1. Viet Cong-Viet Cong
I'm kind of surprised I even like this record, let alone love it. Usually I find these hyped up bands overrated but Viet Cong deserves heaps of praise. This record is a challenge, and is really hard to love initially. You have to give it time. And really, what's more rewarding than that? And admittedly, this record took me a few listens before I was blown away. But the truth is, these seven songs are perfect. This is one of the most cohesive albums I've heard in a long time (okay, since Nobody Wants to Be Here and Nobody Wants to Leave), and I can't believe how well it lives up to the hype. It's also very ambitious for a debut record. Not to mention, "Continental Shelf" is definitely the best song of the year. I swear, when the tempo change happens, I get chills! Still! After listening to it dozens of times! It's brilliant. And do I even have to explain about "Death?" Talk about ambition. Because this record's only seven songs, I'm really, really left wanting more, and I hope they get their second record out quickly. It's just refreshing to have a band who is/was as hyped as Viet Cong to not be obnoxious or shoved down our throats.
Also, side note, I did see them live and they are quite good. I just needed more show.
Favorite Tracks: Continental Shelf, Death, Silhouettes
2. Sufjan Stevens-Carrie and Lowell
We all know this is fantastic, right? I don't need to go on and on about it? I want to say that this is a return to form for Sufjan but that's just because I hated The Age of Adz. Carrie and Lowell just reminds me of old-school Sufjy, circa Seven Swans, which is my favorite record of his after Illinois (I don't want to meet a person whose favorite Sufjan record isn't Illinois, quite frankly). Anyway, Carrie and Lowell is subtle yet powerful, and, like most of his work, gorgeous. Yes, it is a heavy record but art isn't easy, right? It's raw and beautiful and full of pain and demands repeat listens. I feel like he truly bared his soul on this one, to the point where it feels almost uncomfortable and invasive. And that's kind of what makes it so brilliant.
Favorite Tracks: Fourth of July, Eugene, Carrie and Lowell
3. Admiral Fallow-Tiny Rewards
What, did you think I'd let this list go without a band from Scotland? This record is relatively new, and I've just begun listening to it but it's good. It's very, very good. I've tried to get into Admiral Fallow in the past but other than Louis Abbott's voice, I wasn't very taken with them. But they put on their big boy (and girl) pants and made a really great, enjoyable record. It feels...darker than their previous work, which is most likely the reason I enjoy it so much. Their first records were a little too poppy for my tastes, and kind of inconsequential. (I should go back and revisit them.) However, the beauty of this record is that the songs truly sneak up on you, and you feel like you have to keep starting them over and over again before you can actually finish them because you're like, "wait, what!? Amazing." It's kind of like the feeling of your body getting used to a really cold pool of water. You weren't sure at first, you wanted to get out, but you stuck around and now it's awesome. Plus Louis Abbott's voice, am I right? The last record I felt this way about was The Midnight Organ Fight.
Favorite Tracks: Holding the Strings, Some Kind of Life, Building as Foreign
4. Lower Dens-Escape From Evil
I'm gonna be honest with you here: I like this because it sounds like Beach House, and Beach House is a perfect band. And I haven't gotten a Beach House record in three years. (*whispers* Soon.) But regardless of Lower Dens' Beach House-like qualities, this is a great pop record. Jana Hunter's voice is terrific and in songs like, "I Am the Earth," it's downright haunting. I tried to get into their first record and it just didn't happen (running theme this year, I suppose) but this one really stuck with me.
Favorite Tracks: Your Heart Still Beating, I Am the Earth, Company
5. Belle and Sebastian-Girls in Peacetime Want to Dance
I wrote extensively about this album earlier in the year so I won't get into it but bottom line: this is the most enjoyable record to come out all year.
Favorite Tracks: Enter Sylvia Plath, Play for Today, The Party Line
I'm going to stop at five simply because I feel like...it's been a good year for music already, certainly but I kind of lost four months of it listening to Dry the River. And quite frankly, if I had to say what my favorite record of the year has been so far, I'd say Shallow Bed. And I don't care that it's three years old. If you ask me which record has shaped the year for me, I'd say Shallow Bed. It is a terrific album, and I think it already ranks up there with all of my other favorite albums. Every damn song stands on its own, and there is no filler.
Anyway, I suspect this list will change and grow by December, considering there are records coming out by Destroyer and Beach House and Beirut and Titus Andronicus and Frank Turner and Glen Hansard (and maybe Frightened Rabbit?) and I'm bound to fall in love with at least one of them. I listened to the new Tame Impala record yesterday for the first time and that's quite good as well. So...exciting things to come, certainly!
Monday, July 13, 2015
Wednesday, June 17, 2015
A few precious hours in a space of our own...
So, this post is almost three months overdue but I feel like I need to commemorate attending my 100th concert. (Erm, I'm at 101 now but no bother, it's okay, we can still talk about the 100 that came before it.)
I was holding out for a big show from one of my top five (my musical Avengers, what have you) but the only one who seems to really be touring is Damien Rice. And I did have a ticket to see Damien Rice back in April, so I figured "alright, he's a good enough 100, that's fine." The ticket eventually fell through. I finally thought, "well, fuck it, I just want to go to a concert" and trekked through snow to Williamsburg to see Dry the River. It was a weird experience but kind of an amazing one, and well, I think by now we all know how I feel about DtR. It was kind of the perfect 100th concert. Why? Well, DtR falls in line with Andrew Bird, The Frames, Frightened Rabbit, The Felice Brothers, and The Twilight Sad (among others) as artists I saw in concert without really knowing much of their music. They're in very good company.
But this post isn't about that show. No. I've written about that already. It was special and I loved it and I love DtR and have basically given up on other music for the time being. No, this post is about the other 99 concerts I've attended (well, at this point, the other 100 but we'll leave Mika out of this for now. He was very, very good nonetheless.)
Anyway, we won't go into all 99. I have forgotten a good many of them (what? I've seen The Polyphonic Spree live?) Let's talk about the important ones.
The First: Blink182/Green Day/Saves the Day at Madison Square Garden
I loved Blink182 went I was in junior high (we all did, right?) I really believed they were the epitome of good music, and was quite proud of myself for liking something other than the boy bands my peers liked (rest assured, I had my time in the boy band fandom and liked both Backstreet Boys and NSYNC, depending on my mood). I was pretty psyched to see them live. I knew a handful of Green Day tunes, mostly because my brother liked them a lot. And well, Blink actually headlined the night and much to my dismay, Green Day wiped the floor with them. It was almost embarrassing. But it made me a Green Day fan (ah, see, it started way earlier than I thought) and I went home and sought out their entire catalog (stealing my brother's CDs along the way). Green Day are a lot of things nowadays but no one can deny that they put on a great show. Blink182 was pretty much a disaster. Tom DeLonge couldn't sing live, and their songs sounded like exact replicas of the album tracks. Only with worse vocals.
You can do a lot worse for your first concert. I however, had an amazing time and enjoyed every minute of it, regardless of Blink182's half-assery.
The First One That Mattered: Death Cab For Cutie/Ted Leo and the Pharmacists at The Theater at MSG
I spoke about this show in more detail in my Death Cab For Cutie post but this was the show that really started it all for me (consequently, DCFC is truly the band that started it all for me.) It was actually only my third concert ever (we will not talk about the second one; I was young and impressionable and I went with my friends and...that's enough) but it was the one that made me realize concerts weren't just some elite events that sold out in three seconds (I mean, I came from the world of teen pop where that was almost always the case). Real people could go to concerts too, you know? Well, DCFC were great (at this point, you'd be hard pressed to get me to say something negative about them) and I really enjoyed myself but it just opened up a huge can of worms that has yet to be closed nearly ten years later. In fact, I actually bought tickets to see Damien Rice the next morning. The impact was instant. I liked concerts a lot and wanted to go to as many as possible.
