left off the tracks.

14 May 2013

Dancin’ in the Streets…a quarterly mixtape

Callin’ out around the world, are you ready for a brand new beat?
Summer’s here and the time is right for dancin’ in the street.
Dancin’ in Chicago (dancin’ in the street)
Down in New Orleans (dancin’ in the street)
[San Francisco]*

All we need is music, sweet music,
There’ll be music everywhere

- Martha and the Vandellas

Recently, I had the good fortune to travel down to New Orleans with a couple of friends for Jazz Fest. Although there are many songs and styles more intimately connected to NoLa (“House of the Rising Sun” or even the more apropos “City of New Orleans” given my point of origin and very memorable night which I’ll reference further below), this is the one that always comes to mind first because it is the vision of the city I always had: a city pulsing with life and energy such that one was inspired to dance at any given moment, even on the city streets in the plain light of day. (Something that pleases me, given my propensity to shimmy at the slightest provocation.) Despite some intermittent rain and unseasonably chilly weather, I was pleased to find that folks were undeterred by the weather, moving with fervor and relish through muddied fields and muggy air. And the music… it poured forth from every corner as though it too could not be tempered by even the slightest of inclement skies. It was a revelation to a first time visitor, who will surely return anon.

...all the streets are a stage.

in NoLa, all the streets are a stage.

…but this is not a collection of New Orleans inspired songs or the music it nurtured and shared with the world. It serves as inspiration and catalyst for my thoughts about the year to date: a topsy-turvy and unexpected serious of fortunate and curious events. But, such is life isn’t it? And, so I share with you a collection of songs that have been the soundtrack to my trips, excursions, and wanderings for the past couple of months; an admittedly odd combination of artists to share a single “bill” yet for those that follow my musical dalliances, not totally unexpected. Whether it’s Karen O channeling Madonna’s “Like a Prayer”, Bored Nothing’s invocation of Elliott Smith, Waxahatchee’s plaintive wail, Wayne Coyne’s existential ramblings, DJ Koze and Bonobo’s entrancing groves, Kacey Musgraves and Caitlin Rose’s pleasing Americana, it all blends perfectly in my mind and consciousness. I hope it will please you too. And, help you discover something new or reconnect with an old memory or friend, as music so often does for me.

Without further ado, it’s time to drop the proverbial needle on the turntable and listen to dancin’ in the streets – a 2013 quarterly mixtape.

…as always your thoughts and comments are welcome, I like to know you are listening. I encourage you to share with friends and spread the music… because music has a right to be everywhere.

a.a.

* I love you New York but you’re bringing me down… and for my fellow New Orleans travel mates.

...won't you join me for beignet next year?

…won’t you join me for a beignet or three next year?

p.s. for the curious. . . The memorable night occurred eight years ago when Jimmy Buffett played at Wrigley Field soon after the tragic destruction of Hurricane Katrina. As an encore, he sat on the bleachers of Wrigley Field with guitar in hand and did a cover of “The City of New Orleans” to bring our thoughts and prayers to the people in New Orleans. The gesture was even more poignant because it was written by his friend and longtime Cubs fan Steve Goodman, who unfortunately passed many years before. Even for those who don’t care for Mr. Buffett, his music or the culture that surrounds him, it was a touching and moving moment. And, in the fascinating ways of the internet, it is captured below. Enjoy.

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13 May 2013

Pretty in Synth . . . party like it’s 1986 with O.M.D., Young Galaxy, and Rainbow Arabia

Growing up in South Florida in the 1980s, you were about as far removed from U.S. pop culture as those who grew up on the other side of the Atlantic. Yet, if you had access to a television set or frequented the cinema with some regularity, you probably had the unique joy of catching one of the many fabulous coming-of-age films by John Hughes. And, perhaps you saw them more than once thanks to the local access “movie of the week” or if you were lucky you had a VHS or Beta cued up when Ferris was about to go on the greatest day off from school ever. I don’t think it is a stretch to say that I learned more about being a teenager from John Hughes films than any of the foolish escapades I took as an adolescent. It isn’t because I lived a sheltered existence.

