A Few Songs

I'll pick a song, album, or music video every Monday, Wednesday, Saturday, and Sunday, then I'll write a little bit about it. Hopefully you find a song you like and see where it takes you.

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We’re moving!

Hey all, I’ve decide to move A Few Songs over to Medium. I’ll still post to Tumblr for a while, but the main site will be at this link (https://medium.com/a-few-songs) from now on. I’ll post some of my favorite past reviews there, too. 

Thank you all so much for reading! I love sharing my favorite music with you all!

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This week’s Cover of the Week is Tha Los’ rendition of Bobby Caldwell’s “Open Your Eyes.” The original cut, off of Caldwell’s 1980 album, Cat in the Hat, hasn’t aged particularly well — the production is distractingly muddy and can veer a little too close to cheesy — But, as Tha Los reveal, there’s still a great song underneath all of the early 80s kitsch. 

Tha Los re-imagine the track as a sprawling tour de force, ranging in influence from chiptune to electronica to synth-tinged soul. Anchoring the rendition is a great performance from Carlos Valdez — the only officially listed member of Tha Los — whose voice is clean and incredibly expressive. The song begins with simple, dry synth that slowly begins to build out and give way to the expansive first chorus. After once again paring away the texture, this time to just a piano for the second verse — expertly played by Valdez as well — “Open Your Eyes” explodes into an even bigger second chorus. The ebb and flow of density and aesthetic manages to thrill consistently, never generating whiplash or ever beginning to feel gimmicky. It’s a testament to the Tha Los that they are able to swerve from style to style while making the transitions feel natural, if not inevitable. By the end, the track settles into a groove, becoming a throwback soul track gilded with just the right amount of modernity.  

Tha Los’ cover of “Open Your Eyes” performs a delicate balancing act of moods and styles, as intimate at some moments as it is majestic at others. Somehow it all comes together to an outstanding update for a 35 year old track that is certainly feeling its age. It’s proof that while production and tastes change, a great song is still a great song. All it takes is a really talented group to brush off the dust and make a tune shine again.

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A good pop single is sort of like a rollercoaster, but not in the way you might think. It’s not so much about the ups, downs, twists, and turns, but in the way it locks you in and holds you there for the duration of the ride. With so much music out there, a pop song has to grab you by the collar and not let go until it’s said everything it has to say. Otherwise, most people — myself included — have one foot out the door by the chorus and are gone before the second verse starts. Some songs command this attention with a guitar riff, others with a melody. In her debut single, “Backbeat,” Norwegian-born London songwriter Dagny does it with sheer, propulsive energy.

The title, “Backbeat,” is perfect, because it’s the backbeat that kicks in after some ghostly “ohs” and a piano progression/hook that really makes the song impossible to turn off. The repeated kick drum is a simple technique, but it’s a shot of adrenaline that really gets the song going. Dagny, herself, has a great instrument. It’s powerful and expressive, and it reminds me a little bit of Sara Bareilles. The chorus seals the deal, blowing up the intimate feeling of the verse into an expansive, full band sound. With a thrilling first single, Dagny’s positioned herself as an intriguing new voice in pop music. She’s definitely someone to watch.

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Living inside your own head feels abnormal until you realize that the vast majority of humanity shares the same problem. It’s isolating until you understand the barriers you’re putting up and begin to fight against them. Cardinal, the first full album from New Jersey Alt-Country quintet, Pinegrove, feels as if it traces the journey from those exact realizations to and through the process of figuring out where to go from there. From opener “Old Friends” to the appropriately titled final track, “New Friends,” lead singer Evan Hall’s incisive, carefully chosen lyrics examine hesitation, self-doubt, and, eventually, resolve to escape his “solipsistic moods.”

Just as Pinegrove wins the award for “Only (sort of) Country Act to Reference Solipsism,” it also has the distinction of being the only (sort of) Country band to have a song named “Aphasia.” This, I hope, illustrates what I mean when I say Hall’s words are carefully chosen. He seeks out the exact descriptor of an emotion or situation, whether the words “spectral” or “sublimate” feel at home in a roots rock song or not. Both lyrically and musically, Pinegrove is significantly more “Alt” than “Country,” but neither would give a full enough picture of the group’s sound or feeling. Hall’s lyrics are filled with purple prose, yet remarkably straightforward. They’re the life musings of a relatively young man who is just beginning to understand how much of his life has passed him by, but who is eventually redeemed by his realization that it’s never too late to change. The album is filled with little gems like “More every year/I shine light on edges I tried to unfeel/But we gotta do better than that” that get across complex, emotional subjects with a frankness that cuts deep and an “aw shucks” humility that belies the intelligence behind the twang. 