The First Fantastic One: The Frames/Michael Brunnock/Brendan O'Shea at Webster Hall
This was a lot of firsts: my first SRO (I was so turned off from the idea of standing all night. Imagine!) and my first show at Webster Hall. This was not, however, my first time seeing The Frames. It was actually my third time seeing Glen Hansard so I knew what the man was capable of. This show was two and a half hours, a non-stop barrage of great song after great song. For a long, long time this was my favorite concert ever, and to this day Glen Hansard is one of, if not the best performer I've ever seen on stage. What he does on stage, how he takes command of it, and how he has the audience eating out of the palm of his hand, is practically unparalleled (although I think Scott Hutchison and Frank Turner come close and make noble attempts.)
The First Religious Experience: Andrew Bird/Calexico at Radio City Music Hall
This show had a lot of things going against it: primarily that fact that I didn't feel well and my seat was terrible. (I truly hate RCMH.) In fact, I dealt with bouts of boredom throughout this show. I really didn't know what I was getting into with the venue and with Andrew. I think he's very accessible for someone who could be a little experimental and doesn't always adhere to the rules of mainstream indie pop but his shows aren't exactly straightforward. Anyway, I left the show feeling somewhere between "meh" and "OH MY GOD!" and kind of began an Andrew Bird listening binge that lasted, oh, I don't know...three, four years? I think you know the rest. But to me, it's pretty bizarre that a show I felt lukewarm about created that big of an obsession.
The Best One: LCD Soundsystem/Sleigh Bells at The Wellmont Theater
What can I say about LCD Soundsystem other than James Murphy is a god? This was the most fun I've ever had at a concert. The band was on fire, and it was just a huge, two hour dance party. Amazing, and unparalleled. And I've seen a lot of great acts.
Total Effing Surprises:
1. Devendra Banhart/Little Joy at Music Hall of Williamsburg: this was the perfect concert, from opener through Devendra's main set. Absolutely incredible, and totally unexpected. Backing band was tight as hell, and Dev played over two hours. I will never say bad things about him simply because of this.
2. tUnE-yArDs at Central Park Summerstage: tUnE-yArDs actually opened for St. Vincent at this show and I wasn't expecting much from her set, even though I had really liked "Birdbrains." Well, Merrill Garbus embarrassed Annie Clark that afternoon, and made me a fan for life. She is one of the most talented people making music today, and truly one of the best live acts.
3. The Felice Brothers at The Bell House: I bought tickets to this show simply because I had always wanted to go to The Bell House. I didn't know much about The Felice Brothers' music, and yet, this ended up being my favorite show of 2011 (in a year where I saw Andrew Bird, The National, Cloud Cult, etc.) The Felice Brothers are a ton of fun live, which is probably why I've basically seen every one of their NYC shows since. They never disappoint. And the funny thing is, I don't even listen to them on a regular basis. I just like to go to their shows.
4. Japandroids at Webster Hall: (We won't even talk about DIIV. NOPE!) Was this much a surprise? I don't know, considering I was very, very high on Celebration Rock and it ended up being my favorite record of 2012. But for a band that sounds like Japandroids, a live show could be underwhelming. And it turned out to be one of my favorite concert-going experiences ever. Any show where I can scream a long to songs with 1500 people is going to be a very good time.
5. Animal Collective at Terminal 5: I was really expecting this to be a disaster but AnCo was incredible. They are much better live than you would ever suspect from watching YouTube videos.
6. Dry the River at Music Hall of Williamsburg: Shaker Hymns, etc., No Rest, etc., Peter Liddle has a great voice, etc., etc., etc.
Total Disappointments:
Look, I didn't really want to bring negativity into this post, and I'm not saying all of these acts were terrible, or even bad, just...disappointing. And sometimes, it's not the band themselves. It's you. Sometimes you're just not in the mood to be at a concert, or the crowd is awful, or you can't really see very well, or they're not playing a set of songs Anyway, here are some disappointing acts:
1. Chad VanGaalen at MHOW: Um, no, this wasn't me. It was him. Which was so disappointing because Soft Airplane is one of my favorite records ever (I just listened to it the other night and it still holds up, my goodness) but he is...odd live. And off-putting. It didn't help that I didn't care for the record he was promoting. Oh well, you live and learn.
2. Patrick Watson: I've seen him three times (once as support, once for free, so technically I've only paid for him once) and he has never blown me away. I don't know what it is but there's something about his live show that leaves me cold. I'm beginning to wonder if it's just the fact that I don't like his music as much as I think I do.
3. M83/Sun Airway at The Hammerstein Ballroom: Yeesh. This had a lot of things going against it, the first being the AWFUL crowd. And look, I'm not trying to be a snob and be like, "hey, you kids, get off of my lawn and out of my concert venue" but once a band hits the mainstream, they attract...a certain type of person. And I was surrounded by them. Combine that with the fact that I once read a rumor that M83 doesn't play their instruments live, which was all I could think about during the show, and I just stood there wanting it to end. Which is a shame because a) I loved their last record and b) I waited a long time to see them live. Never again. (If you ask me, no, it didn't look like they were playing their instruments.)
4. Sigur Ros: I've seen them twice, once at MSG, and they just leave me so cold live. Everything is technically beautiful, but I'm not really into the "now you play, and I'll watch" concert-going experience. I like to feel like an active participant. But what can you do when Jonsi is singing in a language you don't understand? For me, Sigur Ros is a great listening experience, and they can make me feel things through my headphones but not live. Not live.
5. The Flaming Lips/Tame Impala at Terminal 5: Full disclosure: Tame Impala were TERRIFIC. Really wiped the floor with The Flaming Lips. This was probably the most disappointing show I've been to, simply because I waited A LONG time to see The Flaming Lips, and I somehow managed to see them for the first time during their "Terror" tour. And Jesus Christ, a terror is right. That album is pretty fucking unlistenable if you ask me, and it doesn't not come off better live. All the confetti and stupid costumes and lights could not save this one. I couldn't wait for it to be over.
Anyway, I wish I could write about all the great shows I've been to, and there have been many, but I just don't have the time or the space. In a way, they're all special.
Here's to 100 more...
I was holding out for a big show from one of my top five (my musical Avengers, what have you) but the only one who seems to really be touring is Damien Rice. And I did have a ticket to see Damien Rice back in April, so I figured "alright, he's a good enough 100, that's fine." The ticket eventually fell through. I finally thought, "well, fuck it, I just want to go to a concert" and trekked through snow to Williamsburg to see Dry the River. It was a weird experience but kind of an amazing one, and well, I think by now we all know how I feel about DtR. It was kind of the perfect 100th concert. Why? Well, DtR falls in line with Andrew Bird, The Frames, Frightened Rabbit, The Felice Brothers, and The Twilight Sad (among others) as artists I saw in concert without really knowing much of their music. They're in very good company.
But this post isn't about that show. No. I've written about that already. It was special and I loved it and I love DtR and have basically given up on other music for the time being. No, this post is about the other 99 concerts I've attended (well, at this point, the other 100 but we'll leave Mika out of this for now. He was very, very good nonetheless.)
Anyway, we won't go into all 99. I have forgotten a good many of them (what? I've seen The Polyphonic Spree live?) Let's talk about the important ones.
The First: Blink182/Green Day/Saves the Day at Madison Square Garden
I loved Blink182 went I was in junior high (we all did, right?) I really believed they were the epitome of good music, and was quite proud of myself for liking something other than the boy bands my peers liked (rest assured, I had my time in the boy band fandom and liked both Backstreet Boys and NSYNC, depending on my mood). I was pretty psyched to see them live. I knew a handful of Green Day tunes, mostly because my brother liked them a lot. And well, Blink actually headlined the night and much to my dismay, Green Day wiped the floor with them. It was almost embarrassing. But it made me a Green Day fan (ah, see, it started way earlier than I thought) and I went home and sought out their entire catalog (stealing my brother's CDs along the way). Green Day are a lot of things nowadays but no one can deny that they put on a great show. Blink182 was pretty much a disaster. Tom DeLonge couldn't sing live, and their songs sounded like exact replicas of the album tracks. Only with worse vocals.