pretty-in-pinkRather, the “kids” in Hughes’ films gave voice to the feelings of alienation, ennui, anger, joie de vivre, and whimsy all teenagers of that time and age felt — granted I wasn’t quite their age at the time. In a country ostensibly devoid of political crisis or cultural strife, how could you really not be anything but appreciative and feel fortunate? (Clearly the question is rhetorical and recognizes that for many things weren’t so perfect, to say the least.) Perhaps, one could argue that these stories were too pristine and romanticized, devoid of real challenges, and based on an idealization of youth. Let’s be honest all the films revolved around the lives of mostly well-to-do, middle class white adolescents growing up in the suburbs (sure Molly Ringwald‘s character in Pretty in Pink or Emilio Estevez in Breakfast Club represent a different perspective to the foregoing statement but they are the exceptions in the Hughesian adolescent oeuvre). Certainly they didn’t deal with the same challenges as those faced by the characters in Boyz n the Hood or even Boys Don’t Cry. But, does that devalue their stories and experiences? I think not. And, certainly, if you were a child growing up in the 80s, you probably wanted to be, date, or envied Ferris; identified with Cameron or Michael Anthony Hall‘s nerdy characters; had a teacher like Mr. Vernon you seriously disliked; or had a crush on Ally Sheedy, Molly Ringwald, Lea Thompson, the Sheen brothers, or Andrew McCarthy.  (I’ll admit I always preferred Ally Sheedy.)

…but what does this have to do with music? Along with making some phenomenal films, John Hughes also ushered in the return and rise of popular music in films (sure The Graduate and Midnight Cowboy had some pretty important songs…). It’s nearly impossible to hear The Psychedelic Furs’ “Pretty In Pink” and not think of Molly Ringwald, Annie Potts, and Duckie (aka Jon Cryer). Or, Wayne Newton’s “Danka Schoen” and the Beatles cover of “Twist and Shout” and not envision Matthew Broderick dancing on a parade float with the St. Paulie Girl look-a-likes on the streets of Chicago (a film sequence that might be one of the most joyful, grin inducing ever).

But, the song that forever left an indelible mark on my psyche and musical taste was “If You Leave” by O.M.D. (or Orchestral Manoeuvres in the Dark), the English synthpop band that was part of growing (new) wave of dance-pop along with Yaz, Depeche Mode, Erasure, and the Pet Shop Boys. “If You Leave” embraces the passion and intensity of young love with such sincerity and gusto that it is impossible not to feel for singer’s resigned hopelessness and plea to not look back on the love that has been so foolishly discarded. Come on if “If You Leave” doesn’t move you, I’m a little worried.

OMD_-_English_ElectricWell, O.M.D. after a couple of years on hiatus have returned with a new record and to listen to them you’d almost think the last 30 years of music hadn’t happened. In all fairness to these elder statesmen of synthpop, their influence (along with the other forefathers of new wave synth) is pretty prevalent throughout the pop/indie/r&b landscape these days. Lots of artist/bands like Robyn, Niki & the Dove, Twin Shadow, Grimes, and M83 have been digging into these sounds for some time now. So why shouldn’t O.M.D. get back in the game?

English Electric is such a delightful and refreshing time capsule for those of us raised on 80s pop that you almost wonder why folks stopped making this sort of music. Whether it’s the odd obsession with robots and computer sounds on “Kissing the Machine” or the unabashed hopeless romantic on “Stay with Me”, O.M.D. deliver a pleasing and quirky morsel of synthpop goodness that gets you shaking and eager to dig up all those old adolescent mixtapes when videos not napster killed the radio star. O.M.D.’s music isn’t going to change the world or alter your musical perspective but it is a reminder that music can be carefree and joyous while still being earnest and heartfelt. Heck, Robyn’s Body Talk was basically the 21st Century revival of 80s dance music and LCD Soundsystem’s This is Happening borrows heavily from New Wave and pretty much everyone I know loves those records. So, if you want to take a little venture back to the 80s then join O.M.D. and listen to English Electric.

And speaking of contemporary bands working in a similar sphere, here are two that I can’t stop listening to:

  • Vancouver, Canada’s Young Galaxy have an early 80s New Order with an infectious dance-ability and a tongue-n-check lyricism that enhances their charm. Check out Ultramarine
  • Los Angeles’ husband and wife duo Rainbow Arabia definitely channel the 80s on  FM Sushi with great aplomb

Lots of people would like to forget the 80s ever happened, especially when it comes to music, I for one think there were a lot of great sounds that it helped popularize.  This just one example.

See you in detention…

a.a.

p.s. …for those who really want to go on trip down memory lane: The Pretty In Pink Soundtrack

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30 Apr 2013
1 Comment

Hockey Night in North America – A Musical Ode (of sorts)

. . . or How Propagandhi Helped Alleviate (Some of) the Ethical Concerns Around my love of Sports

But I guess it comes down to what kind of world you want to live in. . . Propagandhi

Along with my unabashed love of music, I also am an ardent sports fan, but it comes with many recrimination and caveats.  At their purest level, the games I follow celebrate team-building values, individual excellence, and tell an unfolding national and cultural history, drawing connections between past and present and across cultures.  How can you not love watching the kid or kids from various towns rising to the largest stage, carrying the weight and expectations of countless fans, whether a city, a state, or a country, to the pinnacle of their field?