Likewise, song structures on Cardinal are often fairly traditional, simple forms uplifted by just the right amount shimmering window dressing or a little push at just the right pressure point. It’s a surprisingly fresh sound, given the restrictions imposed on them by the genre. The present, round tone of the guitar, in particular, often conjures up images of Weezer or Steve Earle, especially when given a moment to shine, simultaneously giving the group a welcome edge and a reassuring familiarity. Despite hailing from the East coast, Pinegrove are also indebted to the acts of the Northwest’s indie rock heyday — Death Cab for Cutie, Built to Spill, etc. They’re clear offshoots of the gauzy, watercolor sound that typified that region’s music scene in the late 90s and early 00s. 

Pinegrove feels equally at home with energetic rockers like “Then Again” as they do on the more quiet, introspective numbers — “Waveform” comes to mind. But, most importantly, all of the songs on Cardinal feel like they have vitality and a clear trajectory. Pinegrove are at their absolute best when they can stretch and pull tempo and feeling at will. “Visiting” is a particularly good example of this facility — the track builds and builds momentum before stopping on a dime, then almost immediately churns itself back up again. Similarly, the emotional high point of the record comes in “Aphasia,” when the melancholy number suddenly gives way to an anthemic close, proclaiming: “One day I won't need your love./One day I won't define myself by the one I'm thinking of/and if one day I won't need it/then one day you won't need it.”

Hall leaves us with a fascinating final verse, “What’s the worst that could happen?/End of summer and I’m still in love with her/And I said forget it./Was it worse that it wasn’t sure?/End of summer and I’m still in love with her/And I said forget it.” He refuses to give us resolution, but acknowledges the strides he’s made by being able to say “forget it,” rather than dwelling on or obsessing about what’s happened. It’s not much, but it is progress. Ultimately, that’s what Cardinal is all about: moving forward and trusting that it’s better to forge ahead than to sit and puzzle on what you’ve left behind.

9.0/10

Essential Tracks: “Cadmium,” “Visiting,” “Aphasia”

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All I See - Draper (Feat. Laura Brehm)

And we’re back after a post-2015 break! 

We kick off 2016 with a brilliant track from French-born British producer, Draper. Featuring the vocal talents of Colorado based singer-songwriter Laura Brehm, “All I See” leverages several trends in EDM to create something unpredictable and irresistible.

Spoiler alerts are usually reserved for things with a narrative, but I have to throw one up for this song, as well. So, if you’re at all intrigued by this track at face value, I urge you to listen sight unseen. The song’s key twist is so good that I almost feel bad ruining the surprise. If you want to know more, meet me after the “Keep reading” break.

Much like MisterWives’ standout 2014 track, “Reflections,” “All I See” begins as one kind of song, then morphs into something else entirely. The song begins in a pretty standard EDM space, as Brehm coos over melancholy, shimmering synth. Clean, picked electric guitar provides some intrigue, but it doesn’t amount to much more than a well made and fairly engaging Ellie Goulding meets ODESZA knock off. 

Luckily, Draper has more tricks up his sleeve. After an ENORMOUS build, drums kick in for the drop and a brilliant 80s-meets 8-bit groove bursts out of practically nowhere. Suddenly the backing track explodes with melody and imbues the cut with a much needed sense of momentum. Draper spends the rest of the song navigating between the pensive verse and the sun-soaked chorus, finding interesting ways to smudge the two together. 

It’s a thrilling listen and a rare example of a song featuring a plot twist. The real test, though, is on repeat listens. Unlike most of M. Night Shyamalan’s recent work, “All I See” is much more than its fake me out focal point. Draper’s inventive manipulation of expectation and trends work perfectly in concert with Brehm’s simple but effective lyrics and delivery. By the second and third time through, even the relatively generic intro becomes an interesting counterpoint to the exuberance of what’s to come and the build is even more thrilling for knowing what’s on the other side.

“All I See” is a little burst of sunshine and an instant good mood. It has the sparkle and shine of great dance music, but manages to avoid being too formulaic, even after the listener is in on the game.

Enjoy!

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A Few Songs’ Top 25 Songs of 2015

Happy 2016, everyone! Every year I do a top 10 songs and albums, but 2015 really was an incredible year for music. So, as we usher out the old and ring in the new, here’s my 25 (!!!) favorite tracks of 2015. I wrote a blurb about the first 10, listed the rest, and put the tl;dr version at the bottom (ctrl+f or cmd+f search tl;dr for quick access). Check back soon for my top 15 albums of the year.