You can do a lot worse for your first concert. I however, had an amazing time and enjoyed every minute of it, regardless of Blink182's half-assery.
The First One That Mattered: Death Cab For Cutie/Ted Leo and the Pharmacists at The Theater at MSG
I spoke about this show in more detail in my Death Cab For Cutie post but this was the show that really started it all for me (consequently, DCFC is truly the band that started it all for me.) It was actually only my third concert ever (we will not talk about the second one; I was young and impressionable and I went with my friends and...that's enough) but it was the one that made me realize concerts weren't just some elite events that sold out in three seconds (I mean, I came from the world of teen pop where that was almost always the case). Real people could go to concerts too, you know? Well, DCFC were great (at this point, you'd be hard pressed to get me to say something negative about them) and I really enjoyed myself but it just opened up a huge can of worms that has yet to be closed nearly ten years later. In fact, I actually bought tickets to see Damien Rice the next morning. The impact was instant. I liked concerts a lot and wanted to go to as many as possible.
The First Fantastic One: The Frames/Michael Brunnock/Brendan O'Shea at Webster Hall
This was a lot of firsts: my first SRO (I was so turned off from the idea of standing all night. Imagine!) and my first show at Webster Hall. This was not, however, my first time seeing The Frames. It was actually my third time seeing Glen Hansard so I knew what the man was capable of. This show was two and a half hours, a non-stop barrage of great song after great song. For a long, long time this was my favorite concert ever, and to this day Glen Hansard is one of, if not the best performer I've ever seen on stage. What he does on stage, how he takes command of it, and how he has the audience eating out of the palm of his hand, is practically unparalleled (although I think Scott Hutchison and Frank Turner come close and make noble attempts.)
The First Religious Experience: Andrew Bird/Calexico at Radio City Music Hall
This show had a lot of things going against it: primarily that fact that I didn't feel well and my seat was terrible. (I truly hate RCMH.) In fact, I dealt with bouts of boredom throughout this show. I really didn't know what I was getting into with the venue and with Andrew. I think he's very accessible for someone who could be a little experimental and doesn't always adhere to the rules of mainstream indie pop but his shows aren't exactly straightforward. Anyway, I left the show feeling somewhere between "meh" and "OH MY GOD!" and kind of began an Andrew Bird listening binge that lasted, oh, I don't know...three, four years? I think you know the rest. But to me, it's pretty bizarre that a show I felt lukewarm about created that big of an obsession.
The Best One: LCD Soundsystem/Sleigh Bells at The Wellmont Theater
What can I say about LCD Soundsystem other than James Murphy is a god? This was the most fun I've ever had at a concert. The band was on fire, and it was just a huge, two hour dance party. Amazing, and unparalleled. And I've seen a lot of great acts.
Total Effing Surprises:
1. Devendra Banhart/Little Joy at Music Hall of Williamsburg: this was the perfect concert, from opener through Devendra's main set. Absolutely incredible, and totally unexpected. Backing band was tight as hell, and Dev played over two hours. I will never say bad things about him simply because of this.
2. tUnE-yArDs at Central Park Summerstage: tUnE-yArDs actually opened for St. Vincent at this show and I wasn't expecting much from her set, even though I had really liked "Birdbrains." Well, Merrill Garbus embarrassed Annie Clark that afternoon, and made me a fan for life. She is one of the most talented people making music today, and truly one of the best live acts.
3. The Felice Brothers at The Bell House: I bought tickets to this show simply because I had always wanted to go to The Bell House. I didn't know much about The Felice Brothers' music, and yet, this ended up being my favorite show of 2011 (in a year where I saw Andrew Bird, The National, Cloud Cult, etc.) The Felice Brothers are a ton of fun live, which is probably why I've basically seen every one of their NYC shows since. They never disappoint. And the funny thing is, I don't even listen to them on a regular basis. I just like to go to their shows.
4. Japandroids at Webster Hall: (We won't even talk about DIIV. NOPE!) Was this much a surprise? I don't know, considering I was very, very high on Celebration Rock and it ended up being my favorite record of 2012. But for a band that sounds like Japandroids, a live show could be underwhelming. And it turned out to be one of my favorite concert-going experiences ever. Any show where I can scream a long to songs with 1500 people is going to be a very good time.
5. Animal Collective at Terminal 5: I was really expecting this to be a disaster but AnCo was incredible. They are much better live than you would ever suspect from watching YouTube videos.
6. Dry the River at Music Hall of Williamsburg: Shaker Hymns, etc., No Rest, etc., Peter Liddle has a great voice, etc., etc., etc.
Total Disappointments:
Look, I didn't really want to bring negativity into this post, and I'm not saying all of these acts were terrible, or even bad, just...disappointing. And sometimes, it's not the band themselves. It's you. Sometimes you're just not in the mood to be at a concert, or the crowd is awful, or you can't really see very well, or they're not playing a set of songs Anyway, here are some disappointing acts:
1. Chad VanGaalen at MHOW: Um, no, this wasn't me. It was him. Which was so disappointing because Soft Airplane is one of my favorite records ever (I just listened to it the other night and it still holds up, my goodness) but he is...odd live. And off-putting. It didn't help that I didn't care for the record he was promoting. Oh well, you live and learn.
2. Patrick Watson: I've seen him three times (once as support, once for free, so technically I've only paid for him once) and he has never blown me away. I don't know what it is but there's something about his live show that leaves me cold. I'm beginning to wonder if it's just the fact that I don't like his music as much as I think I do.
3. M83/Sun Airway at The Hammerstein Ballroom: Yeesh. This had a lot of things going against it, the first being the AWFUL crowd. And look, I'm not trying to be a snob and be like, "hey, you kids, get off of my lawn and out of my concert venue" but once a band hits the mainstream, they attract...a certain type of person. And I was surrounded by them. Combine that with the fact that I once read a rumor that M83 doesn't play their instruments live, which was all I could think about during the show, and I just stood there wanting it to end. Which is a shame because a) I loved their last record and b) I waited a long time to see them live. Never again. (If you ask me, no, it didn't look like they were playing their instruments.)
4. Sigur Ros: I've seen them twice, once at MSG, and they just leave me so cold live. Everything is technically beautiful, but I'm not really into the "now you play, and I'll watch" concert-going experience. I like to feel like an active participant. But what can you do when Jonsi is singing in a language you don't understand? For me, Sigur Ros is a great listening experience, and they can make me feel things through my headphones but not live. Not live.
5. The Flaming Lips/Tame Impala at Terminal 5: Full disclosure: Tame Impala were TERRIFIC. Really wiped the floor with The Flaming Lips. This was probably the most disappointing show I've been to, simply because I waited A LONG time to see The Flaming Lips, and I somehow managed to see them for the first time during their "Terror" tour. And Jesus Christ, a terror is right. That album is pretty fucking unlistenable if you ask me, and it doesn't not come off better live. All the confetti and stupid costumes and lights could not save this one. I couldn't wait for it to be over.
Anyway, I wish I could write about all the great shows I've been to, and there have been many, but I just don't have the time or the space. In a way, they're all special.
Here's to 100 more...
Wednesday, April 15, 2015
you take the cards that you're dealt
I've already written a post about my love addiction obsession with Dry the River's two albums. But I have to be pretty honest here: I haven't listened to much of anything else in the past six weeks. I mean, I haven't even had much of a desire to listen to anything else since March 7.
