm down. "Untitled 3" has always been my personal favorite, thanks to its simple, repeating piano line. The momentum slowly builds, a second piano line is added and eventually the whole thing sighs to a close. Beautiful music.

(30 Days List)

Day 9 - A song that you can dance to

Song: "Party Hard" - Pulp, This Is Hardcore (1998)

Uhh, so, I dance to weird songs. 'nuff said.

(30 Days List)

Day 8 – A song that you know all the words to

(Here's a link, because YouTube is failing me)

Song: "State Trooper" - Bruce Springsteen, Nebraska (1982)

Ok, this is a stupid prompt. There are a million songs I know all the words to, mostly because I've learned to play them live. C'mon now, meme. You've got to try harder than that. Anyway...

I'm sticking with "State Trooper" mostly because it's one of my favorite songs to perform. For people expecting Springsteen covers to be full of patriotism and power and energy, "State Trooper" is quite the curveball. When performed in the style of the original studio recording, it's a spectral, atmospheric song, filled with disturbing imagery and more than a little paranoia. That insistent guitar rhythm is mesmerizing, but the words carry so much weight. The Boss is really at his best when he sets aside "born...in the U.S.A.!" for barbs like "the radio's jammed up with talk show stations, just talk, talk, talk, talk 'till you lose your patience." Not bad for a song that only takes eight seconds before name-checking the New Jersey turnpike.

(30 Days List)

Day 7 - A song that reminds you of a certain event

Song: "Silent Shout" - The Knife, Silent Shout (2006)

I don't associate "Silent Shout" with any grand, life-altering event in my life. Rather, it reminds me of something very mundane. One sunny summer day, way back in 2006, my father was gone on a week-long field trip, leaving my sister and I to fend for ourselves. In a fit of boredom, we decided to take the bus all across town to Seattle's Easy Street Records to pick up some new albums. Both of us were into new music at the time and we both immediately zeroed in on our choices. I bought an import copy of TV On The Radio's Return To Cookie Mountain, which had not yet been released in the States, while Audrey opted for The Knife's Silent Shout. Looking back, it's clear what hip children we were, since both of those albums are now considered among the very best from 2006. At the time, however, we were just thrilled to be hearing exciting, new music. We bussed home and played the albums back to back. It's one of my favorite memories, not only because it captures the joy of discovering music, but it's also one the best moments I've ever shared with my sister. Aww.

(30 Days List)

Day 6 - A song that reminds you of somewhere

Song: "Don't Worry About The Government" - Talking Heads, Talking Heads:77 (1977)

31 Madison Ave, #2, Cambridge, MA 02140. That's the address of my very first apartment. For my junior year of college, I moved off-campus and took a major step towards joining "the real world." And what was the very first song I listened to in that humble little apartment in Cambridge? Talking Heads' "Don't Worry About The Government," an upbeat track about the pleasures of living in your own space. "I pick the building that I want to live in," David Byrne sings, elaborating that "my building has every convenience, it's going to make life easy for me." Did 31 Madison Ave. have every convenience? Not even close. Did it make my life easier? Not particularly. Yet, every time I hear "Don't Worry About The Government," it reminds me of that thrill and mild terror I associated with living in my own place for the first time in my life.

(30 Days List)

New Faces

Before the deadline for Rule 5 Draft protection last night, the Mariners made a flurry of roster additions. Ten players were called up onto the 40-man roster, including a few big names:

From Triple-A Tacoma:
-RHP Michael Pineda
-RHP Josh Lueke
-LHP Mauricio Robles

From Double-A Jackson:
-LHP Cesar Jimenez
-3B Alex Liddi
-OF Carlos Peguero

From Single-A-Advanced High Desert:
-RHP Maikel Cleto
-OF Johermyn Chavez

From Single-A Clinton:
-RHP Tom Wilhelmsen
-RHP Yoervis Medina

Pineda is the biggest name, as the club has said he'll have a chance to win a starting rotation spot out of Spring Training. Lueke is another guy who could very well make the Opening Day roster, while lefties Robles and even Jimenez could fill important roles in the bullpen. Another thing to point out is that the Mariners roster now has 39 players, creating very little wiggle room for trades and free agent signings. There's a decent chance that several of these young prospects could be included in potential trades in the coming months.

Day 5 – A song that reminds you of someone

Song: "O Superman (For Massenet)" - Laurie Anderson, Big Science (1982)

This was a tough one for me. I'm one of those people who associates songs with just about everything, including virtually everyone I know. Songs are always more to me than just songs. They're flags that help me remember people, places, events and all the memories and feelings I have connected to them. I can't scroll through my iTunes library without remembering all sorts of people. So, in the end, I decided to take the sentimental route and choose a song that reminds me of my mother.

This song can do terrible things to me. Maybe it's because I've rarely seen my mother since I was a small child. After my parents divorced, she moved to Wisconsin, while I had to stay in Seattle with my father. She's been a tremendous influence in my life, but almost always from afar, being a parent to the best of her abilities through phone calls and the occasional package of gifts and goodies. Even though she was never around to see me go through all the day-to-day events of growing up, she's always been there, believing in me all the way from Wisconsin.

"'Cause when love is gone...there's always justice,
And when justice is gone...there's always force,
And when force is gone...there's always Mom."

(30 Days List)

Felix Wins Cy Young Award, Justice Prevails

This is a great day for the Seattle Mariners organization. Felix Hernandez has joined Randy Johnson as the only Mariners pitchers to win the American League Cy Young Award.