But, the reality is unfortunately not so simple or story book.  All sporting events, whether professional or collegiate, are subject to the same capitalistic, opportunistic, exclusionary, and oppressive strains that exist throughout history and culture.  One simple example in the fantasy alluded to above is the fact that the kid or kids on the screen or in the papers are usually men.  As a society we are still amazingly behind in equality of the sexes in the sporting world (not that other industries or sectors are that much better).

But, we improve or strive to improve over time.  Yesterday, in fact, was another important chapter in the progressive evolution of sports with Jason Collins’ announcement, the first active professional athlete to come out.   It is definitely a great story and hopefully the beginning of more to come.   However, I also wonder why Jason Collins’ announcement was more widely reported than Brittney Griner’s (Baylor Grad, NCAA Champion and soon-to-be WBNA #1 draft pick) similar announcement weeks back.  I think I know the answer to that but more than anything it reveals what is true about sports and the culture and media surrounding it:  it’s a complicated area.

On the eve of the Stanley Cup Playoffs, I am eager for weeks of playoff hockey but, as always, my excitement is tempered with concern and the question “why do I care about something so ostensibly frivolous?”   (Now don’t say that to the rabid Blackhawks fans that I’ll likely be cheering with.  But for me it’s true, and, this is coming from a boy who has cried on countless occasions when his sports teams choked.  #noshame)

What does this have to do with music?  Listen to this song by the phenomenal Canadian Punk rock band (and equality activists) Propagandhi*, “Dear Coach’s Corner”.  It is a little palliative for those of us who engage in the internal struggle of being a thoughtful and/or progressive individual and a sports fans.  We love the game(s) but cringe at the culture and circus surrounding these kids’ games**.

Off the soap box and into the frying pan,

… and go Hawks!

a.a.

* The gentlemen of Propagandhi are no strangers to politically themed or driven songs.  Check out their fantastic Less Talk More Rock or Today’s Empires Tomorrow’s Ashes.  Whether you agree with everything they fight for or not, I will say that they do manage to package their message into some powerful art with a health dose of self awareness (i.e., “…and yes I recognize the irony that the system i oppose affords be the luxury of biting the hand that feeds…” from another song with a hockey allusion).  ”I was a Pre-Teen McCarthyist” has always resonated quite a bit with me.

** No disrespect meant to professional athletes.  You get to live out the dreams of countless children and adults(-like children like myself).

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25 Apr 2013
2 Comments

Circumnavigating the Interior: William Tyler’s Impossible Truth

When a record captures your imagination by its sparseness, it is a thing of inexplicable brilliance. On Impossible Truth, William Tyler strings together a set of eight entirely instrumental, guitar-centric compositions that will leave you breathless and star-gazing.  Taken as a whole, the record evokes a literal and figurative rumination on the search for understanding, the wander lusting or truth seeking for which I bear an unapologetic and unwavering fondness.

Impossible-Truth-final-3

But, how can an album without words generate an ostensible philosophical mindset?  Through association and impressionistic sketches of desolate and expansive aural space(s), the pieces on Impossible Truth connects with a catalog of songs, soundtracks, and orchestrations stored in my musical subconscious that generate a place of peaceful mindfulness and exploration (including but not limited to Explosions in the Sky, Godspeed You!, James Blackshaw, Brokeback, Tristeza, Morricone, Reich, Glass, Nyman, etc.).  Recalling the Daoist/Taoist precept, “the journey of a thousand miles begins with a single step” (or the pop culture distillation of said maxim, the Beatles’ “Within You Without You”), Impossible Truth is an invitation to venture into the wild regions of one’s consciousness and the synaptic gaps lodged in the oft underappreciated grey matter we all share.  It is both a thrilling and curious ride, filled with moments of melodic ecstasy and beauty counterbalanced by melancholic and dirge-like interludes, a sketch of the emotional/philosophical roller coaster we endure in our travels.  Perhaps this is all a fanciful interpretation of my own making, but with titles like “Country of Illusion”, “The Geography of Nowhere”, “We Can’t Go Home Again”, and “The World Set Free” (recalling to this ex-Lit Crit discontent, Barthes, Baudrillard, Wolfe, and Wittgenstein, respectively), the accidental listener cannot help but speculate on the larger possibilities contained within.  However, you approach this Impossible Truth, one thing is certain, you will find solace and comfort in the undulating embrace of Tyler’s majestic tapestry of sound.

