I am a breathing time machine.

Are we not allowed to complain when bands we like change their sound and perhaps "sell out?"

I do. Constantly.

It's a slippery slope; I'm not saying I want every band/artist I like to keep putting out records that sound exactly the same. My problem is when it's clear that the change of sound is not an artistic choice but one made to pander to a larger, more mainstream audience. I'm talking specifically about The Avett Brothers.

Look, I totally buy the idea that they are growing up and maturing and won't be thrashing around with their banjos as they head into their forties. I get it. I'm not against growing up and maturing and I'm clearly not against being on a major label. What is a major label anyway? (I mean that rhetorically; Frightened Rabbit are on a major label and their music is still pretty great and they aren't obnoxious.) I really, really liked I and Love and You. And then they blew up (along with The Lumineers and Mumford and Sons and all of those other nu-folk bands), which was fine but something clearly started to change about them. In the beginning of their career, they just happened to be a band from the South who used southern musical traditions and fused them with rock. And it worked beautifully. They didn't need fancy production because they wrote such great songs that shined with just a few instruments and their glorious voices. But suddenly they really embraced this adult contemporary alt-country bullshit, and it would've been fine if the music was still good. Neko Case does it brilliantly, right? (God, her new record is amazing.) But I found The Carpenter completely unlistenable. I heard "February Seven" and could not believe how overproduced and phony it sounded. Wanna make money? That's fine. I have no problem with that. Wanna play arenas? Fine. I just won't go. (Really, why are The Avett Brothers playing the Barclays? How will that be enjoyable? Are they going to overinflate their sound even more?) But don't sacrifice the music. All of their songs are such overemotional sap, as though they're trying to be everybody's yearbook quote. They became indistinguishable from so many other bands, and that's the real pity.

Whenever I complain about The Avett Brothers, people tend to get really angry for some reason. But as a fan (of any band really), don't you have the right to criticize a band you once really, really liked? It's not about a lot of people suddenly liking them; I still love The National and they're playing arenas too. I saw both fun. and Mumford and Sons live this year (yeah, I did) and Tegan and Sara will always own a piece of my heart, no matter how many times they're played on the radio. And actually, they're a great example because they really changed their sound, and they've gradually become poppier since 2004's So Jealous, and yet...they're still fantastic. Heartthrob (a major label release) is not only one of my favorite records of the year but one of Tegan and Sara's best. For me, music is the most personal art form because it's very, very easy to develop an emotional connection to it. There is nothing better than a new record from your favorite band or going to see your favorite band live. So when one of them suddenly starts to disappoint you over and over again, it's only natural to feel almost betrayed. Like how can a band whose music you enjoyed so so much suddenly release such a load of crap? What's worse is when loads of people start enjoying it and telling you how amazing it is. All you want to do is say, "No! Haven't you ever heard their early records? Those were good!" Aren't we allowed to complain? Yes! Complain! But have good reason to! Don't say Bon Iver/Justin Vernon is crap because he suddenly won two Grammys. Justin Vernon has a boatload of talent. (Have you heard the new Volcano Choir record? Perfection.) I don't care if he sings with Kanye West or wins Grammys or sells out Radio City six times because the music is there. Patrick Wolf proved himself time and time again that he's kind of an asshole but I ignored it because the music was still good. Until it wasn't. I still adore Death Cab for Cutie, regardless of their Twilight association because I still enjoy their music.

Mainstream attention doesn't factor into things, especially since there's really no such thing as the mainstream anymore. The internet makes everything available to everyone. I want people to listen to the bands I like (for nothing other than being able to talk about music with, not at, more people) and I want them to be successful. But don't sacrifice the music. And that's what really bothers me about the success of The Avett Brothers.

My Favorite Voices

1. Glen Hansard
 

I could never even consider putting anyone else above Hansard when it comes to my favorite voices. Other than the fact that it is just gorgeous, it is the soundtrack of so many of my favorite musical memories, and the soundtrack to a lot of happiness in my life. It's warm and masculine and he sings with such ache and emotion sometimes that it truly makes your knees weak.