But this is also a great day for baseball. By rewarding Felix for his amazing season, the Baseball Writers Association of America has finally begun to look past old-fashioned benchmarks for greatness. Wins, the traditional measure of a pitcher's worth, would not even begin to tell the full story of Felix's season. You have to look at his sparkling ERA, his massive strikeout and innings pitched numbers, or the fact that he gave up only a handful of home runs. With this award, statistical analysis has won a major victory over older, ignorant ways of assessing baseball players.

Day 4 – A song that makes you sad

Song: "Shut Me Down" - Rowland S. Howard, Pop Crimes (2009)

Rowland S. Howard knew he was dying as he recorded his final album. Liver disease had developed into cancer and the cult Australian guitarist was faced with his own mortality. In interviews, he spoke of possible liver transplants, but his cynicism and resignation were clear. You can hear all of that in Pop Crimes, one of the most stark and honest albums I've ever encountered.

"Shut Me Down" is devastating. You hear a man who has accepted his own inevitable death, waiting around until his body finally collapses. "Well, so long, baby, I've had enough" are the words that open the song and things only get more bitter from there. There have been plenty of songs with choruses that are variations on "I miss you so much," but when Rowland sings it, you know he's not just talking about temporary romantic pining. He's realizing that everything he knows and loves about life is about to be taken away from him and all he can do it choke back tears and wave goodbye.

(30 Days List)

Mariners Minors Madness!: Kazmar and Miller Edition

The ice has been broken. The Seattle Mariners have signed their first new players of the 2011 season. Without further ado, I present...our new minor league contracts for veteran reliever Justin Miller and utility infielder Sean Kazmar!

Ok, maybe not the most exciting stuff in the world. Miller looks to be a semi-decent strike-thrower, but certainly nothing compared to the Corteses, Luekes and Varvaros of our existing minor league ranks. Kazmar is a young infielder we snatched out of the Padres system, where he spent all of the past two years toiling at Triple-A. Looking at his numbers, he seems to have a little bit of power, a little bit of speed, but nothing that will ever make him more than a passable bench guy. Basically, he's Josh Wilson all over again. So, now we have two of them. Wonderful.

Both these guys will be invited to spring training. If I had to guess, I'd say Kazmar has a better chance to making the team than Miller. But hey, Miller does have all this working in his favor. Between League and Miller, we could have the most tattooed bullpen in the game!

Day 3 – A song that makes you happy

Song: "Cloudbusting" - Kate Bush, Hounds Of Love (1985)

I'm the first person to admit that Kate Bush's music can often be overly dramatic and occasionally just goofy. Yet, on "Cloudbusting," as soon as I hear that little string riff creeping up, I practically start skipping. It's such a shamelessly optimistic song, featuring the self-help-worthy chorus of "I just know that something good is gonna happen, I don't know when, but just saying it could even make it happen." Yes, this is a song that rhymes "happen" with "happen" and still manages to be fantastic.

I really don't care about the whole "it's-about-a-guy-with-a-machine-that-makes-it-rain" subtext to the song. The yearning in the lines "every time it rains, you're here in my head" is charming, but it's that propulsive, marching chorus that always makes me smile. Sometimes, blind positivity isn't such a bad thing.

(30 Days List)

Day 2 – Your least favorite song

Song: "Hotel California" - The Eagles, Hotel California (1976)

First, the obvious: "Jesus, man, can you change the station? I've had a rough night and I hate the fucking Eagles, man!" - The Dude, The Big Lebowski

Alright, so, why am I slaughtering one of the most sacred cows in classic rock? Because it's a godawful song. From its fake, Mexican-ish guitar intro to its overwrought lyrics, "Hotel California" never fails to make me want to violently prevent anyone from every playing it ever again. I specifically remember being forced to listen to a busker play it over and over again while waiting for a subway. Those fifteen minutes might have been the closest to Hell on Earth that I've ever been.

It all boils down to the enunciation of "hotel" in the chorus. That weird little catch Don Henley gives it, adding an agonizing "ethnic" touch to the whole debacle, makes my skin crawl. "Hotel California" is not a magical, surreal fantasy that serves as an allegory for the Californian rock scene. It's a self-important epic, wallowing and moping until it climaxes in a burst of 70s guitar masturbation. I want it purged from the classic rock canon. But, as Henley sings, I "just can't kill the beast."

(30 Days List)

Day 1 - Your favorite song

Song: "How To Disappear Completely" - Radiohead, Kid A (2000)

Radiohead are the cornerstone of my musical tastes. No band so completely encapsulates everything I want from music. They're emotional, but restrained. They're cold, but also undeniably human. They're modern, but lean heavily on the past. They're smart, they're socially conscious, they're iconoclastic, they're innovative and they are damn consistent. They appeal to my desire for music that "means something" while still holding to the most basic of pop song formulas.

At its core, "How To Disappear Completely" is anchored by a simple, acoustic guitar song. The track is only a slow, alternating chord progression, hammering notes on and off to give the song its subtle, seasick movement. A string section drones in the background, eventually rising to a more cathartic climax. Throughout, Jonny Greenwood's Ondes Martenot pierces through the fog, adding just enough eerie atmosphere to make things sound almost unearthly.