Thanks for reading this year!

Steven

1. “Sunday Candy” - Donnie Trumpet and the Social Experiment 

(https://www.youtube.com/watch?v=i4ooH8frBWg)

From the bowl of peppermints on the cover of the single to the exuberant broadway-style video, the Social Experiment’s “Sunday Candy” bursts into your heart like a concentrated beam of sunlight. It’s the kind of song that inevitably gets stuck in your head, but feels like an old friend rather than an annoying earworm whenever you start humming it to yourself. I get as excited today about hearing that effervescent piano intro as I did when the track first dropped in late 2014. It sneaks into 2015 as a part of the equally excellent Surf and earns its place as my top song of the year.

2. “California” - Grimes  

(https://www.youtube.com/watch?v=vqa9xx2vBQc)

Since 2009 Claire Boucher — the artist better known as Grimes — has quietly been releasing some of the best and most interesting pop music in the game. With her spectacular 2015 effort Art Angels, I think the secret’s finally out. “California” is my favorite track of many to make an appearance on this list. As with much of her work, Boucher both leverages and rejects her perceived “adorableness” to hide a much darker, somewhat cynical message: “Cause I get carried away/Commodifying all the pain.” This featherlight confection's brilliance is that it feels like a lollipop, but it’s more like a Warhead spun into cotton candy.

3. “Milk Duds” - Lady Lamb 

(https://www.youtube.com/watch?v=B1H8rBw2aD4)

Lady Lamb’s idiosyncratic ode to a lost love encapsulates everything that makes Aly Spaltro one of my favorite musicians working. “Milk Duds” is deeply poignant, but never allows itself to fall into melodrama, mawkishness, or cynicism. The musical structure and style are comfortingly familiar, but are intricately woven, decorated with nuance, and expertly performed. This track is both an exemplar of the value of the tired and boxed-in “indie rock” genre label and a reminder that it doesn’t all have to be bearded, raspy dudes strumming acoustic guitars on coffee shop playlists.

4. “Figure 8″ - FKA twigs 

(https://www.youtube.com/watch?v=Dq1uQCOfRIQ)

“Figure 8,” from FKA twigs’ intoxicating, pitch-black “M3L155X” EP, is a twisted, beautiful gem. It’s unsettling — deliberately so — but it’s also a finely detailed and masterfully made piece of dark pop. Nobody sounds quite like Tahliah Barnett, and “M3L155X” shows that she is still improving and pushing more boundaries as she goes. The fact that an EP is earning a place on many Best Albums of 2015 lists (mine included) is a testament to how many thrills and chills FKA twigs packs into songs like “Figure 8.″

5. “Wesley’s Theory” - Kendrick Lamar 

(https://www.youtube.com/watch?v=s0QtdISwioc)

To Pimp a Butterfly is the runaway best album of 2015, and Kendrick Lamar’s monolithic record deserves every accolade it gets. The album was surprise released to more confusion than fanfare and, as a result, became an initial listening experience much closer to those of yesteryear. Early adopters could get a personal first take largely unsullied by reviews or other opinions. Imagine the surprise — captured perfectly by Grantland’s (RIP Grantland) Rembert Browne — when the album begins with the broken record refrain of the blaxploitation-era “Every N----r is a Star.” The music is comforting, but the word becomes even more distressing as it repeats ad nauseam. Suddenly, George Clinton shouts “Hit me!”, all hell breaks loose and one of the densest, most harrowing listens of the last 5 years begins. “Wesley’s Theory” sets To Pimp a Butterfly’s tone and tenor to perfection and is a damn good song in its own right. This is another album that you’ll be seeing on this list again.

6. “Georgia” - Phoebe Bridgers 

(https://www.youtube.com/watch?v=opLWHUo6R64)

I don’t think I was more obsessed with a song in 2015 than Phoebe Bridgers’ “Georgia.” It’s a pretty straightforward folk song that rises above the usual acoustic fare with its beautiful melody, heartbreaking lyrics, and Bridgers’ intensely expressive vocals. The track is dripping with pathos and lovelorn abandon, whether in the live version I’ve linked or the more understated studio cut on her EP, “Killer.” This young LA artist is someone to watch going forward, and a drop-dead MUST listen if you’re at all into folk music.