For the curious set, Tyler is yet another Nashville musician (seem to be lots popping around here) who has played with a number of other bands including Lambchop.  As of this writing, he will play with local Chicago (indie) instrumental band Brokeback (of whom I wrote a couple of months back) at the Hideout (in Chicago).  If you love technical mastery of musical instruments, I highly recommend checking both acts out; it will be less rock and more reverie but with that transcendent quality we rarely encounter in our day to day.

Join me for a pleasant ride into the sunset and into another great beginning with  William Tyler’s  Impossible Truth.

a.a.

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24 Apr 2013
2 Comments

Madchester Redux? The 1975’s Sex and Music for Cars

And this is how it starts… again.

After a rather extended absence, what better way to jump back into the fray than an adrenaline inducing track filled with amorous yearning that hits on every pleasure point of a stellar Indie-Pop/Rock song.

From the opening notes, “Sex” will incite even the most callous and world weary “grown-up” to eschew maturity and responsibility for a brief reverie into the joys of youthful pining, the unquenchable desire of the unattainable lover, at least according to the script cause after all “she’s got a boyfriend anyways…” The song progresses at an unrelenting pace like the beat of one’s heart in the throes of infatuation, a slave to the intoxicating power of passion, whether you are currently caught in the maelstrom or in the calm center of the eye, it is a feeling like none other. Also, it doesn’t hurt that the opening line recalls almost verbatim the opening of LCD’s Soundsystem’s “All My Friends” – a generation defining song and narrative. (And, pay attention to the video for some choice background images of great bands and artists we all love. . . or at least I think we do.)

1975 sex epHailing from the hallowed English town of Manchester (home to The Smiths, the Stone Roses, James, The Happy Mondays, aka bands I was obsessed with as an adolescent), The 1975 have an amazing ability to toe the line between a deft pop-rock sensibility (see “Sex” (above) or “Chocolate” from Music for Cars EP) and artful, emotionally packed, and layered orchestral rock pieces (see “You” and “Me” – I appreciate this amusing juxtaposition that can’t help but be intentional). Also, in keeping with the inevitable reemergence of R&B infused pop, “Head.Cars.Bending” evokes the feel of Prince track but remixed by Discovery or an M83/Hot Chip/How to Dress Well mash up. In other words, these guys have an amazing panache for running the gamut of styles and bringing them together in a crowd-pleasing package. I wouldn’t be surprised if they eventually tap into a broader audience.

So catch them now and listen to

The 1975′s Sex EP (2012)

and Music For Cars EP (2013)
the1975musicforcars

See you on the b-side,

a.a.

p.s. Thanks to Sweet the Sound who planted the seed about these guys some time back.

Posted in Check out this Album!, Sensational Songs and tagged , , , ,
08 Apr 2013

A Chill Wave: DJ Koze’s Amygdala and more

In art as in life, patterns emerge with little to no warning. From one day or one week to the next, we can find ourselves immersed in a whole new universe of sounds and experiences before realizing we’ve wormed our way down a rabbit hole, pleasantly ensconced in a new abode filled with warm and inviting, yet previously unanticipated surroundings. Or, in the words of Mr. Lennon, “life is what happens when you are busying making other plans.”

All of a sudden, I find myself immersed in a great deal of chill, downtempo electronic music. If I did some careful connecting the dots, I could easily trace this shift in listening patterns. But, the “why” and “wherefore” eliminate the mystery, so I will dispense with sourcing the transition and recognize it for what it is.

When the world comes at us with its barrage of images, information, memes, and sound bites, we may retreat to a place of “quiet” reflection. From my earliest exposure to EDM, I always found myself drawn towards the more languid and laconic strains of the ambient and downtempo schools. This is part structure and effect. Generally these sub-genres are longer and more intricate in nature, drawing from classical or 20th Century classical compositional traditions, building a musical tapestry of sounds and influence. Well executed house and techno music is also impressively complex but it tends to hit at the more physical, excitable neurons in our nervous system. In other words, it makes us want to move and dance, which, as many of you know, I am not stranger to a good dance party.