"How To Disappear Completely" is a sad song, but on a massive and dramatic scale. The overcome narrator can only respond to the world with denial, with the insistent claim that "I'm not here, this isn't happening." The imagery is dreamlike, as the singer floats down rivers and bears witness to "strobe lights and blown speakers" without comment. Thom Yorke is at his absolute finest, using the bare minimum of words to express complete emotional overload. This is a song for those moments when everything is beyond your control. This is a song to listen to when all you can do is close your eyes and hope things get better. This is a song about surviving the 21st century.

(30 Days List)

We Do Music, Too!

You may not believe it, but this was once a blog about music. I intend for it to remain that way. To reinforce that, I'm picking up this 30 Songs in 30 Days meme that's floating around. For those of you unfamiliar, here's the list:

Day 01 – Your favorite song
Day 02 – Your least favorite song
Day 03 – A song that makes you happy
Day 04 – A song that makes you sad
Day 05 – A song that reminds you of someone
Day 06 – A song that reminds you of somewhere
Day 07 – A song that reminds you of a certain event
Day 08 – A song that you know all the words to
Day 09 – A song that you can dance to
Day 10 – A song that makes you fall asleep
Day 11 – A song from your favorite band
Day 12 – A song from a band you hate
Day 13 – A song that is a guilty pleasure
Day 14 – A song that no one would expect you to love
Day 15 – A song that describes you
Day 16 – A song that you used to love but now hate
Day 17 – A song that you hear often on the radio
Day 18 – A song that you wish you heard on the radio
Day 19 – A song from your favorite album
Day 20 – A song that you listen to when you’re angry
Day 21 – A song that you listen to when you’re happy
Day 22 – A song that you listen to when you’re sad
Day 23 – A song that you want to play at your wedding
Day 24 – A song that you want to play at your funeral
Day 25 – A song that makes you laugh
Day 26 – A song that you can play on an instrument
Day 27 – A song that you wish you could play
Day 28 – A song that makes you feel guilty
Day 29 – A song from your childhood
Day 30 – Your favorite song at this time last year

This should be fun.

Projecting the Mariners 2011 Roster, v. 1.0

Ok, here's something fun to think about: what would the Mariners roster look like on opening day if they made absolutely no signings, trades, releases or transactions whatsoever during the offseason? It's been something I've been mulling over and here's my first stab at predicting the twenty-five guys we'll be sending onto the field next year.

Rotation
RHP Felix Hernandez
LHP Jason Vargas
RHP Doug Fister
RHP Michael Pineda
LHP Ryan Rowland-Smith

The rotation candidates are fairly straightforward. Pineda is widely believed to be ready for the majors, while Vargas and Fister enjoyed breakout seasons this past year. I'm giving Hyphen the nod over Pauley, French or any of those other guys due to his track record and freakishly unlucky 2010 season. Acquiring a real fifth starter is something that will happen in the coming months.

Bullpen
RHP David Aardsma
RHP Brandon League
RHP Josh Lueke
RHP Dan Cortes
LHP Mauricio Robles
LHP Luke French
RHP David Pauley

Cortes looked electric during the last weeks of September, while Lueke has proven himself at Triple-A and now in the Arizona Fall League. Assuming his off-the-field issues don't keep the club from promoting him, he should be a big bullpen cog in 2011. Robles should start the season in Tacoma, but without bullpen help from outside the organization, he's a better option than Olsen or another right-handed minors dude. French and Pauley round things out as swing guys and long relievers.

Lineup
1. RF Ichiro Suzuki
2. 3B Chone Figgins
3. 2B Dustin Ackley
4. 1B Justin Smoak
5. DH Milton Bradley
6. CF Franklin Gutierrez
7. LF Michael Saunders
8. C Adam Moore
9. SS Jack Wilson

Ok, now things are getting comical. Obviously, Ackley being on the opening day roster and batting third is beyond crazy. However, if you look at the options the club has at its disposal...y'know, why the hell not? Ackley has gone ballistic in the AFL, flirting with .600+ OBP numbers. He looks like a high average hitter, who earns a ton of walks and strikes out very rarely, with plenty of doubles potential. If we can't find a decent DH type running around in free agency or trade, I vote we stick Dustin behind Ichiro and Figgy and let them run wild.

Bench
C Rob Johnson
INF Jose Lopez
INF Josh Wilson
OF Greg Halman

Yikes. Well, we need to find a bench this offseason. I'm putting Lopez here because he's still semi-valuable as a player, has infield versatility and is better than the assorted guys who need some more seasoning at Tacoma. Halman could, just maybe, turn out to be a decent platoon guy with Saunders in left, while good ol' Josh Wilson rounds things out by backing up the middle infield.

So there you have it. The Mariners clearly will pick up some new odds and ends over the next few months and this roster will be updated accordingly. A lot also depends on how Spring Training plays out, with all these young players competing for roster spots. I, for one, can't wait to see how the 2011 team comes together.

Looking Back on the 2010 Mariners, Pt. 2: Harsh Realities

(For Part 1 of this series, see here.)

So, we had a team. We had new players, exciting potential and a hell of a lot of expectations. We knew we didn't have much home run oomph in the lineup, but we had the two best pitchers in baseball, along with a bunch of hitters who had what overly optimistic fans call "doubles power." All that was left to play 162 actual games.

Game 1 went well enough. Down in Oakland, Felix threw 6 and 2/3rds, highlighted by six walks but effective nonetheless. Casey Kotchman came up huge, ending the night with 4 RBI, including two knocked in with a ninth-inning single. David Aardsma struck out two to get the save. Ichiro and Figgins stole bases and scored runs. This was what victory should have looked like for the 2010 Mariners: simple, undramatic, but effective. The final score was 5-3 and the M's were that much closer to a division title.