2. Justin Vernon

 

You will come to realize that most of this list will include men with what I like to refer to as "husky" voices. Masculine, warm, emotional voices that hit you right in the gut and hurt in the best way possible. No, I do not like falsetto (yeah, I know, Justin Vernon, right) but when Vernon sings in his lower register, Jesus Christ. If you give a listen to the new Volcano Choir record Repave, you will actually think that Vernon sounds like the angels in heaven, I mean it. 

3. Robin Pecknold

 

When I saw Fleet Foxes for the first time back in 2008, Pecknold sang "Oliver James" completely acoustic without a microphone and blew the entire audience away. Stunning.

4. Damien Rice

 

It all begins with Damien Rice. (WHY WON'T YOU MAKE NEW MUSIC, DAMIEN!?) Such a beautiful voice with just a hint of brogue, and definitely the sound that shaped my high school years. I don't listen to him much anymore but whenever I do hear his voice these days, it still makes me melt.

5. Gary Lightbody

If cuddling had a voice, it would sound like Gary Lightbody. 

6. Jim James

 

7. Josh Tillman

 

Was I the only one who was shocked by Josh Tillman's voice? Who knew this voice existed? I had listened to his work as J. Tillman and I wasn't impressed with his vocals but then I heard Fear Fun and I was like, "whoa, this is amazing!" 

8. Marcus Mumford  

 

Look, whatever, judge all you want. No, I do not think he sounds like Dave Matthews (nothing against Dave Matthews, I've liked a good deal of his songs throughout the years) and maybe sometimes Mumford does seem to be putting it on at times but I just adore the grittiness of his voice.

9. Scott Avett

 

I don't listen to The Avett Brothers much anymore but Lord, Scott Avett's voice is stunning and powerful.

10. Patrick Wolf

  

I have no idea what is going on with Patrick Wolf anymore (I sort of lost track of him after The Bachelor) but it's undeniable that he is filled to the brim with talent. His voice is a bit different from the others on this list but it still has a warm yet pure quality to it. 

11. Hamilton Leithauser 

 

This fella can waillllllllll. Jesus, it is beautiful. If you don't go weak in the knees when he sings, "and I'm stranded and I'm starry-eyed," you are incredibly unfeeling.

12. Peter Silberman

I always think that Silberman has a jazzy sort of quality to his voice, filled to the brim with pain and ache.

13. David Longstreth

Really, is there a better frontman around right now? If anyone is going to take the torch from David Byrne, it's this man.

14. Paul Noonan

15. James Blake

He did this as his encore when I saw him back in 2011 and I was blown away. Spectacular voice.

16. Daniel Rossen 

Also, Ed Droste. But Rossen gets the slot because I think Rossen can sometimes get a bit whiny. I still love him, though.

17. Nick Urata

Hearing this voice live and in person will blow you away. It is a powerful, powerful instrument with a ton of nuance. 

18. Torquil Campbell

 

19. Jeff Buckley

Because really, REALLY. 

20. Scott Hutchison

 

I wasn't sure where to stick this guy on this list. I certainly love his voice a lot more than most of this list but it feels premature to stick him in my top five or top ten. His voice isn't necessarily as appealing as the other people on the list, and to tell you the truth, the first time I heard him sing I was like, "whoa, that is way too Scottish" and it took a bit of time to like it, much less love it. And boy, do I love it. I've read it described as "handsome" and "husky" with a "muscular ache" and all of those describe it perfectly. I think he's one of the most emotional singers in indie No, his voice isn't necessarily pretty, and no, he's not a great vocalist but the way he sings certain words and lines makes his songs. (I think the only reason I grew to like "The Wrestle" is the way he sings the word "man-eater.") 