7. “Run Away with Me” - Carly Rae Jepsen 

(https://www.youtube.com/watch?v=TeccAtqd5K8)

“Run Away with Me” is a genuine grower from the most surprising album of the year — Carly Rae Jepsen’s E•MO•TION. The lead track from the year’s best capital “P” Pop album starts with an echo-y saxophone solo, launches into a slow burn anthem, and has a pre-chorus that features the best kick/drop in music this year because that’s just how delightfully weird 2015 was. By the time the “baby take me to the feeling” refrain comes around, you’ll be shouting along. It’s not long on deep, meaningful meditations, but it’s about as perfect as a pop song gets.

8. “Age of Transparency” - Autre Ne Veut 

(https://www.youtube.com/watch?v=UaLK3XJfVjk)

Arthur Ashin’s unique brand of crystalline, misanthropic blue-eyed soul makes a triumphant return in 2015 with Age of Transparency. The standout title track starts with a smoky, haunting intro that melts into a surprisingly straightforward pop song. It’s the most reminiscent of his Autre Ne Veut’s previous work, but it also represents the finest reconciliation of tunefulness and experimentation on the album. Ashin deftly balances his preoccupation with the grotesque and his incredible ear for melody throughout — perfectly complimented by the twisted joy he displays in the track’s creepy music video. And, as abruptly as it came, the song collapses back into the primordial stew that it leapt from. It’s a 6 minute pop song that spends a little less than half of its runtime on an actual pop song. In other words, its exactly as difficult, enigmatic, and inimitable as fans would expect Autre Ne Veut to be.

9. “High Enough to Carry You Over” - CHVRCHES

(https://www.youtube.com/watch?v=ihQsM5kiFdg)

In 2015 Scottish synth-pop trio CHVRCHES became prisoners of their own success and influence. Their solid second effort, Every Open Eye, suffered somewhat due to the law of diminishing returns. Over the two years between EOE and their breakout debut, The Bones of What You Believe, their style became ubiquitous rather than fresh and exciting. Since EOE was more evolution than revolution, it wasn’t received with the same breathless praise as its predecessor. It’s no surprise, though, that CHVRCHES do synth-pop better than just about anyone else and still thrill — especially when they push a little bit beyond their comfort zone. My favorite track on the album may well be the disco-inflected “High Enough to Carry You Over.” The track, sung by Martin Doherty, reads like a more interesting extension of Daft Punk’s decidely overrated Random Access Memories and an intriguing extension of CHVRCHES’ singular sound.

10. “Kill V. Maim” - Grimes 

(https://www.youtube.com/watch?v=ooWkA_-lOHA)

What if I told you that “Kill V. Maim,” my clear second favorite track on Art Angels was a scathing indictment of the male/female double standard in pop music? Makes sense, right? Now, what if I told you it seamlessly combined 80s synth-pop, 00s girl-power pop guitar, and Toni Basil’s “Mickey” like cheerleader chanting? Good, you’re still here. How about if I said Claire Boucher herself describes the song as "written from the perspective of Al Pacino in The Godfather Pt 2, except he’s a vampire who can switch gender and travel through space.”? No, don’t leave! It’s a bizarrely captivating gem that proves Grimes can spin gold out of just about anything. Seriously, give it a listen. You’ll be hooked.

11. “Too Much To Handle” - Great Good Fine OK 

(https://www.youtube.com/watch?v=t9dXEn9kNTA)

12. “I Got my Gun” - Dolores Haze 

(https://soundcloud.com/noisey/dolores-haze-i-got-my-gun)

13. “Lift Me Up” - Vince Staples 

(https://www.youtube.com/watch?v=QRQHBz1Pf84)

14. “Gosh” - Jaime XX 

(https://www.youtube.com/watch?v=WjNssEVlB6M)

15. “Slow Dance” - Tallest Man on Earth

 (https://www.youtube.com/watch?v=AKOu6uaRmVE)

16. “Can’t Feel My Face” - The Weeknd 

(https://www.youtube.com/watch?v=KEI4qSrkPAs)

17. “Norf Norf” - Vince Staples 

(https://www.youtube.com/watch?v=mb6Jc4juSF8)

18. “You Ain’t Gotta Lie (Momma Said)” - Kendrick Lamar 

(https://www.youtube.com/watch?v=ik9w7RfnKVE)

19. “Weathered” - Jack Garratt 

(https://www.youtube.com/watch?v=H6bjwDFk8mo)

20. “All Day” - Kanye West (feat. Theophilus London, Allan Kingdom & Paul McCartney) 

(https://www.youtube.com/watch?v=UfQOawFwx6w)

21. “Inhale/Exhale” - Nao 

(https://www.youtube.com/watch?v=ZO_MpoTKGvY)