But then they lost four straight games. April's highlights included an 11-3 annihilation of the Tigers and a sweep of hapless Baltimore, but the team fell apart when they visited the Chicago White Sox. Led by Paul Konerko, Chicago crushed the Mariners, hitting walk-off homers in Games 1 and 2, then ending the series with an eighth inning, game-winning shot in the Game 3. We would finish April with a decent, but unremarkable 11-12 record.

With May came reinforcements. Cliff Lee returned from the disabled list on April 30 and performed exactly as advertised. He got outs, missed bats and didn't walk a single soul. But even Cliff couldn't turn things around. The Mariners opened the month with seven straight losses. The offense simply wasn't there, saddling our pitchers with one undeserved loss after another. The lone highlight of the month was on May 21, when the floodgates finally opened against the Padres, with the M's scoring 15 runs when all was said and done. Ironically, Cliff gave up 8 runs that night, yet got the win.

Then came the injuries and roster cuts. The bullpen was rearranged by cutting Jesus Colome and Rule 5 daft pick Kanekoa Texeira. Eric Byrnes was unceremoniously let loose after failing to do anything well. Milton Bradley's personal issues forced him onto the restricted list. Adam Moore jammed his foot in Tampa. Jack Wilson's hamstring knocked him out, too. Mike Sweeney's back was never actually 100%. But even all these problems weren't the real cause of the Mariners' abysmal record. We just weren't a good team to begin with. Even the mid-month trade to bring back 2009 star Russell Branyan couldn't invigorate our tepid offense.

The inevitable finally came on June 2. With the team boasting a 21-31 record, Ken Griffey, Jr., the most iconic and beloved player in Seattle history, announced his retirement. Amid the applause and memories, the M's managed to squeak out a victory, with Ichiro singling in the winning run in the tenth inning on a questionable infield call. June would actually see the Mariners play above .500, going 14-13 and highlighted by a six-game winning streak against the Cardinals, Reds and Cubs. We ended June by marching into New York's Yankee Stadium and throwing back to back complete game wins behind first Cliff and then Felix.

But our fate was sealed at that point. In the weeks leading up the All-Star break, the Mariners lost nine of their eleven games. So, on July 9, we traded Cliff Lee and reliever Mark Lowe to the Rangers. In return, we got four players, including first base prospect extraordinaire Justin Smoak. As the first half of the season concluded, the M's were sitting on a hideous 35-53 record. Ichiro had once again been named to the All-Star team, but that victory could not dispel the three-and-a-half months of pain we'd suffered through. The Kid had retired. Our offseason acquisitions had underperformed and disappointed. Now, we'd traded our best pitcher for a handful of unproven minor leaguers. We'd become what no fan wants his team to be: a rebuilding team.

"Fly, fly away!" R.I.P. Dave Niehaus, Voice of the Seattle Mariners

I still can't really comprehend it.

Last night, while I was celebrating my 22nd birthday, Dave Niehaus, the man who had called Mariners games since Opening Day in 1977, died of a heart attack. He was 75 years old.

Sportscasters are hard to judge. You can't easily compare them by just listening to different broadcasts here and there. You have to commit to them. You have listen to their voice, season after season, guiding you through a world where every game is just like the last one and yet also uniquely special. These aren't qualities you can just tune in and hear. You have to put in the time to develop that relationship. You have to grow up hearing that distinctive voice on the radio. You have to hear the emotions, during victories as well as defeats. These are the traits that make a sportscaster great. Dave Niehaus was as good as a sportscaster could be.

The Seattle Mariners aren't a celebrated franchise. We've never played in the World Series. We've only made the playoffs a few times. We don't have a lengthy, storied history of rivalries and events. But we have had some great moments and some great players, whose names are etched into the memories of everyone in the Pacific Northwest: Griffey, the Kid. Edgar. Buhner. The Big Unit. Ichiro. King Felix. We stormed back from a huge deficit in 1995 to make the playoffs. We tied the Major League record for wins in a season in 2001. We've seen highlight-reel catches, momentous home runs, liners in the gap, deftly turned double plays and more than a few dying quails. Throughout all of these moments was Dave Niehaus' voice.

For the Mariners, Dave represented unshakable faith and hope. Hope that some day, the Mariners would overcome the odds. That we would succeed and be recognized for our greatness. That our defeats would be momentary and that victory was just around the corner. No matter how bad things got, Dave's voice conveyed the enthusiasm and belief to keep the franchise and the fans going. Just by listening, you knew he loved the game, no matter the outcome. Winning was always the goal, but Dave Niehaus made simply playing baseball sound like the most thrilling thing the mind could imagine. You could tell when something great was about to happen: Dave would suddenly accelerate, almost stumbling over his own words as he tried to share his own, genuine excitement with his listeners. He would scream himself hoarse on air, just as the fans were doing in the stands and in front of TVs and radios all over the Northwest. He wasn't just our window into the world of the Mariners. He was a fan, just like the rest of us, living and dying with the nightly accomplishments of his team. My, oh my.

I do not know what the 2011 season will be like for the Mariners. For the first time in our history, Dave's voice will not be there to comfort us. He's won't be able to celebrate our victories. He won't be able to soothe our defeats. But, as fans, we can remember him and everything he represented for our franchise. Untouchable belief that victory is possible. That a city far removed from the powerhouses of the East Coast has just as much great baseball in it as any other town. That the Seattle Mariners can and will be one of the great Major League baseball teams. Dave believed it. It's up to us to carry on that legacy.