Now, look, this isn't really major news. I've binged on a lot of bands in my time. I have an addictive personality. (It's the reason why I don't trust myself to have children; I've loved a lot of bands that I've quickly tired of.) But a lot has been said for binging on television shows, about sitting in your pajamas on your couch for an entire weekend and watching all six seasons of Lost but where are the articles about spending an entire Saturday listening to Shallow Bed? (If there's someone else other than my best friend and I doing that, point me in their direction because clearly we need to become friends.)
Anyway, this isn't about Dry the River, they're just my band of choice right now. (I swear, I cannot start my day without listening to "Weights and Measures" lately. I tried to yesterday but after a few songs, I needed to go back to it. It was almost like an addiction.) It's about the relationship with (other) music I've had over the past six weeks. Tons of great records have been released, and some of them I haven't even bothered to listen to. I've partially listened to a handful, turning them off after four or five songs because I'm bored, or to put on "Shaker Hymns" or "Vessel." I've listened to three new records all the way through (DCFC, Sufjan Stevens, and Lower Dens, and only the latter two have I listened to more than once.) I've basically lost interest in all new music. (I do recall, however, listening to Jeff Buckley a bit...)
When I'm binging on a band or an album, it's really, really difficult to listen to my old music. It's really difficult to not just press play on that one artist and ignore all the others. I mean, it's practically a chore to listen to songs I really do love. And I've forgotten about so many of them too. It's kind of like when you run into someone you know and you really don't want to talk to him or her but you end up chatting and it's awkward. But you forget that you really love "The Woodpile" or "Terrible Love" or "Tables and Chairs" (oh, don't get me started on Andrew Bird.) You kind of even forget these songs exist. I accidentally pressed play on "Acts of Man" when I scrolling for "Alarms in the Heart" and was like, "oh, yeah, this song, right, it's...been awhile, hasn't it?" I listened to it, sure, but it just didn't give me the excitement it used to. How sad is that? I mean, "Acts of Man." Y'all know how much I fucking love that song, and what it means (meant?) to me.
Eventually I'll burn out on DtR, or I'll find a new band to obsess over, and I'll go back to listening to "Old Old Fashioned" and "Cold Day From the Birdhouse" and the like, and I'll probably never want to hear "The Chambers and the Valves" ever again. It's what I do. Binge and purge music. Even if I stop listening to you completely, there's a good chance I will see you when you announce your NYC-area show. In fact, I can't remember the last time I saw a band while I was in the midst of actually listening to them. My latest trend in concert-going is to know and like a few of your songs and decide, hey, why not, let's go see them. I guess going to see a band and then buying their music is not the correct way to do things?
And I know this is not the normal way people listen to music. Of course, I do know that people do tend to listen to songs over and over and over again and play them out and never think about them again. I also know that there are many people out there who don't listen to albums, and don't really have bands or artists they can refer to as their "favorites." And of course, there are even more people who just do not buy any music anymore. But when you listen to so much music, and especially now that so much is available to you at anytime on Spotify or YouTube, it is really so easy to forget about bands and songs. I swear, if I went to look through my vinyl collection, I'd probably be really surprised I own records by Caveman and The Morning Benders. I'd suspect that a lot of people stick to their favorite artists and don't exactly branch out to find new ones. I also suspect a lot of people don't binge on music. Am I wrong here? But I'm pretty certain that most people don't care enough about the songs they used to love to ever go back to them. I mean, for cryin' out loud, taking songs off of my iPod is a huge to-do because who knows when I'll want to listen to "Testament to Youth in Verse?" If I take it off, will I ever remember it existed in the first place? What does it matter? I'll just find a new song/band to listen to anyway.
And maybe that's how I should think about it. So what if I don't want to listen to We Were Promised Jetpacks anymore? Who cares? Does it really matter? Music, I guess, is fluid. You're not always going to want to listen to the same bands or songs. God knows I don't want to listen to Hanson anymore (what, I was like 10 years old!)
But imagine how boring life would be if we just listened to the same songs over and over again.
Now, look, this isn't really major news. I've binged on a lot of bands in my time. I have an addictive personality. (It's the reason why I don't trust myself to have children; I've loved a lot of bands that I've quickly tired of.) But a lot has been said for binging on television shows, about sitting in your pajamas on your couch for an entire weekend and watching all six seasons of Lost but where are the articles about spending an entire Saturday listening to Shallow Bed? (If there's someone else other than my best friend and I doing that, point me in their direction because clearly we need to become friends.)
Anyway, this isn't about Dry the River, they're just my band of choice right now. (I swear, I cannot start my day without listening to "Weights and Measures" lately. I tried to yesterday but after a few songs, I needed to go back to it. It was almost like an addiction.) It's about the relationship with (other) music I've had over the past six weeks. Tons of great records have been released, and some of them I haven't even bothered to listen to. I've partially listened to a handful, turning them off after four or five songs because I'm bored, or to put on "Shaker Hymns" or "Vessel." I've listened to three new records all the way through (DCFC, Sufjan Stevens, and Lower Dens, and only the latter two have I listened to more than once.) I've basically lost interest in all new music. (I do recall, however, listening to Jeff Buckley a bit...)
When I'm binging on a band or an album, it's really, really difficult to listen to my old music. It's really difficult to not just press play on that one artist and ignore all the others. I mean, it's practically a chore to listen to songs I really do love. And I've forgotten about so many of them too. It's kind of like when you run into someone you know and you really don't want to talk to him or her but you end up chatting and it's awkward. But you forget that you really love "The Woodpile" or "Terrible Love" or "Tables and Chairs" (oh, don't get me started on Andrew Bird.) You kind of even forget these songs exist. I accidentally pressed play on "Acts of Man" when I scrolling for "Alarms in the Heart" and was like, "oh, yeah, this song, right, it's...been awhile, hasn't it?" I listened to it, sure, but it just didn't give me the excitement it used to. How sad is that? I mean, "Acts of Man." Y'all know how much I fucking love that song, and what it means (meant?) to me.
Eventually I'll burn out on DtR, or I'll find a new band to obsess over, and I'll go back to listening to "Old Old Fashioned" and "Cold Day From the Birdhouse" and the like, and I'll probably never want to hear "The Chambers and the Valves" ever again. It's what I do. Binge and purge music. Even if I stop listening to you completely, there's a good chance I will see you when you announce your NYC-area show. In fact, I can't remember the last time I saw a band while I was in the midst of actually listening to them. My latest trend in concert-going is to know and like a few of your songs and decide, hey, why not, let's go see them. I guess going to see a band and then buying their music is not the correct way to do things?
And I know this is not the normal way people listen to music. Of course, I do know that people do tend to listen to songs over and over and over again and play them out and never think about them again. I also know that there are many people out there who don't listen to albums, and don't really have bands or artists they can refer to as their "favorites." And of course, there are even more people who just do not buy any music anymore. But when you listen to so much music, and especially now that so much is available to you at anytime on Spotify or YouTube, it is really so easy to forget about bands and songs. I swear, if I went to look through my vinyl collection, I'd probably be really surprised I own records by Caveman and The Morning Benders. I'd suspect that a lot of people stick to their favorite artists and don't exactly branch out to find new ones. I also suspect a lot of people don't binge on music. Am I wrong here? But I'm pretty certain that most people don't care enough about the songs they used to love to ever go back to them. I mean, for cryin' out loud, taking songs off of my iPod is a huge to-do because who knows when I'll want to listen to "Testament to Youth in Verse?" If I take it off, will I ever remember it existed in the first place? What does it matter? I'll just find a new song/band to listen to anyway.
And maybe that's how I should think about it. So what if I don't want to listen to We Were Promised Jetpacks anymore? Who cares? Does it really matter? Music, I guess, is fluid. You're not always going to want to listen to the same bands or songs. God knows I don't want to listen to Hanson anymore (what, I was like 10 years old!)