Favorite Songs of 2013 (So Far)

1. Frightened Rabbit-Acts of Man

 

I have never wanted more to be your man and build a house around you

I am just like all the rest of them: sorry, selfish, trying to improve

2. Phosphorescent-Song For Zula

 

See honey I am not some broken thing
I do not lay in the dark waiting for thee
No my heart is gold, my feet are light
And I am racing out on the desert plains all night

3. Laura Marling-I Was An Eagle

 

When we were in love
I was an eagle
And you were a dove

4. Chvrches-Recover

 

I'll give you one more chance
To say we can change our old ways
And you take what you need
And you know you don't need me

5. Tegan and Sara-Now I'm All Messed Up

Now I'm all messed up
I'm sick inside, wondering where
Where you're leaving your makeup

6. Jim James-Dear One

 

For this mission we were chosen you and me
One egg that split in two we came to be
The dawn of humanity
We were there
Dear one

7. Rhye-Open

 

Hmm, but stay, don't close your hands

8. Frightened Rabbit & Manchester Orchestra-Architect

 

Don't waste your time on me

I'm just an architect; I have built nothing

9. The National-Pink Rabbits

 

It wasn't like a rain it was more like a sea
I didn't ask for this pain it just came over me
I love a storm, but I don't love lightning
All the waters coming up so fast, that's frightening

10. Frank Turner-Recovery

 

And on the first night we met you said "Well darling, let's make a deal.
If anybody ever asks us, let's just tell them that we met in jail."
And that's the story that I'm sticking to like a stony-faced accomplice
But tonight I need to hear some truth if I'm ever getting through this.
Yeah you once sent me a letter that said "If you're lost at sea,
Close your eyes and catch the tide my dear and only think of me."
Well darling now I'm sinking and I'm as lost as lost can be
And I was hoping you could drag me up from down here towards my recovery

11. Akron/Family-Until the Morning

 

I had always wondered how you carried all that grief
I know it wasn't right to saddle you with mine
My life, my identity, I lay them at your feet
And stand here broken in the mirror of your eyes
Until the morning

12. James Blake-Overgrown

I don't wanna be a star
But a stone on the shore
Long door, frame the wall
When everything's overgrown

13. Majical Cloudz-This is Magic

apparently this track isn't on YouTube so enjoy this other great Majical Cloudz track

 

14. Capital Cities-Safe and Sound

I could fill your cup
You know my river won't evaporate
This world we still appreciate

15. Vampire Weekend-Ya Hey

  

Through the fire and through the flames
You won't even say your name
Only "I am that I am"
But who could ever live that way?

16. Frightened Rabbit-The Woodpile

Come find me now, where I hide and
We’ll speak in our secret tongues
Will you come back to my corner?
Spent too long alone tonight
Would you come and brighten my corner?
A lit torch to the woodpile, aye

(Okay, look, the album version is perfect, really, but...I've actually grown to enjoy acoustic versions of this song more. Scott Hutchison sings with such an ache and so much emotion that a lot of times, stripped down versions of his songs work better for me.)

17. Phosphorescent-The Quotidian Beasts

 

I said, "It’s you took your claws you slipped em under my skin"

18. The National-I Should Live in Salt
 

I should live in salt for leaving you behind

19. Cloud Cult-Good Friend

 

All I need is a good, good friend
To help me out when I’m burning down
When I’m all stretched out
Thank you for being around 

20. Bell x1-The End is Nigh

Favorite Records of 2013 (So Far)

Oh, 2013, what am I supposed to do with you? You have been full of disappointment. SO MANY UNDERWHELMING RECORDS!

But I think, or I hope, I can come up with ten records that I have been loving this year. Let's see...

1. Frightened Rabbit-Pedestrian Verse
I'm not going to waste anyone else's time by explaining, once again, how good I think this record is. Go back and read every post I've written this year if you want to know why. Bottom line: it's a well-written, well-produced, enjoyable, dynamic pop-rock record from a band who really gets it.

Favorite Tracks: Acts of Man, The Woodpile, State Hospital.

2. Phosphorescent-Muchacho
Has a more beautiful record been released this year? Lord, this record is stunning. It doesn't seem like much at first but the more you listen, the more these tracks sneak up on you. And then you realize how intricate and detailed it all is.   

Favorite Tracks: Song for Zula, The Quotidian Beasts,  Sun, Arise!.

3. Majical Cloudz-Imposter
Just like the first two records on this list, this one came out of nowhere. But at least I knew of Phosphorescent and was technically already a FR fan but I hadn't heard of Majical Cloudz until a few days before this record was released. And I was hooked from the start. Devon Walsh's voice is magnificent, the lyrics are great, and it's yet another record whose intricacies slowly reveal themselves and eventually blow you away.