There are so many Niehaus moments and memories I want to share, but one looms larger than all the others. The Double is the highest moment in franchise history. We probably wouldn't exist without Edgar's clutch hit to win the 1995 AL Division Series. And forever attached to that one swing is Dave's immortal call. In the bottom of the 11th inning, with the Yankees up 5-4, Joey Cora was at third and Griffey was at first. Edgar Martinez stepped to the plate. The players, the fans and Dave Niehaus waited at the edge of their seats. And then this happened:



R.I.P. Dave.

Mariners Odds & Ends: Nov. 9th

Lots of stuff going on right now in baseball-land as well as music-land. Over the next few days, I'll find time in-between turning 22 to write about most of it. First off, Mariners!

-Gold Glove winners were announced today! Ichiro won his 10th consecutive honor, while Franklin Gutierrez won his first. Both were damn well-deserved, as Ichiro turned in yet another year of mind-melting catches and throws, while Franklin made a grand total of zero errors in center field. It is truly a privilege to watch both those guys patrol the vast expanses of Safeco Field. This is the 24th consecutive season the M's have had a Gold Glove winner. We may not win too much, but someone on our team is always catching stuff really, really well.

-There was some AL West drama, as the Oakland A's were announced as the winners in the posting bids to negotiate with Japanese star pitcher Hisashi Iwakuma. The M's had been declared the favorites in the media, but new reports indicate that they didn't even bid, choosing to pass over Iwakuma after scouting him. Either way, the team will need to find a mid-rotation starter at some point this offseason and Iwakuma could have fit into the role nicely. We'll just have to accept the fact that he'll probably land with a division rival. Irk.

-The Mariners announced the coaching staff who will be working under Eric Wedge this year. You can see the full list and release here. Like most coaches not named Dave Duncan, it's difficult for us fans to judge just how much of an effect these gentlemen will have over the course of the season. Let's just hope for the best, yeah?

-Finally, Dustin Ackley is ripping the Arizona Fall League apart. Expect a separate post on our #1 prospect very soon, as I give my thoughts on the new guys expected to contribute to the 2011 season.

Bye, Kotchman

The hits just keep coming. As of a few minutes ago, Larry Stone is reporting that Casey Kotchman, our '10 opening day first baseman, has been outrighted to Tacoma by the team and has subsequently chosen free agency. Casey was traded to the M's by the Red Sox last winter in exchange for Bill Hall. At the time, I was thrilled, harkening back to days when Casey would routinely cause headaches for my team as a member of the Angels. Sadly, his time in Seattle did not go so well. His breathtaking defense kept him in the lineup, but the man just couldn't hit. His .217 average and 9 home runs are pretty depressing for someone who was supposed to be a major league starting first baseman. Casey was the hero on the very first day of the season, knocking in the winning runs in the ninth against Oakland, but it was all downhill from there.

Someone will want Kotchman. He's in that no-man's-land between being a mediocre regular player and an above average bench guy. Perhaps a move to the National League, where he can be a useful lefty pinch-hitter and defensive replacement, will be a good move for all involved.

Finally, this clears up the first base log jam the M's were sorting through. The job most definitely belongs to Justin Smoak next year, with Mike Carp lurking in the background should things go impossibly wrong.

More Roster Moves: 40-Man Roster Edition

The Mariners have opened up some space on their 40-man roster this afternoon, jettisoning the following players:

-LHP Ryan Feierabend: Ryan didn't pitch at all in 2010, as he was rehabbing arm injuries. He made sporadic appearances in previous seasons, but never looked like he was ready for the big leagues. He might latch on with some team as a spot-starter/long-reliever during Spring Training.

-RHP Sean White: 2009's unsung hero, according to the Seattle baseball writers, had an ugly follow-up season with the club. His '09 ERA of 2.80 was probably the result of some serious luck and in '10, he revealed himself to be the mediocre pitcher than his stats would suggest. Too many walks, very few strikeouts...generally, not a good combination. Sean's a local boy, hailing from Pullman, but there just isn't a place for him on his home team right now.

-LHP Chris Seddon: A decent performance in Tacoma did not translate once Chris was called up to the big club. Seddon is yet another middling long relief option for most clubs.

-RHP Brian Sweeney: Sweeney was claimed off waivers by the Arizona Diamondbacks this afternoon. After ingratiating himself to Mariners fans with a gutsy four inning relief appearance against the Brewers on June 26, Brian pitched acceptably for the rest of the year, slowly floating in and out of the seventh inning role. At 36 years old, he's not going to be a major player for Arizona moving forward, but he doesn't walk guys and seems to have the ability to strike guys out through mind tricks and sheer will. I wish him the best in the future.

-C Guillermo Quiroz: So, funny story. Quiroz's .286 season batting average was second on the team to Ichiro's .315. The catch? Quiroz only had seven at bats all year. Yes, our offense was that bad.

-OF Ryan Langerhans: Ryan had some big, dramatic moments in the '09 season, hitting two walk-off homers. In '10, he was a somewhat boring fourth outfielder, good for occasional pinch running duties or spot starts. He's still quite a good defender and has a serious knack for getting on base: somehow, his on-base percentage was .344 while his actual batting average was only .196. Someone will want Langerhans in 2011, but it probably won't be the Mariners.