22. “Weight in Gold” - Gallant 

(https://www.youtube.com/watch?v=p7qpwl0vHjo)

23. “JUST LIKE WE NEVER SAID GOODBYE” - SOPHIE 

(https://www.youtube.com/watch?v=6Z3N79ktprw)

24. “Should Have Known Better” - Sufjan Stevens

(https://www.youtube.com/watch?v=lJJT00wqlOo)

25. “Flesh Without Blood” - Grimes 

(https://www.youtube.com/watch?v=MNuQmBRB69g)

TL;DR

1. “Sunday Candy” - Donnie Trumpet and the Social Experiment

2. “California” - Grimes

3. “Milk Duds” - Lady Lamb

4. “Figure 8″ - FKA twigs

5. “Wesley’s Theory” - Kendrick Lamar

6. “Georgia” - Phoebe Bridgers

7. “Run Away with Me” - Carly Rae Jepsen

8. “Age of Transparency” - Autre Ne Veut

9. “High Enough to Carry You Over” - CHVRCHES

10. “Kill V. Maim” - Grimes

11. “Too Much To Handle” - Great Good Fine OK

12. “I Got my Gun” - Dolores Haze

13. “Lift Me Up” - Vince Staples

14. “Gosh” - Jaime XX

15. “Slow Dance” - The Tallest Man on Earth

16. “Can’t Feel My Face” - The Weeknd

17. “Norf Norf” - Vince Staples

18. “You Ain’t Gotta Lie (Momma Said)” - Kendrick Lamar

19. “Weathered” - Jack Garratt

20. “All Day” - Kanye West (feat. Theophilus London, Allan Kingdom & Paul McCartney)

21. “Inhale/Exhale” - Nao

22. “Weight in Gold” - Gallant

23. “JUST LIKE WE NEVER SAID GOODBYE” - SOPHIE 

24. “Should Have Known Better” - Sufjan Stevens

25. “Flesh Without Blood” - Grimes

[alittlewhitelighter]

Listening to Otis Redding at Home During Christmas - Okkervil River

Okkervil River’s haunting “Listening to Otis Redding at Home During Christmas” is a wonderful counterpoint to the usual “joy to the world” sentiment that prevails this time of year. This song is half about a lost love and half about the sense that the place you called “home” eventually begins to feel alien. Like I said, it’s not exactly “deck the halls.” 

The climactic bridge is the linchpin of the song and an incredible musical moment. As everything comes rushing back to lead singer Will Sheff, strings swell and the music shifts from sweet nostalgia to swirling darkness. Then, all of a sudden, it’s gone as quickly as it arrives. Sheff snaps back to reality. The abruptness of the transitions and drastic shift in tone are poignant and surprising. The catharsis of the finale, as a result, feels even more gratifying. Whereas “I’ve got dreams to remember” feels sad when it appears in the track the first time, as Sheff and the band repeat it, it takes on a determination that rescues the track from wallowing in its own sadness for too long. The heartbreaking coda “Sarah, come back to New Hampshire./We’ll stay there forever” sees Sheff’s protagonist admitting that he’d throw all of those “dreams” away and accept this place as his home again if his lover would come back. 

“Listening to Otis Redding” stands in stark contrast to much of the usual musical Yuletide fare. It offers a look at someone for whom the holidays have a dose of bitterness to the cloying sweetness. I wouldn’t want to listen to this exclusively during the Most Wonderful Time of the Year, but I think it’s an important addition to any Christmas music catalogue.

[alittlewhitelighter]

Age of Transparency - Autre Ne Veut

Autre Ne Veut’s Age of Transparency is an astonishing album. It’s also practically impossible to summarize. “Beautiful” isn’t the whole story. “Ugly” couldn’t be further from the truth. Even “astonishing” doesn’t do this album justic. Age of Transparency is what an R&B album would sound like if it was tearing apart at the seams. It’s beautiful in the same way a melted candle is beautiful. It’s an album that’s constantly at war with itself. The results are occasionally stunning, occasionally off-putting, but constantly raw, honest, and intoxicating.