But imagine how boring life would be if we just listened to the same songs over and over again.
Sunday, March 15, 2015
I may not see the future but I've seen it's lonely architect
My recent love of Dry the River deserves a post of its own.
I am not exaggerating, and I am not being hyperbolic, but I haven't felt this strongly about a band since Frightened Rabbit. (I mean, I fell really hard for The Twilight Sad at the end of last year, and don't get me wrong, I fucking love them but Dry the River are just so. damn. good.)
My love of Dry the River basically highlights why I am very pro-streaming, pro-Spotify. A few months back, I was actually listening to Frightened Rabbit radio on Spotify and a song called "No Rest" by a band called Dry the River came on and I was like, "huh, never heard of them but I'll let it play." And oh, my goodness. That voice. I mean, you know what I'm talking about if you've ever heard that song. That voice. I typically like deeper, huskier voices but Peter Liddle's voice is stunning and so full of emotion that you just can't not love it. It reminds me of a rougher version of Jeff Buckley's. (I normally roll my eyes when people make comparisons to him, especially when it involves Andrew Bird since I NEVER hear it but this one is dead-on.) But anyway, I fell in love with "No Rest" but didn't fall head-over-heels in love with the rest of their album (Alarms in the Heart hadn't been released yet).
And then I saw this:
This has become one of my favorite Youtube videos ever. It's stunning (that's going to be the running theme of this post). It made me fall in love with this song, and it's probably my favorite DtR track. This video made me really pay attention to them and really start listening to Shallow Bed (I think by that time, Alarms in the Heart was out). I liked Shallow Bed enough (I mean, you'd be hard-pressed to find a better sequence of songs on an album than "Demons" to "Weights and Measures") and while their second record was a bit different, I still liked it enough. I was even considering going to see them back in November but I was at concert #99 and already had tickets to see We Were Promised Jetpacks/The Twilight Sad, and didn't think they were a good enough #100 (funny, huh?)
And then DtR came back around and announced another NYC show and I was like, "um, do I want to see them? I guess I do. It's been five months since I've been to a show and this one is cheap and on a Saturday night and yeah, I don't know. They'd be #100 but whatever. I'll sleep on it." And the week of the show, I listened to their records again and decided, sure, I'll get tickets. What the hell.
Oh. my. God.
They are fantastic live. Peter Liddle's voice is just beautiful in person, and their harmonies! My goodness! I brought a friend with me who didn't know any of their songs and went in completely cold and hasn't listened to anything else since that night. And well, neither have I. That's when you know you've been to a great concert. I promptly bought both of their records after the show, and my goodness, they're both so ridiculously good. The songwriting is incredibly strong, and Peter Liddle is probably the best lyricist I've discovered since Scott Hutchison (yep, I went there.) I mean, I was listening to a song the other day on my walk to the subway and actually said, "Goddamn it" aloud because the lyric was that great. The last time I did that, I was listening to "Scottish Winds."
Dry the River doesn't actually sound like Frightened Rabbit. (They remind me of a mix of Fleet Foxes and Bon Iver with a little bit of Patrick Watson, and a much, much better Bear's Den/Mumford and Sons. I know, don't look at me like that. But c'mon, "Hope Diamond," for example, sounds like a better version of a Mumford and Sons song. I'll admit though, it's really reductive to compare them to Mumford and Sons but I cannot lie, I hear it.) I compare the two because FR is probably the most solid band around right now, and Scott Hutchison is probably the best songwriter around right now, and while I'm not ready to anoint DtR with the same accolades (I'll give them another album or two before I do so), DtR is so solid and talented already. There are quite a few bands who come right out the gate with great debut records who can't live up to them with their second records. But not DtR; Alarms of the Heart isn't as excellent as Shallow Bed (not too many records are; seriously, I must have listened to it a dozen time all the way through since I bought it on Tuesday) but it is still pretty great (hey, I did put it on my Honorable Mentions list last year, didn't I?) Their music is just beautiful, and I don't think I've listened to music this stunning since Andrew Bird. (I know, these are major comparisons I'm making, huh?)
I also haven't been this excited about a band since Frightened Rabbit (I know, The Twilight Sad, I KNOW but I cannot tell a lie), simply because of their level of talent. If they're this good now, can you imagine what their third record will be like? Can you imagine how fantastic their live shows will become, considering they're already great? A lot of times I feel like these younger, newer bands come around who are hyped up to the high heavens but either can't deliver live or cannot deliver good (not even good enough, just plain good) second albums. Because they don't have it (I love We Were Promised Jetpacks but I've even said this about them). Dry the River have it. They take something that sounds familiar (i.e. folk and Americana and indie-rock) and make it fresh. And that voice.
I am not exaggerating, and I am not being hyperbolic, but I haven't felt this strongly about a band since Frightened Rabbit. (I mean, I fell really hard for The Twilight Sad at the end of last year, and don't get me wrong, I fucking love them but Dry the River are just so. damn. good.)
My love of Dry the River basically highlights why I am very pro-streaming, pro-Spotify. A few months back, I was actually listening to Frightened Rabbit radio on Spotify and a song called "No Rest" by a band called Dry the River came on and I was like, "huh, never heard of them but I'll let it play." And oh, my goodness. That voice. I mean, you know what I'm talking about if you've ever heard that song. That voice. I typically like deeper, huskier voices but Peter Liddle's voice is stunning and so full of emotion that you just can't not love it. It reminds me of a rougher version of Jeff Buckley's. (I normally roll my eyes when people make comparisons to him, especially when it involves Andrew Bird since I NEVER hear it but this one is dead-on.) But anyway, I fell in love with "No Rest" but didn't fall head-over-heels in love with the rest of their album (Alarms in the Heart hadn't been released yet).
And then I saw this:
This has become one of my favorite Youtube videos ever. It's stunning (that's going to be the running theme of this post). It made me fall in love with this song, and it's probably my favorite DtR track. This video made me really pay attention to them and really start listening to Shallow Bed (I think by that time, Alarms in the Heart was out). I liked Shallow Bed enough (I mean, you'd be hard-pressed to find a better sequence of songs on an album than "Demons" to "Weights and Measures") and while their second record was a bit different, I still liked it enough. I was even considering going to see them back in November but I was at concert #99 and already had tickets to see We Were Promised Jetpacks/The Twilight Sad, and didn't think they were a good enough #100 (funny, huh?)
And then DtR came back around and announced another NYC show and I was like, "um, do I want to see them? I guess I do. It's been five months since I've been to a show and this one is cheap and on a Saturday night and yeah, I don't know. They'd be #100 but whatever. I'll sleep on it." And the week of the show, I listened to their records again and decided, sure, I'll get tickets. What the hell.
Oh. my. God.
They are fantastic live. Peter Liddle's voice is just beautiful in person, and their harmonies! My goodness! I brought a friend with me who didn't know any of their songs and went in completely cold and hasn't listened to anything else since that night. And well, neither have I. That's when you know you've been to a great concert. I promptly bought both of their records after the show, and my goodness, they're both so ridiculously good. The songwriting is incredibly strong, and Peter Liddle is probably the best lyricist I've discovered since Scott Hutchison (yep, I went there.) I mean, I was listening to a song the other day on my walk to the subway and actually said, "Goddamn it" aloud because the lyric was that great. The last time I did that, I was listening to "Scottish Winds."