With the exception of Sweeney, all these guys can choose free agency or accept being outrighted to Tacoma. Quiroz and Langerhans have already elected to test the market, while we await word from White, Seddon and Feierabend. In the coming weeks, expect their roster spots to be taken up by guys like Michael Pineda, Josh Lueke, Josh Fields and anyone else the club thinks will contribute in '11.

Options and Free Agents

Alright, we're only a couple days into the offseason and we've already got some Mariners news.

First off, here's who we're losing to outright free agency:

-RHP Jamey Wright: A midseason pickup after Cleveland released him, Wright did an admirable job as a bullpen mainstay, posting a 3.41 ERA for the M's in 37.0 innings pitched. Ugly strikeout-to-walk numbers, but he was better than most of the other guys we had in the 'pen. He won't be coming back.

-C Josh Bard: After Adam Moore got hurt and Rob Johnson collapsed both at the plate and behind it, we started seeing a lot of more of Bard. Another wandering, journeyman type player, Josh came up with some big hits and definitely filled our quota for "veteran leadership." There's a decent chance Josh will resign with us to backup Moore for the '11 season.

-INF Chris Woodward: No offense to Chris, but he's just Triple-A fodder. Poor hitting and unreliable fielding make him a very weak option to be our bench utility guy. That role should be filled by a free agent or possibly Matt Lawson from our farm system. Woodward will be someone's non-roster invitee come springtime.

Today also saw the M's front office make decisions on our three players with club options for '11. All three were declined. These include:

-LHP Erik Bedard: Oh, Erik. How mighty we once thought you were. The original "he's gonna make us champions" offseason acquisition, Bedard's Mariners career boiled down to flashes of brilliance, followed by month after month of injuries. We resigned him for the '10 season, hoping he could rehab himself into shape by mid-July. He got all the way to Tacoma, but on the eve of his first Major League start of the season, his shoulder collapsed again. The Bedard era is now over. The M's must move on and let Erik be another club's problem.

-DH/1B Russell Branyan: We do love us some Russ in Seattle, but, again, oft-injured players are not what we want on our team as we try to build a future contender. Justin Smoak has locked up first base and we need reliable production from our DH spot, something we'll be hunting for in free agency. If the market doesn't work in our favor, Branyan could come back for another year, at a lower, hopefully incentive-based salary. If not, I won't cry too much seeing Russ move on.

-3B Jose Lopez: Yup, this is the big one, folks. We've declined Lopey's option, but since he doesn't have six years of playing time, he's not a free agent yet. The team retains control over him, but this is a pretty glaring sign that he won't be wearing Northwest Green when April rolls around. Sure, he hit those 25 homers in '09, but Jose has always been on on-base percentage nightmare. In 2010, he proved to be an above-average defensive third baseman, but his hitting absolutely imploded, making him one of the biggest targets for fan ire on a team filled with failure. Lopez is still a viable Major League player, but the Mariners need to move on. Putting Figgy at third would be ideal, opening up second for Dustin Ackley or whoever we stick there until Ackley smashes the door down. Look for the team to trade Jose as the winter progresses. I hear Dayton Moore and the Royals could use a third baseman...

Looking Back on the 2010 Mariners, Pt. 1: Great Expectations

So, before we can talk about the exciting 2011 M's team, we need to briefly reflect on what the hell just happened this past year. Not unlike the 2008 season, the '10 Mariners were supposed to be a team that finally put all the pieces together. The 2009 team had been a surprising success, which saw the clubhouse issues of the previous year get ironed out, partially thanks to Ken Griffey, Jr.'s joyous return to the Pacific Northwest. Felix Hernandez became the superstar pitcher we all knew he could be, while Franklin Gutierrez and Russell Branyan proved that they were capable of greatness if they were given a chance. Things looked optimistic in Seattle.

Like all offseasons, the winter of '09 saw some players leave. Longtime catcher Kenji Johjima decided to become the coolest person ever and returned to Japan without requiring the M's to honor his contract, saving us buckets full of money. We also knew that third baseman Adrian Beltre was unlikely to resign with us, eventually opting to take over the hot corner for Boston. Branyan, our '09 home run leader, would eventually get lured away by the Cleveland Indians.

But the additions to the team! Oh my! We signed Chone Figgins for four years, strengthening our team while simultanously robbing our rival Los Angeles Angels of their leadoff man. Griffey signed on for another year. We traded our useless starting pitcher Carlos Silva to the Chicago Cubs for their equally troubled, but productive outfielder Milton Bradley. Struggling starter Brandon Morrow was flipped to the Blue Jays for dynamic reliever Brandon League (forever more known as the "our-Brandon-is-better-than-your-Brandon" trade). Veteran guys like Casey Kotchman, Eric Byrnes and Ryan Garko were all brought into the fold, to play parts here or there.

Then there was the big trade: getting Cliff Lee from the Phillies for what essentially amounted to pocket change. The former Cy Young Award-winner had been shopped around so the Phillies could reduce payroll and the M's swooped in, offering three minor league prospects for possibly the best pitcher in baseball. Even though we only had contractual control of Lee for a single season, that's the kind of deal you make ten out of ten times. Suddenly, our starting rotation had two of the top ten pitchers in the game in Felix and Lee. We even resigned lost cause Erik Bedard to be our possible third ace. Suddenly, the M's seems to have an embarrassment of riches.