de-0331-445852-front

But more often than not, I prefer music as backdrop, inspiration, and catalyst of thought and reflection. Music is my own personal madeliene. It is, thus, quite fitting that the album discussed herein is entitled Amygdala, a section in the human brain associated with memory generally and emotional recollection in particular. If the title is any clue to DJ Koze’s “intent” on this full length collection of engrossing grooves, then get yourself ready for a roller coaster ride of aural synesthesia, yet at controlled pace. It isn’t a stretch to say Koze is a masterful manipulator of sense and feeling. From the opening “Track ID Anyone?”, Koze lays the blueprint for the album as a whole, dexterous blend of musical motifs, from non-Western woodwinds, chimes, percussion and even a subtle Buddhist chant to modern loops and scratches, constantly ebbing and flowing at the right pace to envelope without taking one out of their routine. Although rooted in a decidedly contemporary production style and filled with musical samples from soul and disco, DJ Koze’s Amygdala manages to find an almost a-temporal style perfected by the best of DJ/Composers like Four Tet, Burial or Aphex Twin. Tracks blend into each other like sequences between dreams and when the 80 minute opus is complete, it can be difficult to find the “moments” that struck the deepest. It is full immersion listening and thus rather than discussing individual “tracks”, I suggest you get on board with the whole magical mystery trip.

Listen here to DJ Koze’s Amygdala

More where that came from…

Okay so if you want to keep on a voyage into the realms of chill, I’ve got a couple of more suggestions.

Following in a similar vein of contemplative EDM, FaltyDL’s Hardcourageis another thought and calm-inducing set of loops and rhythms. Rooted in a harder, more “traditionalist” approach to EDM, this will be even more trance-inducing listen.

What follows is, I hope, an ongoing set of recommended digital mixes courtesy of my friend Simar, who aside from being a crafty entrepreneur is also a connoisseur and promoter of underground EDM and dance music. As an introduction to “what I’m missing” (note: my words not his), here are two digital mixtapes for your listening pleasure. Let us know what you think . . .

S&T Podcast 06: Bob Moses

Electronic Groove Podcast 380: Franco Harris

Listen via iTunes or download here.

a.a.

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05 Apr 2013

Nashville Skyline: Kacey Musgraves and Caitlin Rose

Move over Ms. Swift… while Taylor spends her days exploring new real estate ventures and divulging her personal life through song and print, the country ingénue throne does not sit idle. Like a George Martin novel, reigns. even in the realm of “pop” are not something to be guarded flippantly and always subject to conquest by a rotating carousel of aspirants, though some present clear and present danger. All medieval allusions aside, two phenomenally talented singers and songwriters have caught my ears with their earnest and dulcimer tones over the past two months. Although I think Ms. Swift’s pop-stardom is unlikely to be stripped away easily, these two young Country chanteuses definitely have the panache and charm to rival and exceed, at least, on the artistic front. One will almost certainly be a household name, even for the non-Country music fans, by year’s end, Kacey Musgraves, and the other most definitely should be.

One story at time…

kacey-musgraves-same-trailer-different-park

On why Ms. Musgraves is destined for stardom . . .

Before discussing her music, let’s start with some data points. First, Kacey’s lead single “Merry Go Round” was featured and spotlighted on NPR’s All Songs Considered and from what I’ve heard via friends and family, there was also a little public radio spot on her. As a country music singer, getting the “public radio” listening crowd into the fold is, from a marketing perspective, quite genius. You are getting impressive cross-over appeal by reaching into a demographic that I would venture to say isn’t generally “in to country” (in the same way many folks aren’t “in to Jazz”, but I’ve gone off on that subject before . . .). Second, doing a complete 360, Musgraves is also opening for Kenny Chesney on a rather extensive large-venue tour, displaying her talents for traditional Country fans. All of this leads me to believe you will all be humming her music soon enough.  And, this is where the music enters the picture.

Although many music aficionados (or music geeks, nerds, or snobs) tend to glance askance at the mention of all things country, there is a whole lot to love about a good country song. Between their raw and bitter honesty and candid observations on the inexplicable tragi-comedy of daily life, a good country song tends to anchor itself in our thirst for the unadorned reality of our experiences. In the US, it also builds on our love of storytelling in the first person singular (e.g. history with lower case “H”). Country, in my estimation, has always been a unique American take on Folk music. Where Folk tells the story of the collective (the “we”), Country is always about the “I”*.