Arthur Ashin has been putting music out under the nom-de-plume Autre Ne Veut since 2010, and it feels like his career has been hurtling toward Age of Transparency. In a way it’s braver and more complete than 2013′s excellent Anxiety, pushing the neurosis, self-mutilation, and paradoxical beauty at the center of that album to its furthest limits. It opens with one of the more remarkable first tracks in recent memory. At the core of “On and On (Reprise)” is a syrupy, almost maudlin, ballad. What makes it work is the way Ashin subverts the track as he twists and perverts the sound world around him. It twitches with unnatural repetition, down and up-tunes itself into oblivion, and shreds apart into static. As this happens, Ashin’s melody begins to grow more and more manic and cartoonish. It’s a listen that’s captivating in its grotesqueness. “On and On (Reprise)” is such an incredible opener because it encapsulates everything Age of Transparency is. It lets the listener know exactly what he or she is in for if they allow the record to continue to spin.

“Age of Transparency” is another standout. After close to two minutes of atmospheric chords and a searching sax solo, a brooding, anxious anthem steps out of the aether. The subsequent 3 minutes are about as straightforward as Age gets, including a chorus that earns the distinction as the most memorable on the album. It’s a reminder that Ashin made his name on the back of unabashedly melodic R&B/Pop music in the vein of “Counting” or, to a certain extent, “Play by Play.” “Age of Transparency” and “Panic Room” are the closest Age comes to aiming for that kind of glorious, sing-along tunefulness. Then, as suddenly as it arrived, “Age of Transparency” melts back into the primordial smoke that birthed it. 

Skipping over some excellent tracks, especially the skin-crawling “Switch Hitter” and wonderfully unexpected fake-me out of “World War Pt. 2,” we come to the album’s closer, “Get Out.” It and opener “On and On (Reprise)” come together as my favorite album bookends in a long time. In contrast to the dodgy sentimentality of “On and On (Reprise),” the 7 and a half minute pseudo-gospel closer is pure catharsis. The use of drum kit, rather than the drum machine that dominates most of the album, is an especially brilliant point of comfort. Yet, Ashin would never let the listener off that easy. As he continues, his vocals return to the cartoonishness of the intro even as the clap-along finale sings him up to heaven. It’s a fascinating statement that asks whether the release is genuine. Ashin almost sounds as if he’s playing a character — one who is as happy and unburdened as he wishes he could be. 

This is the headspace Age of Transparency brings you to over its roughly 45 minute run time. Even as everything Ashin portrays feels honest, nothing feels genuine. It’s fitting that the “transparency” in the album’s title and on the cover reveals nothing but emptiness. It’s openness as misdirection — life as lived on Facebook or Instagram. Ashin spends 45 minutes letting you into the deepest recesses of a mind that doesn’t really exist. It’s an artifice, a simulacrum of emotions that are so raw and “true” that you never ask if they’re really what’s going through Ashin’s head. It’s in this final way that Age of Transparency wages war against itself. It’s an album that spins out wave after wave of passionate, emotionally resonant music while simultaneously pointing out the artificiality at the heart of all artistic expression. 

The contradictions at the heart of Age of Transparency lead to moments that ring hollow. An album so pre-occupied with self-destruction will inevitably succeed from time to time. The album slackens a few times — you really feel the 5-minute plus runtimes on several tracks — and Ashin’s maximum effort vocals occasionally wear on the nerves. But, those shortcomings are a more than fair trade for the many more moments of transcendence Age reaches. It’s part and parcel of an Autre Ne Veut album by now; his brand of visceral, occasionally ugly pop music will sometimes veer too far to be saved. But, when he brings it all together — and he does on Age of Transparency far more often than not — there are few artists as thrilling, cutting-edge, or essential.

Essential Tracks: “On and On (Reprise),” “Age of Transparency,” “World War Pt. 2,” “Get Out”

8.5/10

[alittlewhitelighter]

Under a Rock - Waxahatchee

The 80′s are dead, long live the 90′s.

Well, not really.

The synth-pop revival has made the jump to the mainstream and doesn’t seem to be flagging, but the Decade of Nirvana is making a comeback of its own right now, too. Look to Courtney Barnett’s excellent Sometimes I Sit and Think and Sometimes I Just Sit or Waxahatchee’s Ivy Tripp, the album from which today’s song of the week comes, for the grungy, guitar-heavy rock I didn’t know I missed so much. Of the two, Waxahatchee’s Katie Crutchfield sounds most indebted to the glory days of underground garage-y rock. “Under a Rock” clocks in at a short (but decidedly not sweet) 2 minutes, as she packs about as much invective as possible into the gauzy package and brief runtime. 

“Maybe you got your head caught in a ditch last night,” Crutchfield begins and, incredibly, it’s all downhill from there.  This is a classic “you’re an asshole, we’re done” song wrapped in the warm fuzz of a shoegaze inflected rock sound. Crutchfield’s lyrics hold nothing back. “Your ravenous, insatiable/Appetite for the expendable/Will leave you just as hollow as your requiem” is about as cold and cutting as it gets. 