Dry the River doesn't actually sound like Frightened Rabbit. (They remind me of a mix of Fleet Foxes and Bon Iver with a little bit of Patrick Watson, and a much, much better Bear's Den/Mumford and Sons. I know, don't look at me like that. But c'mon, "Hope Diamond," for example, sounds like a better version of a Mumford and Sons song. I'll admit though, it's really reductive to compare them to Mumford and Sons but I cannot lie, I hear it.) I compare the two because FR is probably the most solid band around right now, and Scott Hutchison is probably the best songwriter around right now, and while I'm not ready to anoint DtR with the same accolades (I'll give them another album or two before I do so), DtR is so solid and talented already. There are quite a few bands who come right out the gate with great debut records who can't live up to them with their second records. But not DtR; Alarms of the Heart isn't as excellent as Shallow Bed (not too many records are; seriously, I must have listened to it a dozen time all the way through since I bought it on Tuesday) but it is still pretty great (hey, I did put it on my Honorable Mentions list last year, didn't I?) Their music is just beautiful, and I don't think I've listened to music this stunning since Andrew Bird. (I know, these are major comparisons I'm making, huh?)
I also haven't been this excited about a band since Frightened Rabbit (I know, The Twilight Sad, I KNOW but I cannot tell a lie), simply because of their level of talent. If they're this good now, can you imagine what their third record will be like? Can you imagine how fantastic their live shows will become, considering they're already great? A lot of times I feel like these younger, newer bands come around who are hyped up to the high heavens but either can't deliver live or cannot deliver good (not even good enough, just plain good) second albums. Because they don't have it (I love We Were Promised Jetpacks but I've even said this about them). Dry the River have it. They take something that sounds familiar (i.e. folk and Americana and indie-rock) and make it fresh. And that voice.
Sunday, March 8, 2015
Things I Am Sick of Hearing/Being Asked
1. Where do you find these bands?
Most of the time, this question is asked rhetorically but in a world where you can find EVERYTHING on the internet, it should not baffle you that I can find small bands from all over the world. Especially with Spotify, Pandora, and YouTube. You don't have to rely on the radio (who listens to the radio anyway?) or television to find new music. Quite frankly, I don't think anyone just listens to mainstream stuff really cares about music/discovering new bands. I'm not being snobby about it; some people just don't care enough about music to worry about the new Matthew E. White album. I've had a ton of people tell me they don't go to concerts because they don't listen to someone enough to pay to see them live. Sure, I find this odd but it's fair.
So where do I find "these bands?" The internet! Also, music blogs, word of mouth, and through bands I already listen to. This may sound ridiculous but it's a lot of work, and takes a lot of time to find new music.
2. Oh, what do they sing?
Nothing you know, don't worry. Again, don't want to be a snob, but you will be able to knock me down with a feather if you said, "Oh! I know that one!" after I replied with "Cold Days From the Birdhouse" or "Tenuousness."
3. That's not a thing. You made that up.
This a common response to Frightened Rabbit. Look, don't write off band because they have stupid names. And some of these, I couldn't even make up if I tried.
4. If they're so good, why aren't they more well-known?
What kind of logic is this? Psy had a super popular song but nobody would argue he was a good musician, or that was a good song. Don't even get me started on Meghan Trainor or Ke$ha. Popular doesn't mean good. There are a handful of bands I love who I wish were bigger and more popular and making more money, simply because I think they're very talented and decent people and deserve to be bigger. I feel like it's simply the luck of the draw when it comes to which bands blow up. Look how long it took The National! I just think it's silly to assume a band isn't good because they're unknown when a lot of popular stuff is just fucking terrible.
5. Vinyl!? Who still buys vinyl!?
Sure, it's more expensive but it's pretty! And it's something tangible and physical that you will presumably get to own for forever. Plus the act of putting a record on your turntable and sitting on your bed to listen to it is incredible. I guess if you don't care about music and aren't attached to the idea of owning an album (or the idea of an album in general), vinyl is a baffling concept.
6. You go to so many concerts!
Because it's what I truly like to do! Because I listen to a lot of small bands who play small venues and the tickets are usually $20 or less! If I was listening to bigger names who were charging $200+ for decent seats in huge arenas, no, I would not go as frequently as I do. I think a lot of people are under the impression concerts are exclusive, expensive events. I used to.
People are also baffled by my willingness to stand at shows. Sorry, I like to feel like an active participant at concerts.
7. This song is weird/this sucks/how can you listen to this/what the fuck is this/he sounds like Groundskeeper Willie, etc....
Yes, the last one is true, courtesy of my mother.
Taste is personal and music is very personal but it's incredibly rude to look someone in the eye and tell him or her that the song or band he or she likes is bad. Because you don't know how much a song means to someone. If Taylor Swift's music makes you feel good, lifts you from your bad mood, gets you through the day, all power to you and to her songs. Who am I to judge?
Most of the time, this question is asked rhetorically but in a world where you can find EVERYTHING on the internet, it should not baffle you that I can find small bands from all over the world. Especially with Spotify, Pandora, and YouTube. You don't have to rely on the radio (who listens to the radio anyway?) or television to find new music. Quite frankly, I don't think anyone just listens to mainstream stuff really cares about music/discovering new bands. I'm not being snobby about it; some people just don't care enough about music to worry about the new Matthew E. White album. I've had a ton of people tell me they don't go to concerts because they don't listen to someone enough to pay to see them live. Sure, I find this odd but it's fair.
So where do I find "these bands?" The internet! Also, music blogs, word of mouth, and through bands I already listen to. This may sound ridiculous but it's a lot of work, and takes a lot of time to find new music.
2. Oh, what do they sing?
Nothing you know, don't worry. Again, don't want to be a snob, but you will be able to knock me down with a feather if you said, "Oh! I know that one!" after I replied with "Cold Days From the Birdhouse" or "Tenuousness."
3. That's not a thing. You made that up.
This a common response to Frightened Rabbit. Look, don't write off band because they have stupid names. And some of these, I couldn't even make up if I tried.
4. If they're so good, why aren't they more well-known?
What kind of logic is this? Psy had a super popular song but nobody would argue he was a good musician, or that was a good song. Don't even get me started on Meghan Trainor or Ke$ha. Popular doesn't mean good. There are a handful of bands I love who I wish were bigger and more popular and making more money, simply because I think they're very talented and decent people and deserve to be bigger. I feel like it's simply the luck of the draw when it comes to which bands blow up. Look how long it took The National! I just think it's silly to assume a band isn't good because they're unknown when a lot of popular stuff is just fucking terrible.
5. Vinyl!? Who still buys vinyl!?
Sure, it's more expensive but it's pretty! And it's something tangible and physical that you will presumably get to own for forever. Plus the act of putting a record on your turntable and sitting on your bed to listen to it is incredible. I guess if you don't care about music and aren't attached to the idea of owning an album (or the idea of an album in general), vinyl is a baffling concept.
6. You go to so many concerts!
Because it's what I truly like to do! Because I listen to a lot of small bands who play small venues and the tickets are usually $20 or less! If I was listening to bigger names who were charging $200+ for decent seats in huge arenas, no, I would not go as frequently as I do. I think a lot of people are under the impression concerts are exclusive, expensive events. I used to.
People are also baffled by my willingness to stand at shows. Sorry, I like to feel like an active participant at concerts.
7. This song is weird/this sucks/how can you listen to this/what the fuck is this/he sounds like Groundskeeper Willie, etc....
Yes, the last one is true, courtesy of my mother.
Taste is personal and music is very personal but it's incredibly rude to look someone in the eye and tell him or her that the song or band he or she likes is bad. Because you don't know how much a song means to someone. If Taylor Swift's music makes you feel good, lifts you from your bad mood, gets you through the day, all power to you and to her songs. Who am I to judge?