Kacey Musgraves’ Same Trailer Different Park is a perfect anthology of lives scattered across the country, struggling to get by, get ahead, get away, and get “it” (being life, liberty, or the pursuit of happiness or all of the above). But, aren’t we all in some way? Aside from the lead single “Merry Go Round”, perhaps the most compelling track on this record is Musgrave’s anthem of self-actualization: “Follow Your Arrow”. Detailing a laundry list of labels imposed on women by the world at large, whether the subject is physical appearance or lifestyle choices, Musgraves acknowledges that judgment is unavoidable no matter what one chooses: “If you save yourself from marriage you’re a bore, you don’t save yourself for marriage you’re a horr-ible person“. (The clever word play isn’t as evident in print as it is in intonation.) Echoing a theme that runs throughout the record, Kacey implores her listener (and likely herself) to follow one’s internal compass regardless of other’s views, even embracing choices that don’t subscribe to traditional cultural norms of Country music (e.g., offering no judgment and encouraging her female audience “to kiss lots of girls if that’s what you are into” (it’s no “Same Love” but in a genre dominated by hetero-normative standards, it’s a good step)). But Musgraves isn’t just telling tales of young, pie-eyed dreamers, there is the Sisyphus-like desire of “Merry Go Round”, recounting the seeming dead-end of small town America, or the darker, nihilistic longing of “Blown’ Smoke”, the tale of cocktail waitresses always trying to hitch the next ride of town, yet never actually taking off on their breaks. Finally, there are the inevitable love songs or love-lorn songs, but with a pleasant twist. Instead of the frail, discarded lover, “Keep It To Yourself” is a reflection on how to cut off the past and avoid the pratfalls of “falling back in”. Yet, the music is filled with remorseful tones, illustrating the emotional tumult of creating distance despite the desire against.

If I haven’t persuaded you to listen to Kacey’s record, well, that’s okay. I bet you’ll be humming one of these tunes before year’s end.

For the rest: Listen to Kacey Musgraves’ Same Trailer Different Park

Not a back up act by any means . . .

rose stand in

On the cover of Caitlin Rose‘s The Stand-In, the Nashville singer glances over her shoulder, a look that is once beguilingly inviting and assertively guarded, all while evoking a 50s era charm and aesthetic (for the Mad Men fans). Although this doesn’t tell the entire story, it helps frame Rose’s songs: floating between joy inducing escapism and torch-song epiphanies. Where Kacey’s music veers more towards the pop-Country sensibility, Rose’s music veers towards Americana and Alt-Country. In fact, the album’s lead single “Only A Clown” is a collaboration with the Jayhawks’ Gary Louris, and definitely evokes the feel of Save It For A Rainy Day. However, to me she recalls another beloved and sweet singing Caitlin (e.g. Caitlin Cary of Whiskeytown and a solo songwriter in her own right) and the gorgeous voices and songwriting of Kelly Hogan, Neko Case, and Nora O’Connor (all of whom are coincidentally friends and work together). What Rose shares with all these ladies is not only a phenomenal ability to serenade you into submission but songwriting that dips into 50s and 60 pop music and country, doing it with little frills or modulation: it is a voice filled with stories that demand your attention. These are the songs you’d hear in the dark-light nightclubs or dive bars in hidden recesses of your town, where the regulars have stories wedged in the wrinkle and worn edges of their faces, revelations about the pitfalls or aspirations we all share.

For those who are adventure seekers, wanderers, and dreamers, listen to Caitlin Rose’s The Stand-In

. . . you’ll feel like you found a lost AM radio station or stumbled through a mix from your parent’s record collection.

Although you can listen to the whole record above, here is a teaser for the curious

Catch Caitlin Rose on the road, dates on her website.  (Chicagoans, she plays Schuba’s on Tuesday!)

Enjoy the weekend.

a.a.

notes from above:

*Americans tend, based on our individualist extolling history, towards narratives about the “I”. Although ostensibly self-centered, “I” storytelling actually builds community and connection with others. In other words, we embrace our uniqueness and join it with others, we don’t subject ourselves to faceless group identification, if anything this is one of those lasting impressions of what I think it means to be “an American”.

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01 Apr 2013
2 Comments

Windswept Visions with Brokeback and the Black Rock

Few things are as pleasing as a wide untrammeled expanse. Perhaps, this is the “city kid”, urban-discontent talking with his longing for the uncharted spaces on the map, for the stillness and the starkness of another less cluttered plane. Or, it could be something deeper, in those of us who find the thought of “nothingness” appealing.  I know I’m not alone. If you have ever seen the film Lawrence of Arabia, there is a scene where Prince Faisal says to Lawrence “I think you are another of these desert loving English…”

Although not an Englishman I share Lawrence’s fascination with the tan windswept dunes that appears to exist to eternity, an infinite space of barrenness, life sustained on the most minimal of sustenance. Strange, given my upbringing in the polar opposite of climates — coastal, humid, and filled with precipitation and moisture that eludes the deserts. And, yet, I dream of caravans . . . this is why I’m drawn to music that evokes the sands, it is life at its most essential.