The materials for this song are pretty simple. A solid arpeggiated riff and catchy verse and chorus join with the brief footprint to make sure “Under a Rock” never comes close to wearing out its welcome. Crutchfield’s voice, too, is a major factor to the track’s winsomeness. It’s perfectly suited to the style. Her unusual pronunciations and smoky tone weave in and out of the track’s wall of sound, yet the lyrics are never lost if you’re listening for them. The gossamer, warm-blanket palette of the track does wonders for the message. It obscures the anger in Crutchfield’s lyrics, making you really internalize what she’s saying and revealing the nuance in the words. Rather than an obvious burst of rage, “Under a Rock” digs at something deeper — something that allows the listeners to bring their own feelings and experiences to Crutchfield’s words.

[alittlewhitelighter]

I Saw Three Ships - Sufjan Stevens

It’s December, and Christmas Music Season is in full swing for me. Since Wednesdays are technically “covers” days, I figure why not spend the month showcasing my favorite versions of Christmas carols? So its... the Wednesday Carol of the Week!! The first is Sufjan Steven’s spin on “I Saw Three Ships.” 

As my dad points out every time it comes on, this song doesn’t seem have a ton to do with Christmas. Why are Jesus and the Virgin Mary coming in on ships? Where are these ships landing? Is it really responsible to take a newborn baby on an ocean vacation? These are the kinds of questions that demand satisfactory answers. Stevens, for his part, doesn’t bother with such distractions. He’s too busy putting a gleeful, baroque pop spin on “I Saw Three Ships”’s catchy, if non-sensical melody.

Sufjan Stevens is an incredible musician with an impeccable ear for color, and his choices here are uniformly great. The banjo and double reeds work together to create a bright, present affect throughout and are juxtaposed perfectly against Stevens’s wispy vocals. “I Saw Three Ships” is lush, and Stevens doesn’t try to over complicate what he’s got. The 2 and a half minute track alternates simply between verses and instrumental breaks, adding subtle touches of sung harmony or an occasional instrument, but never overcrowds. This track is the first Christmas song I listen to every year for a reason. The jingling sleigh bell intro announces the season and gives way to a perfect, glittering ornament of Christmas cheer. 

Sufjan Stevens is a big fan of the Yuletide and has an ENORMOUS (42- and 59- song box sets enormous) catalogue of original tunes and carol covers. Some tracks are, obviously, better than others, but, as a whole, they represent the best contribution to the "Holiday” music catalogue in decades. “I Saw Three Ships” is a good entree into the Very Sufjan Christmas, and the whole collection is worth a little bit of your time this December, if Christmas is your sort of thing.

[alittlewhitelighter]

Hallelujah - Panic! at the Disco

Ladies and gentlemen, Panic! At The Disco are back and they are ready to get strange. After 2013’s dance-y, lukewarm Too Weird to Live, Too Rare to Die! Brendon Urie and company have taken 2015 by storm. They’ve released 4 killer singles and, with the exception of last week’s pretty straightforward (but no less fantastic) “LA Devotee,” each has been more bonkers than the last. This week we’ll focus on the first track that dropped, “Hallelujah." 

 The two main things that have always made Panic! my personal favorite of the mid-2000s emo explosion are their flair for the theatrical and their musical diversity. Their breakout hit, "I Write Sins Not Tragedies,” is a stellar example of short form storytelling and manages to balance musical richness with immediate impact. “Hallelujah” is more “Nine in the Afternoon” than “I Write Sins,” but retains the elements that make Panic! so good. Throw a weapons grade chorus into the mix and you’ve got yourself an irresistible track. 

“Hallelujah” draws from a deep pool of genres — gospel, emo, and glam rock, just to name a few — to create a blend that sounds fresh, but inimitably Panic! Urie shows how far he’s come, vocally, since A Fever You Can’t Sweat Out, laying into the phenomenal refrain with authority and adding a few fireworks to the verses. Bolstered by the sonic heft leant by the blaring brass, “Hallelujah” shimmers and pops in pure technicolor. This song is a joy to listen to and will have you shouting along before you know it. It’s everything a pop song should be. It’s thrilling, it’s catchy, and it’s a whole lot of fun. 

For a darker edge check out Panic!’s remaining two 2015 releases, “Victorious” or “Emperor’s New Clothes.” Both tracks see the Las Vegas outfit let their glam flag fly with abandon. The resulting effect is something close to an acid-addled trip through Willy Wonka’s Chocolate Factory. 