Tuesday, February 3, 2015
Favorite Tracks of 2014
1. James Vincent McMorrow-Repeating
One step takes me home
Two steps back on my own
Three skips to each stone
Four steps back and I'm gone
3. Spoon-Inside Out
Break out of character for me
Time keeps on going when
We got nothing else to give
We got nothing else to give
4. Owl John-Cold Creeps
7. FKA Twigs-Two Weeks
8. The Twilight Sad-There's a Girl In the Corner
You said you'd love me but you'll just forget
(goddamn this song, goddamn it)
9. Sia-Chandelier
1, 2, 3, 1, 2, 3, drink
1, 2, 3, 1, 2, 3, drink
1, 2, 3, 1, 2, 3, drink
Throw 'em back 'til I lose count
10. Sam Smith-Stay With Me
But you can lay with me so it doesn't hurt
11. Kevin Drew-Good Sex
We delay every horse in the kingdom
We divert every flow to a sinkhole
And I stare at the room in the send off
To repeat every word as it sings out
2. Future Islands-Back in the Tall Grass
Two steps back on my own
Three skips to each stone
Four steps back and I'm gone
3. Spoon-Inside Out
Time keeps on going when
We got nothing else to give
We got nothing else to give
4. Owl John-Cold Creeps
5. Owl John-Stupid Boy
A rubber mind, a messy heart,
I'm breaking down on boulevards,
A dumb and dickless rocking horse,
Forever witless and never fully grown
I'm breaking down on boulevards,
A dumb and dickless rocking horse,
Forever witless and never fully grown
(Yeah, I put two Owl John songs on the list back-to-back. They're both that good.)
6. James Vincent McMorrow-Red Dust
Sometimes my hands they don't feel like my own
I need someone to love
I need someone to love
I need someone to hold
7. FKA Twigs-Two Weeks
Give me two weeks, you won’t recognize her
8. The Twilight Sad-There's a Girl In the Corner
(goddamn this song, goddamn it)
9. Sia-Chandelier
1, 2, 3, 1, 2, 3, drink
1, 2, 3, 1, 2, 3, drink
Throw 'em back 'til I lose count
10. Sam Smith-Stay With Me
11. Kevin Drew-Good Sex
I'm still dreaming with you, baby
12. The Felice Brothers-Saturday Night
I ain't the Boss but I'm his illegitimate son
'cause baby, I was born to run
(I love that lyric. Come at me, Pitchfork.)
13. St. Vincent-Prince Johnny
I wanna mean more than I mean to you
14. Owl John-Don't Take Off the Gloves
So come at me when I'm weak, degraded, and undone
just don't take off the gloves
15. Sylvan Esso-Coffee
The sentiment's the same but the pair of feet change
16. tUnE-yArDs-Real Thing
Water if water is wet
don't have a penny, I look good in debt
17. The Antlers-Revisited
You can’t unbreak our broken leases
holding on to broken pieces, so return them
no guilt, no sorry speeches
18. The War on Drugs-Red Eyes
(I dare you not to dance)
19. We Were Promised Jetpacks-I Keep It Composed
I keep it composed, I keep it so poised
I keep it together by keeping the ship but sinking the treasure
20. The Twilight Sad-Sometimes I Wished I Could Fall Asleep
Will you call me when you're there
run your fingers through your hair
(I just had to include this song on the list in some way, shape, or form. Why? For one, it was a favorite for me on this album right off the bat, and I think it's very different from other TTS songs. And, you know, James Graham's voice is absolutely incredible.)
Saturday, January 24, 2015
Lust is my friend. She comes to me when I'm tired.
I feel like I'm constantly writing about how disappointed I am by artists I used to love (I'm beginning to just feel like music just belongs to a moment, not forever). I guess because the only bands I've truly loved over the last two years or so are Frightened Rabbit and The Twilight Sad, and really, how much do you want to hear about them? (But seriously, go listen to both of those bands. Now.)
Anyway, enough about those Scottish bands because it's a new year and new records are being released (and lemme just say, it's already been a great year, three weeks in). And this week saw the release of albums by two bands I listened to a lot of in college: Belle and Sebastian and The Decemberists. The latter, let me tell you, was one of my favorite bands about 10 years ago or so, and their first three albums are very important to me. I can still listen to "The Bagman's Gambit" and "We Both Go Down Together" and "The Island" and get excited and overwhelmed (tell me the tempo change in "The Bagman's Gambit" isn't incredible). The lyrics to "On the Bus Mall" are some of my favorite of all time, and you know how I feel about lyrics. Colin Meloy is a genius, and they are a terrific live band. I admired The Hazards of Love (my favorite thing about it was probably Shara Worden's vocals) but didn't care much for The King is Dead (sounded like a bunch of late-era R.E.M. b-sides) but once I heard they were releasing a new record this year I was like YES! NEW DECEMBERISTS! But basically that was out of habit. Everyone gets excited when they hear a band they really like/liked is gong to release a new record, especially now when you can stream everything so there's nothing to lose by listening to it. It was nice to have The Decemberists back, even if I didn't end up enjoying the record.
Well, now the record is out. Meh. But this isn't going to be a post about how disappointed I am about What a Terrible World, What a Beautiful World because I had no expectations. And it's a nice album. It's been called "unambitious" in a lot of reviews, and I think that's probably the best way to describe it. All of the songs, to me, sound the same, and that is never the case with The Decemberists. I get it, they're getting older, I understand the path they're going, whatever. It doesn't seem as offensive to me as The Avett Brothers (because I don't feel like they have anything to gain from changing their sound). I accept it. They may never write a song as epic as "The Wanting Comes in Wave/Repaid" and may never use a harpsichord again. I guess that's...okay. My only issue is that those things, the harpsichord, the elaborate string sections, the songs about rakes and knaves and pirates and whales and chimbley sweeps, the whole epic nature of it all, that's what makes The Decemberists The Decemberists. All of the down tempo songs, the Americana on the new record are fine but not for The Decemberists. It's nice to have you all back, truly, but I'll be listening to Picaresque and Her Majesty The Decemberists and Castaways and Cutouts (and some of The Crane Wife, actually) while being very glad of the fact that you're no longer on hiatus.
(I just want to say that yes, you're right, I did think ever song on Nobody Wants to Be Here and Nobody Wants to Leave sounded the same upon first, second, and third listen but...the great reviews made me want to keep trying. I am going to keep trying with What a Terrible World... too but nobody is saying much about it other than, "uh...it's nice.")
Speaking of Scotland...Belle and Sebastian also have a new record out. My love of that band lasted about...six months, and over the years, I've basically distanced myself from them. They are very twee, yes, and sometimes kind of lame but when I heard the new album was coming out, I thought, "Well, something to listen to." I mean, they're always a band I felt affinity towards (probably because "Dress Up In You" is one of my favorite songs ever), and I always want them to do well (this is the story with every Scottish band, isn't it?) So, I'm not in love Girls in Peacetime Want to Dance yet but it excites me. Every B&S record should sound like ABBA. (Every record ever should sound like ABBA.) I don't want you to think that I love (or even like) every track but Jesus Christ, when it's good, it's good. I thought "The Party Line" was good but holy shit, "Enter Sylvia Plath" and all its europop-goodness! We're less than a month into 2015 and I'd be hard pressed to find a) a better song this year and b) a lyric I'll like more than "be your sidecar if you want to race." And then you get to "Play For Today," which is such a sweet song, and Stuart Murdoch's vocals are so incredible, they almost make me emotional (and my goodness, Dee Dee Penny has some voice, doesn't she?). Or maybe the rush of emotions is just from the fact that song is so good. Or...and I had this thought too but...maybe it has to do with the fact that Murdoch's voice just brings me back to being younger, and listening to "Lord Anthony" and "If You Find Yourself Caught in Love" or "If She Wants Me." It's a comfort. In the same way Colin Meloy's is. The only difference is that where Meloy is writing less-exciting songs that could have been written by anyone, Murdoch stepped up his game and embraced a new sound. I may never love the B&S record beyond these three songs (but I will say, "Nobody's Empire," "The Cat With the Cream," and "The Everlasting Muse" are very good) but I cannot not like it. These three songs are some of the best to come out in a long time, and dare I say better than anything that came out last year?