Favorite Tracks: This Is Magic, Mister, Chilhood Endz.

4. Laura Marling-Once I Was an Eagle
This is only a few weeks old but I can't stop listening to it. I've been a fan of Laura Marling's since her first record and although I find her a bit hit or miss since Alas, I Cannot Swim, this record is a return to form. Dare I say, it's her best. Back in February when I wrote about The Midnight Organ Fight, I mentioned that I had to keep restarting tracks because it was the only way to absorb the great lyrics. I have this problem with this record too. It takes me awhile to listen to one track because I stop and start songs at least three times. Laura Marling's music has always been far more mature than her years but on Once I Was An Eagle, her songwriting is so strong and confident.

Favorite Tracks: I Was An Eagle, You Know, Breathe.

5. James Blake-Overgrown
Jame Blake has the voice of an angel.

Favorite Tracks: Overgrown, Retrograde, DLM.

6. Jim James-Regions of Light and Sound of God
Oh, Jim James. Like I asked previously, is there a more talented, more hard-working, cooler man in indie music? Doubtful. And this record only further proves it.

Favorite Tracks: Dear One, A New Life, Know Til Now.

7. Tegan and Sara-Heartthrob
Like Laura Marling's record, Heartthrob was a return to form for Tegan and Sara. They released the perfect pop record this year and while I was a bit wary at first, it turned out to be a real winner. Sara Quin proved herself to be a fantastic songwriter on this record.

Favorite Tracks: Closer, Now I'm All Messed Up, I'm Not Your Hero.

Huh, I guess I only really love seven records this year. Oh well. But if I had to round it out, I'd put Frank Turner's Tape Deck Heart, The National's Trouble Will Find Me, and Baths' Obsidian. I also liked Cloud Cult's Love. But we have six more months to go; perhaps this year can redeem itself.

Truth be told, I don't think anything is going to top Pedestrian Verse.

You said it would be painless. It wasn't that at all.

Internet, what do you do when you're underwhelmed by one of your favorite band's new records?

I've listened to Trouble Will Find Me in its entirety twice. The first time I was incredibly underwhelmed but then again, I need to listen to music by myself with headphones on to really fall in love. Since buying it on Tuesday, I've listened to parts of it (I really think the first half of the record is strong, especially "I Should Live In Salt" and "Demons") and upon finishing a second listen, it's not as disappointing as I initially thought. Sure, it's not incredibly dynamic musically, and I think it's Matt Berninger's weakest records lyrically but it's pretty good. I am not blown away. Yet.

I think I can remember feeling this way about High Violet. The first few listens were met with a shrug but it was also released at the height of my love for The National (I saw them three times on their High Violet tour, and thanks to internet streams, watched a lot of their performances) so I kept trying. I was determined to love that record. And I did. I still listen to it. But this time around, I'm a lot less inclined to keep trying. And it makes me feel like a stick in the mud. Because everyone else LOVES it. Because the band is at the height of its popularity and Trouble Will Find Me is going to sell a boatload of records. Because my best friend clearly loves it already. I don't want to seem like I'm being contrary for the sake of being contrary. I've liked a lot of popular records in my day (see my top five from 2012, for example). The problem is that I think I have to retrain myself in how to listen to The National.

Does this make any sense to you?

I've been thinking about why I love The National. What is it about them that makes them one of my top five favorite bands? It's a mix of the urgency in the music and the no-holds-barred, not holding anything back, heart-on-his-sleeve lyrics. Matt Berninger's words always painted a picture of a man who was a mess but had enough charm for me to understand why someone would put him in a chair, fuck him, and make him a drink. I loved the anthemic quality of "Terrible Love" and "Fake Empire" and "England." I wanted to see Matt Berninger lose his shit on stage.