Brokeback isn’t necessarily making music for the urban discontents like myself. Yet, their music with its sprawling, cavernous roaming and legato flow evokes the arid plains and journeying. Drawing to mind Ennio Morricone’s classic spaghetti Western soundtracks, Calexico’s hybrid Mariachi/Cowboy Southwestern hybrid, and Angelo Badalamenti’s Lost Highway or The Straight Story scores, all musically re-imagining and conjuring the Western reaches of American scheming and the manifest destiny impulse of conquests and desire practiced by America’s forefathers, Brokeback’s Brokeback and the Black Rock is a window into the infinite, or the seemingly endless sprawling of our searching. Glance at the cover and at once you are struck by the inherent juxtaposition of “nothingness” for there is no nothing at the end of American empire building, we create way stations, modern oasis to perpetuate our goings and coming. And yet to where?

bback

I struggle to explain my obsession with this record (and certainly the foregoing is more inspiration than explication), in the same way I struggle to explain my fascination with other purveyors of instrumental rock such as Godspeed You! Black Emperor or Tortoise (the similarity to the latter owing to Brokeback being an side project of the band’s bassist Doug McCombs). The explanation is akin to the effect of abstract-expressionist art – a sensation, a feeling, an intuition, an immediacy of thought.

But, not just that, often it is connections that listening without distraction, when words fade away, gives rise to. And, it dawned on me, while walking across the Chicago River the other day, starting at the sky pregnant with anticipation of acting, poised to unleash or just tease. The snake charmer guitar, the laconic hum of the organ, the ominous percussion in the wings, it all brought me back to adolescence, to a/the memory of the death rattle shaman songs of Mr. Mojo Risin, ”The End” and “Riders on the Storm”, on his exploration of American hypocrisy in in search of transcendence.  At once celebration and encomium, those songs whose extended play and amalgamation into popular culture strips them of their (to this day) naked, raw lyrical power: euphoric dirges to an imagined purity – virgin earth and living in the moment. Real or romanticized?  You be the judge. Despite the crushing blow to my adolescent self it’s far more complicated than that. Or is it. Admittedly I don’t know. Situated in the space between ultra-conscious liberals and “woo” conscious believers. I often wonder whether thought explains feeling or feeling engenders life to think. The scientific method explains but depresses. The “woo” expands but evokes skepticism. Where is one to come down? No answer yet. Not sure there will be one.

So, listen to this record: Brokeback – Brokeback and the Black Rock

the album is work of utter beauty and serenity.  (as you can see above) it gives rise to countless inspiration or visions of . . . well it all depends on where you want to go.

See you on the b-side,

a.a.

Posted in Check out this Album! and tagged , , , , , , ,
29 Mar 2013
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Retrofitted: Burning Up the Jukebox with Stax #1s

I am a sucker for a great jukebox. I’ll pony up the quarters (or dollar bills) to get the greatest bang for my bucks, often dolling out the max plays for pay. I tend to prefer the old school jukebox that flips through album covers displaying the proprietor’s musical predilections and taste. For my money, the best tend to run the gamut of musical styles or drill down deep into one sound. Often at home, I find myself trying to recreate the diversity of styles and artists by grabbing a handful of records for rotation on the old turntable. But, some days you don’t want to keep going back and forth, so you want something that brings together a good mix of songs and, yet, I stray from “compilations” and “greatest hits” because they often lack the thematic unity of an album.

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…and then sometimes you just find the perfect album sitting in the used record bin (in near mint condition no less) screaming to come home with you and blast through the stereo speakers. But, why keep this wondrous thing to yourself? Shouldn’t one share the fruits of their discoveries with others? I don’t want to be one of those boys who in the words of Cyndi Lauper, “takes a beautiful girl and hides here away from the rest of the world.” So I share.

What better gift to share than a set of classic, dare I say timeless, tracks from one of the U.S.’ most influential record labels: Stax Records. For those who are unfamiliar or don’t pay attention to labels (of whatever sorts), Stax along with Motown was one of the main incubators and promoters of 50s and 60s R&B, soul, funk and all their respective permutations. Where Motown tended to draw from the Midwest and East Coast, Stax based out of Memphis canvassed the South. Although the late, great Otis Redding is perhaps the most well known artist on the label, there are countless other greats like Wilson Pickett and Isaac Hayes that also either recorded or came under Stax distribution. (And, for the music cognoscenti, yes, Otis was technically on Volt, but it was a subsidiary of Stax, so I am grouping them together.) Although many of the artists on Stax aren’t household names, the songs are definitely rooted in our cultural DNA as North Americans from Sam & Dave‘s “Soul Man” to the Staples Singers‘ “I’ll Take you There” to the theme from Shaft by Hayes. Even if the titles or names don’t ring a bell, I bet the songs will register within seconds and you’ll find yourself singing along, perhaps even wondering, “how do I know the words to this?” The collective unconsciousness is a curious and beautiful thing.  Who knows maybe you’ll even find some previously unknown gems like Johnnie Taylor’s “Who’s Making Love” — a clever rumination on the “player’s plight” with the right amount of cheekiness.