In other early 2015 releases, Panda Bear's "Mr Noah" is another fantastic song. My God. When the percussion comes in in the beginning! I'm still a bit cold towards the rest of the record but I plan on giving it some more time. Animal Collective-related work really needs some time before it reveals its greatness.
The Viet Cong record (also out this past week) is incredible. Incredible. I can't believe how exciting it! It's a no frills, guitar-heavy record, and it's beautiful (although I find the drums even more exciting than the guitars!) "Continental Shelf"is a fantastic song, and tell me you don't get chills during the tempo change at 1:30.
I'm overwhelmed by how many great tracks we've already gotten so early in the year. That was my big problem in 2014: there were a lot of songs I really loved but nothing spectacular. Nothing like "The House That Heaven Built" or "Dance Yourself Clean" or "Bay of Pigs," even "Acts of Man." But so far, so great. And I'm sure there are a ton of others to come. (Also, props to Dan Mangan for "XVI," even if I'm kind of so-so on the record. The A-side is strong but the B-side seems like a whole lot of filler. Like most of his records. But his voice!)
Know what I don't care for? Brace yourself: the new Sleater-Kinney. Seriously, I am really trying with it, waiting for it to get better. Maybe it's just not for me? It's not like I've always been a fan anyway. But all I keep hearing is how fantastic it is and I'm like, "whatever, nothing special." I'm beginning to think it's just a whole lot of people expressing their pleasure over them coming back from hiatus. Lately I feel like people just have knee-jerking responses to records and are all like IT'S FANTASTIC! and then their opinions come to change. We all know I have the opposite responses to records. But for me, it's the opposite, and it is an amazing feeling when a record finally clicks with you. For me, it's the stuff I love right away that I end up listening to less.
Anyway, enough about those Scottish bands because it's a new year and new records are being released (and lemme just say, it's already been a great year, three weeks in). And this week saw the release of albums by two bands I listened to a lot of in college: Belle and Sebastian and The Decemberists. The latter, let me tell you, was one of my favorite bands about 10 years ago or so, and their first three albums are very important to me. I can still listen to "The Bagman's Gambit" and "We Both Go Down Together" and "The Island" and get excited and overwhelmed (tell me the tempo change in "The Bagman's Gambit" isn't incredible). The lyrics to "On the Bus Mall" are some of my favorite of all time, and you know how I feel about lyrics. Colin Meloy is a genius, and they are a terrific live band. I admired The Hazards of Love (my favorite thing about it was probably Shara Worden's vocals) but didn't care much for The King is Dead (sounded like a bunch of late-era R.E.M. b-sides) but once I heard they were releasing a new record this year I was like YES! NEW DECEMBERISTS! But basically that was out of habit. Everyone gets excited when they hear a band they really like/liked is gong to release a new record, especially now when you can stream everything so there's nothing to lose by listening to it. It was nice to have The Decemberists back, even if I didn't end up enjoying the record.
Well, now the record is out. Meh. But this isn't going to be a post about how disappointed I am about What a Terrible World, What a Beautiful World because I had no expectations. And it's a nice album. It's been called "unambitious" in a lot of reviews, and I think that's probably the best way to describe it. All of the songs, to me, sound the same, and that is never the case with The Decemberists. I get it, they're getting older, I understand the path they're going, whatever. It doesn't seem as offensive to me as The Avett Brothers (because I don't feel like they have anything to gain from changing their sound). I accept it. They may never write a song as epic as "The Wanting Comes in Wave/Repaid" and may never use a harpsichord again. I guess that's...okay. My only issue is that those things, the harpsichord, the elaborate string sections, the songs about rakes and knaves and pirates and whales and chimbley sweeps, the whole epic nature of it all, that's what makes The Decemberists The Decemberists. All of the down tempo songs, the Americana on the new record are fine but not for The Decemberists. It's nice to have you all back, truly, but I'll be listening to Picaresque and Her Majesty The Decemberists and Castaways and Cutouts (and some of The Crane Wife, actually) while being very glad of the fact that you're no longer on hiatus.
(I just want to say that yes, you're right, I did think ever song on Nobody Wants to Be Here and Nobody Wants to Leave sounded the same upon first, second, and third listen but...the great reviews made me want to keep trying. I am going to keep trying with What a Terrible World... too but nobody is saying much about it other than, "uh...it's nice.")
Speaking of Scotland...Belle and Sebastian also have a new record out. My love of that band lasted about...six months, and over the years, I've basically distanced myself from them. They are very twee, yes, and sometimes kind of lame but when I heard the new album was coming out, I thought, "Well, something to listen to." I mean, they're always a band I felt affinity towards (probably because "Dress Up In You" is one of my favorite songs ever), and I always want them to do well (this is the story with every Scottish band, isn't it?) So, I'm not in love Girls in Peacetime Want to Dance yet but it excites me. Every B&S record should sound like ABBA. (Every record ever should sound like ABBA.) I don't want you to think that I love (or even like) every track but Jesus Christ, when it's good, it's good. I thought "The Party Line" was good but holy shit, "Enter Sylvia Plath" and all its europop-goodness! We're less than a month into 2015 and I'd be hard pressed to find a) a better song this year and b) a lyric I'll like more than "be your sidecar if you want to race." And then you get to "Play For Today," which is such a sweet song, and Stuart Murdoch's vocals are so incredible, they almost make me emotional (and my goodness, Dee Dee Penny has some voice, doesn't she?). Or maybe the rush of emotions is just from the fact that song is so good. Or...and I had this thought too but...maybe it has to do with the fact that Murdoch's voice just brings me back to being younger, and listening to "Lord Anthony" and "If You Find Yourself Caught in Love" or "If She Wants Me." It's a comfort. In the same way Colin Meloy's is. The only difference is that where Meloy is writing less-exciting songs that could have been written by anyone, Murdoch stepped up his game and embraced a new sound. I may never love the B&S record beyond these three songs (but I will say, "Nobody's Empire," "The Cat With the Cream," and "The Everlasting Muse" are very good) but I cannot not like it. These three songs are some of the best to come out in a long time, and dare I say better than anything that came out last year?
In other early 2015 releases, Panda Bear's "Mr Noah" is another fantastic song. My God. When the percussion comes in in the beginning! I'm still a bit cold towards the rest of the record but I plan on giving it some more time. Animal Collective-related work really needs some time before it reveals its greatness.
The Viet Cong record (also out this past week) is incredible. Incredible. I can't believe how exciting it! It's a no frills, guitar-heavy record, and it's beautiful (although I find the drums even more exciting than the guitars!) "Continental Shelf"is a fantastic song, and tell me you don't get chills during the tempo change at 1:30.
I'm overwhelmed by how many great tracks we've already gotten so early in the year. That was my big problem in 2014: there were a lot of songs I really loved but nothing spectacular. Nothing like "The House That Heaven Built" or "Dance Yourself Clean" or "Bay of Pigs," even "Acts of Man." But so far, so great. And I'm sure there are a ton of others to come. (Also, props to Dan Mangan for "XVI," even if I'm kind of so-so on the record. The A-side is strong but the B-side seems like a whole lot of filler. Like most of his records. But his voice!)
Know what I don't care for? Brace yourself: the new Sleater-Kinney. Seriously, I am really trying with it, waiting for it to get better. Maybe it's just not for me? It's not like I've always been a fan anyway. But all I keep hearing is how fantastic it is and I'm like, "whatever, nothing special." I'm beginning to think it's just a whole lot of people expressing their pleasure over them coming back from hiatus. Lately I feel like people just have knee-jerking responses to records and are all like IT'S FANTASTIC! and then their opinions come to change. We all know I have the opposite responses to records. But for me, it's the opposite, and it is an amazing feeling when a record finally clicks with you. For me, it's the stuff I love right away that I end up listening to less.
Subscribe to:
Posts (Atom)