Trouble Will Find Me isn't anthemic at all (immediate? visceral? what was Aaron Dessner talking about?). There are some intricacies in the music, that's for sure but I want these songs to build and they don't. And they don't sneak up on you the way the tracks on Muchacho do. (At least not yet.) The problem is they all feel like they're going to build but they just crash and burn. I need a track or two to break up the musical monotony. Every song has the same mood (it's even worse than Boxer). It's not boring per say, I just need a mood changer or two. I need that "Squalor Victoria" or that "Brainy." And lyrically, this is a different National. I wondered if they had anything else to sing about (they seem pretty content in life) and after listening to the record, I'm not sure of the answer to that. I know this is a terrible reference but I keep thinking about the Pitchfork review of the latest Avett Brother record. I'm paraphrasing but they said something about how at this point in the band's lives, why would fans expect them to write a song like "Talk on Indolence" or "Paranoia in Bb Major?" And that's fine; you want your musicians to grow, right? And you want them to do well. And you can't fault them finding success and getting their shit together. But at this point in my life maybe I can't relate to five straight white dudes in or approaching their forties. I'm not saying you have to relate to musicians and their situations to enjoy their music but as music is so personal (for both the creators and the listeners), it certainly helps. Ask those Taylor Swift fans.

(Side Note: I'm over hating Taylor Swift. Do your thing, girl.)

Or this is all a consequence of listening to the extremely dynamic, incredibly anthemic, and the kings of no-holds-barred, not holding anything back, heart-on-their-sleeves lyrics, Frightened Rabbit. They do exactly what I want The National to do, just with more brogue.

Look, I'm not writing the record off yet. Maybe the songs come off better live? (I'll find out in about ten days.) Maybe they just have to grow on me. Maybe, come December, it'll end up on my list of my favorite records of the year.

Know which records I am loving this week? Jim James' Regions of Light and Sounds of God (is there a cooler, more talented, harder working man in music than Jim James? and a better voice?) and Majical Cloudz's Imposter. Devon Walsh's voice is magnificent, his lyrics are so strong, and it's minimalism done perfectly. Again, I'm referencing Pitchfork but I couldn't help but beam while reading the review of that record this week. Yes, it is gorgeous.

Top 10 Favorite Songs by The National

Did you read this list? Look, Stereogum, I tend to respect your content, and I think you're a great site. But what were you thinking with this list? (And as evident by the comments, a lot of people seem to agree with me.) I know these lists are subjective but I couldn't help but feel like this one was way, way off the mark. And it got me thinking about my favorite songs by The National. I've compiled my own list...

1. City Middle 

 I have weird memories of you
Wearing long red socks and red shoes
I have weird memories
I have weird memories of you
Pissing in a sink, I think
I have weird memories of you


2. The Geese of Beverly Road

 

We'll take ourselves out in the street
And wear the blood in our cheeks
Like red roses
We'll go from car to sleeping car
And whisper in their sleeping ears
We were here, we were here
We'll set off the geese of Beverly Road

3. Karen

 

Karen put me in a chair

Fuck me and make me a drink

I've lost direction and I'm past my peak 

I'm telling you this isn't me

No, this isn't me

Karen believe me you just haven't seen my good side yet

4. Fake Empire 

 

It's hard to keep track of you falling through the sky  

5. Slow Show

 

You know I dreamed about you for twenty-nine years before I saw you

6. England

 

Afraid of the house, stay the night with the cynics

7. Terrible Love 

 

It takes an ocean not to break

8. Runaway 

 

But I won't be no runaway
Cause I won't run
No, I won't be no runaway
What makes you think I'm enjoying being led to the flood?
We've got another thing coming undone
And it's taking us over

9. Cherry Tree 

 

Don't look at me
I'm only breathing
Don't look at me I'm indiscreet
Don't look at me
I'm only breathing
Don't look at me I'm indiscreet

10. All the Wine

I'm put together beautifully
Big wet bottle in my fist, big wet rose in my teeth
I'm perfect piece of ass
Like every Californian
So tall I take over the street, with high beams shining on my back
A wingspan unbelievable
I'm a festival, I'm a parade

This was pretty difficult to compile because I could've also added "Ada," "You've Done it Again, Virginia," and "Afraid of Everyone." Not to mention, I already love "Demons." And in a month, we'll have new songs that are going to come and fuck up this list.

And I hope they do.

Not heroic but I try.