So do yourself a favor get ready for the weekend by getting into the groove with Stax’s Number Ones.

May your day(s) be groovy,

a.a.

Posted in Retrofitted (Records to Revisit) and tagged , , , , , , , ,
27 Mar 2013

Track Stars with Devendra Banhart, Olafur Arnalds, Savages, and Marnie Stern

“track stars”… songs that stop you in your steps and demand your full attention (or songs that I am obsessed with at the outset)*

* and because I can’t always find a witty title (or at least attempt a witty title)

Old New Ways: Devendra Banhart – “Your Fine Petting Duck“

Gifted artists always manage to impress and surprise you. To me, Devendra Banhart has always been a source of pleasure and joy, exploring the curious realm of neo-folk music with a shaman-like mystical ease, characterized by lush, earthy songs and orchestration that draws inspiration from traditions across the globe. His albums are epic explorations into the fantastical and a celebration of the diversity of life yet always tinged with a hint of questioning. In a way, a Devendra Banhart record is almost an invitation to take a trip back in time. So it shouldn’t come as no surprise that his latest full length, Mala, goes back even further than is previous time travels (as if his his music was like Mork, aging in reverse). Well sort of. Mala as a whole is still simmering in my consciousness but this ditty that begins with an almost barbershop girl-group dreary dream quality has totally caught my ear. Two amazing juxtapositions are at work on this track. First the music shifts from the downtempo doo-wop to a pseudo surf rock to an odd French pop dance track, as though Serge Gainsbourg got remixed by late 80s New Order on downers. It’s at once quirky yet totally mesmerizing, at least for those, like myself, who enjoy when the bottom drops out on a song and turn itself inside out. Coupled with the dispassionate, ennui ridden narrator who implores his ex (that is longing for his return) to remember that, no matter how bad her current beau might be, he was just as if not more awful of a partner. Add to this, the almost derisive and mocking “wah wah wah” in the tracks’ mid-point and you have this odd anti-love song. I am not down on love, but there is genius in this romantic nihilism.

In a meditative way: Ólafur Arnalds – Old Skin

… to prove that I’m not totally bleak these days, here is the lead single from Icelander* Olafur Arnalds, “Old Skin” is a gorgeous rumination on what can be and the paths we choose. Like fellow countrymen Sigur Ros, Arnald’s music is delicate, ethereal, transcendental, and totally engrossing. Listen as the song builds from a pensive opening to an ever growing crescendo on the precipice of exploding.  Also, watch the video which captures that moment of total euphoria and bliss one senses when the music truly hits you. Unlike Sigur Ros, Arnalds does not sing in the choir boy falsetto of Jonsi but has a soulful strain in his sound recalling How To Dress Well with the woodsy vocals of Lost in the Trees.

*seriously if there were per capita rankings of genius musicians, I think Iceland would be ranked #1

For a little aggression and shreading: Savages and Marnie Stern

I am totally smitten with these next two tracks and with each spin the crush grows deeper. Words really get in the way of just the joyous adrenaline rush these songs provide both drawing inspiration from different strains of late 70s rock.

On “She Will”, the Savages conjure visions of post-punk heroes Joy Division and Wire but with a vocal performance reminiscent of Patti Smith, PJ Harvey, or Karen O. Yeah, I know those are really bold comparisons, but give this song a listen and see if you really disagree with me.

I am still a bit confused and bemused how no one clued me on to Marnie Stern before I came across here cleverly titled new record (The Chronicles of Marnia) on NPR’s First Listen. For those that love really excellent guitar work with insane finger picking and big hooks, Stern is your gal because she does it without sounding trite or played-out. On the lead single, “Year of the Glad“, Stern just sounds like a kid in a musical candy shop having fun making pristine guitar pop for us “kids” to dance around to with willful abandon.  Can’t wait to see her at the Brooklyn Vegan show at the Empty Bottle April 17th!  Join me if you live in Chicago.  (Also if you are a DFW fan, the title of the song some pleasant smirks.  I doubt this is an allusion to Hal Incandenza’s opening emotional break down, but who knows…)

Who needs caffeine to start your day when you can get some serious rocking out?

a.a.

Posted in Sensational Songs, Trendy Tracks and tagged , , , , , , , | Leave a Comment

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