Smart observers pointed out that the 2010 Mariners had lots of problems. With Kenji's departure, we were counting on unproven production at catcher from Rob Johnson, fresh off two hip surgeries, and rookie Adam Moore. Losing Beltre and Branyan robbed us of much of our power. Milton Bradley's long history of personality conflicts did not bode well for the future. Finally, the M's management called an audible and decided that Jose Lopez and Chone Figgins would switch positions, now playing third and second base respectively. But all most fans could see was Cliff Lee wearing a Mariners uniform.

So Spring Training came and went. The team didn't perform exceptionally well, but we didn't embarrass ourselves. Spring Training stats are always a bad way to judge a team. The big stories that spring were Felix's utter domination, Cliff Lee getting slightly injured and the surprising offensive success of non-roster invitee Mike Sweeney and prospect Matt Tuiasosopo. When all was said and done, here's what the 2010 Mariners would be putting on the field April 5th to battle the Oakland A's:

Lineup: RF Ichiro Suzuki, 2B Chone Figgins, 1B Casey Kotchman, LF Milton Bradley, DH Ken Griffey, Jr., 3B Jose Lopez, CF Franklin Gutierrez, C Rob Johnson, SS Jack Wilson

Bench: C Adam Moore, INF/OF Matt Tuiasosopo, DH Mike Sweeney, OF Eric Byrnes, OF Ryan Langerhans

Rotation: RHP Felix Hernandez, RHP Ian Snell, LHP Ryan Rowland-Smith, RHP Doug Fister, LHP Jason Vargas

Bullpen: RHP David Aardsma, RHP Mark Lowe, RHP Brandon League, RHP Shawn Kelley, RHP Kanekoa Texeira, RHP Sean White

What could possibly go wrong...?

A Whole New Ballgame

Something special happened tonight: the San Francisco Giants won the World Series. In a mere five games, they defeated the heavily favored Texas Rangers, using a combination of dominant pitching, crafty veterans and a heaping dose of destiny. It was a great moment for baseball.

Wait, isn't this a music blog? Why am I writing about the World Series?

Well, as it turns out, I, Simon Irving, am also a baseball fanatic. Yes, despite my love for music so obscure it probably hasn't even been recorded yet, I'm also a passionate supporter of America's greatest pastime. During the months between April and September, I live and die with my team, the Seattle Mariners. And I listen to some pretty cool music all the while.

So, I've decided to expand Pretzel Logic. No longer will this be just another music blog. Instead, it will be just another personal interest blog, but one where I feel comfortable discussing anything on my mind. Music and baseball will be the dominant themes, but occasionally, other tidbits of information might sneak through.

For the time being, I have two major projects I want to undertake here: 1) I want to continue my analysis of the new classic albums of the 2000s, that I abandoned last June. 2) I'm going to show you how a humble Seattle Mariners fan thinks and processes during the baseball season. I'm starting now, at the very end of the 2010 season, because all thirty Major League teams are now equal. The offseason has started and the rumor mill is already starting to get in gear. I'll be following my M's through their offseason trades, signings and decisions, all the way up to, hopefully, their first postseason appearance since 2001. All the while, I'll be spicing things up with my personal analysis, commentary and opinions.

A quick word about my background as a baseball fan: while I do have a decent grasp of sabermetrics, this isn't going to be a stat-dominated baseball blog. The part of the experience I want to look at is that of the fan. Therefore, stats play an important part, but so do personal opinions of players, emotional moments from the history of the franchise and other things that make some baseball analysts slightly squirmy. If you want a stat-dominated approach to the M's, I recommend the excellent U.S.S. Mariner blog.

So, great changes are afoot here at Pretzel Logic. I'll still be talking about music, but baseball is another great interest in my life and I want a writing outlet for that passion. I want to record my feelings in the moment as I survive yet another season of the Mariners' greatest victories along with their lowest defeats. It's gonna be an exciting season for my M's. Hopefully, you'll be out there reading, sharing the experience with me.

The New Classics #32: Sea Change, Beck

Title: Sea Change
Artist: Beck
Year: 2002
Label: Geffen

Every decade needs a handful of great breakup albums. It's an old and cruel cliche, but heartache can certainly lead to some spectacular music. In the finest tradition of Blood On The Tracks, Shoot Out The Lights and The Boatman's Call (just to name a few), 2002's Sea Change is certainly the class of breakup music from the 2000s. However, the fact that it came from Beck Hansen, the musical maverick behind the anthemic "Loser" and classic Odelay album is somewhat surprising. Up until 2002, Beck was seen as the hippest of hip artists, with his ironic lyrics, playful sense of musical genres and forward-thinking experimentation with hip-hop. A heavily orchestrated, emotionally devastated album of lonely love songs was the last thing anything expected. Yet, that's just what Sea Change ended up being.

The album's supposed inspiration is quite straightforward. After ending a decade-long relationship with the designer Leigh Limon, Beck wrote most of the songs that would become Sea Change in the week following the split. Like many, many songwriters before him, Beck channeled his pain and emotions into songs. Unlike most of those others, however, the resulting songs are staggering in their simplicity, clarity and raw power. Especially coming from a man who once turned "I'm a loser, baby, so why don't you kill me" into a generation-defining mantra, the solemn beauty of "Guess I'm Doin' Fine" is quite shocking. Working with longtime Radiohead producer Nigel Godrich, Beck turned Sea Change into something far removed from his eclectic back catalog. Reminiscent of Neil Young's Harvest and Nick Drake's Pink Moon, it's an album not afraid to wear its vulnerable heart on its sleeve.