My first memory of Glen Hansard was of him lying on his back on the stage of Beacon Theatre, singing "Star Star," in hopes that audience would get the idea of just what the song was about. And it was the last song of his set before Damien Rice took the stage, and although I was chomping at the bit for Rice to come on stage, I fell in love with Hansard and his music. Hansard has always had this incredible warmth and charisma on stage (and elsewhere, quite frankly) that makes it seem like his shows are rather intimate affairs, no matter how many people are in the crowd. He truly is a personality, gracious and humble and yet, a definite rock star (in a broad sense of the term). I've seen a lot of concerts, it's true, performed by a lot of very talented people who put on great shows, but I haven't found too many who have that special mix of talent and personality, all the while putting on a great, great show.

Until last night.

(And full disclosure, this is a pretty biased review. And if you've read this blog, you'd know that.)

Well, about three years ago I blindly went to see Frightened Rabbit. I barely listened to them, and I don't even think I knew what they looked like. I enjoyed them, certainly, but only as much as a person could possibly enjoy a band she doesn't listen to (except if they're The Felice Brothers, of course). They certainly didn't blow me away. Not like The Felice Brothers.

This time around was different, and look, I'm not going to get into details. We all know I've basically listened to only Frightened Rabbit in 2013. All I've heard was how great they are live (but let's be real, nobody's out there writing articles about bands saying, "eh, they're pretty disappointing live," even if I wish they were) and yet, I wasn't sold. I know this is a bizarre thing to say about one of your favorite bands but I can't quite figure out what it is about FR's music that makes them so fantastic. I can name about a half a dozen bands they remind me of but they're still so great. Something sets them apart from everyone else, I just can't put my finger on what. However, I wasn't so sure they could be an incredible live act. I was actually kind of expecting them to sound just as they do on their records.

Haha, Alyssa, you are silly.

And perhaps the fact I am so into them right now has something to do with how much I enjoyed last night's show but wow, were they impressive. They do an amazing job of really elevating their songs for a live setting (as evident by "Backwards Walk"). A carbon copy of the record, their live shows are not. Apparently last night was their biggest show ever (or in the US?) and the whole band seemed to be having a lot of fun on stage, looking really pleased to be there. If you're not having fun, why should we, right? And it's always really exciting to be in a crowd of people who seem to love the music as much as you, who sing every word to every song and seem genuinely happy to be there. (In the indie world, that's unfortunately a rarity.) I always talk about collectivity at shows and that's exactly what I felt last night. And not to get all sentimental but during "Acts of Man," which is THE song that made me go, "hey, this band is pretty great," I had what my friend called "a moment." During which I just had to stop singing along because I was like, "hey, what is going on? What is this? Emotion?" (And what a song to get emotional during, eh?) And I don't mean I was crying (I don't cry during concerts. Unless it's during "Thousands are Sailing.") But it has been a long, long time since I went to a show this good. That left me floating on air and incredibly happy. And what was better was the fact that the two people with whom I went, who weren't very big FR fans beforehand, left the show absolutely blown away.

What does this have to do with Glen Hansard?

Well, let's end this post with a conversation about Scott Hutchison. I've always thought he was a great lyricist and I've grown to really like his voice but after last night, we are talking Glen Hansard levels of respect and admiration. It is refreshing to see a frontman with as much personality as Hutchison. Look, I don't need you carrying on a fifteen minute monologue up there but you know, say something to the crowd, won't you (looking at you, Bejar). I find it alienating when an artist gets on stage, plays for an hour twenty, and mumbles his or her way off the stage. It definitely makes me not want to give him or her anymore of my money. But Hutchison definitely has personality and charm and he's loads of fun to watch. As I mentioned above, he looks like he's having a lot of fun up there (he also seemed very humbled by how big the crowd was), so you just can't help but having fun yourself. There are a lot of indie bands out there that do not have their shit together, that really have no business getting on stage (looking at you, DIIV), or simply just do not seem like they want to be on stage. A lot of bands out there are just kind of hyped by all of the blogs and actually kind of well, suck. And this is nothing new, and I'm not going to sit here and tell you you should stop listening to someone like Best Coast but it's always great to watch a band who can really perform and who actually deserves your hard earned money.