It's easy to hear Sea Change as self-indulgent. On "Lonesome Tears," with its sawing string section and chorus of "how could this love, never turning, never turn its eye on me," Beck certainly isn't subtle or stoic about his anguish. However, the earnestness in his expression, from his hushed voice to the straightforward lyrics, becomes endearing and moving quite quickly. Exploring his latent country sensibilities more than ever before, "The Golden Age" and "End Of The Day" sound like the belong in Nashville, being played by a teary-eyed balladeer from Alabama. Like Neil Young before him, Beck uses the lonely sound of the slide guitar to express emotional pain. Similarly, "Lost Cause" and "It's All In Your Mind" are fantastic tunes in the tradition of acoustic indie rock. That gentle, sighing guitar is at the heart of all of Sea Change's tracks, given just enough support with strings, minimal drums and the occasional touch of piano.

Beck approaches his heartbreak from all angles. "Paper Tiger" sounds distant and removed, while the bleak "Round The Bend" is probably the most raw, with its cavernous echo effects and fatalistic lyric tone, referencing the "bullet from an empty gun" and people "making their daggers sharper." In this sense, Sea Change does fit within the established Beck musical style, skipping about from one thing to another to create a diverse and varied whole. However, the sheer honesty within the album is unprecedented from Beck. Since this album's release, he's gone on to reveal even more facets to his personality, but he's still never recorded something this harrowing or straightforward. Beck has established himself as a great artist, but its fascinating to see what happens when he focuses his powers on the breakup song, that old standby of lovelorn teenage guitarists and populist balladeers. By avoiding the most obvious traps, Sea Change eclipses so many of its breakup album peers, creating a lasting work of honest expression. After so many albums of artistic role-playing, Beck finally revealed his most compelling character: himself.

Next up on The New Classics: Silent Shout, The Knife

The New Classics #33: The Moon & Antarctica, Modest Mouse

Title: The Moon & Antarctica
Artist: Modest Mouse
Year: 2000
Label: Epic

The year was 2004. It was spring. And there was a weird song on the radio. This is how I remember my first introduction to Modest Mouse, as that year's unexpected hit "Float On" drifted through the air. It was a cheerful and optimistic slice of guitar-pop, perfectly suited to the very beginning of the sunny months and vacations. However, like most people at the time, I was completely unaware of Modest Mouse's history. I didn't know that this cute song was the result of a decade-long career, forged by frenetic guitars and acerbic lyrics. I didn't know that beyond the inescapable bison band shirts was an intense, occasionally vicious band from nearby Issaquah, WA. I didn't know anything about The Moon & Antarctica, their third album and already one of the most celebrated releases of the time.

The Moon & Antarctica was actually Modest Mouse's first major label release, but you wouldn't know that by listening to it. Sure, four years later, their sound would be drowned in sugar for "Float On," but The Moon & Antarctica matches its angular, independent-label predecessors blow for blow. For every gentle, plucked tune (see: "3rd Planet"), there's something like "A Different City," with its frantic, distorted guitars and frontman Issac Brock's yelping vocals. The classic Modest Mouse sound can be hard to describe, combining elements of treble-heavy indie rock with country twang and some genuine, psychedelic mindfuckery. The Moon & Antarctica features its fair share of backward guitars, disembodied voices and conflicting overdubs. Songs will change tone without warning, or will give way to strange, half-baked sing-a-longs when they've run their course. Violins pop up on six songs. This is definitely not a stable album.

Brock's lyrics reflect that instability, particularly during the trio of songs at the album's center, "The Cold Part," "Alone Down There" and "The Stars Are Projectors." These songs are fraught with existential dread, asking those big questions about why we're here, where we go when we die and why everything sucks so much. Yet, rather than wallowing in indulgent misery, Brock's phrasing tackles these issues in unexpected and often frighteningly creative ways. "The Cold Part" conjures up a vision of the world as "bone bleached" and "salt soaked," before Brock declares "I've stepped down as the president of Antarctica, can't blame me." This bleak view returns in "The Stars Are Projectors," as Brock's voice, multitracked and layered to the point of psychosis, says "in the last second of life, they'll show you how, how they run this show." Water is a recurring image, especially in relation to blood (from "3rd Planet:" "another has been found, another ocean on the planet, given that our blood is just like the Atlantic"). Humanity in The Moon & Antarctica is weak and fragile, "made of nothing but water and shit," dissatisfied with their lives no matter how good things get.

Amazingly, despite all these desperate and hopeless themes, the album is remarkably beautiful. When the guitars aren't being kicked into schizophrenic overdrive, they're actually quite pretty, such as on the chiming "Dark Center Of The Universe." The funky "Tiny Cities Made Of Ashes" is addictive, while the short "Wild Pack Of Family Dogs" crams more weighted symbolism (and accordion!) into one-and-a-half minutes than anyone thought possible. A song like "Paper Thin Walls" may feature deeply paranoid lyrics, but it still features a compelling guitar hook and hummable melody. Every time The Moon & Antarctica threatens to complete freeze in the darkness, one of these brighter tunes comes along to thaw things out. In these songs, you can finally begin to see the same band that would go on to record "Float On." No one could have predicted that a band this difficult and angular would warp into one of indie-rock's first major crossover artists of the 2000s, yet it still happened. The Moon & Antarctica is a fascinating listen for anyone reeled into Modest Mouse's orbit by their unexpected popularity, but its also a powerful benchmark in the evolution of indie rock. Ambitious, dense and often quite serious, The Moon & Antarctica ranks as some of the finest art-rock on this decade or any other.

Next up on The New Classics: Sea Change, Beck