Seriously, all four of Panic!’s offerings from this year are pretty spectacular. “Hallelujah” is probably the best mix of oddball and accessible, but each one is excellent in its own way. Their new album, Death Of A Bachelor, drops January 15th, and if their work so far this year is any indication, it’s going to be a good one.

[alittlewhitelighter]

I Was Meant for the Stage - The Decemberists

Today’s Song of the Week is (somehow) becoming something of an oldie. “I Was Meant for the Stage” is by Portland, Oregon’s own The Decemberists and was released on their 2003 album, Her Majesty, The Decemberists. This seven minute track begins simply with Colin Meloy’s singing and an acoustic guitar. Over its runtime it blossoms into a veritable symphony of instruments, leading to a cacophonous finale that feels both earned and necessary. The progression is uncomplicated, the melody eminently singable, and the lyrics are filled with bone dry humor and captivating humanity.

As Meloy himself has said, the song is a product of a certain point in time for The Decemberists. In fact, he laments that it’s become something of an awkward song for them to perform given their relative success. Meloy and the band’s privileged position takes away some of the self directed sting of the song’s lyrics. That sentiment is what gets to the center of this song, in my opinion. On first listen “I Was Meant for the Stage” is easy to write off as a pretentious, self-important ode to the capital “A” Artists lucky enough to be touched with God-given purpose. But, really, Meloy is poking fun at himself — reminding him and everyone crazy enough to make art that it’s all too tempting to inflate oneself. That’s because, frankly, there’s often not much else to keep one believing that such a path is the right one. It’s a brilliant bit of subterfuge from one of the poet laureates of “indie” music. It’s also a wonderful in joke for any member of Meloy’s target audience self-aware enough to understand what he’s really getting at.

That, in a nutshell, is why I love “I Was Meant for the Stage.” It’s a great song, to be sure. It’s well constructed, orchestrated, and well performed by Meloy and the band, but it holds special significance for me because of the life I’ve chosen. As an aspiring composer, I’ve never heard a song that so perfectly encapsulates the cocktail of naiveté, hubris, stupidity, financial irresponsibility, and stubborn idealism it takes to choose to make art for a living. 

Meloy’s characteristically on point lyrics are both self-aggrandizing and self-effacing. His straitlaced delivery is both rankling and winsome in its self-awareness. Whenever I begin to get frustrated by the prospects of my chosen “career” path or lose faith that I NEED to be a musician, this song puts me back on track. Whenever I pat myself on the back too hard or find myself developing that pernicious elitism that often derives itself from a fear that people don’t care what you have to say, “I Was Meant for the Stage” grounds me again. I’d like to think that many people who consider art (music, visual art, dance, film, writing, or anything else) to be a foundational aspect of their life would appreciate this song for the same reasons. 

Anyway, sorry for the flowery words. I think this song is great, I hope you like it, too. 

As always, thanks for reading, y’all.

[alittlewhitelighter]

Unfamiliar Sheets - Courage My Love

Today’s Song of the Week is “Unfamiliar Sheets” from Canadian pop punk outfit Courage My Love. I have a soft spot deep in my heart for pop punk and emo music, and songs like “Unfamiliar Sheets” are exactly why. Off their first full length album, Becoming, the track is catchy, emotionally immediate, and immaculately produced. It highlights all of the best things about the oft-maligned genre while pushing against its boundaries in a way that feels both mature and organic.

It all starts with twin sisters Mercedes and Phoenix Arn-Horn —the guitarist/lead vocalist and bassist, respectively. Mercedes sounds indebted but not beholden to Paramore’s lead singer Hayley Williams, taking on the classic emo/pop punk voice affectation but giving it her own spin. There’s a consistent sweetness to her sound, even in the most intense moments. It adds a dimension to “Unfamiliar Sheets” that works well; there’s anger and catharsis in it, but Mercedes includes an equal measure of genuine regret. Phoenix, meanwhile, provides excellent backing vocals, especially the crystal clear harmonies, and anchors the group with stellar drum work.

Although Becoming is technically the band’s first full album, they’ve been working since 2009, which shows in “Unfamiliar Sheets”’s depth. They add little flourishes, especially the synth melody that pops in throughout, that show a band deeply comfortable within their genre and looking for ways to augment and expand the style. The bridge ratchets down the tension, but culminates in a shout along melody that catapults the song into the last chorus. It allows the momentum to dissipate just slightly, before taking the listener home with the fantastic refrain. 

When it comes to emo or pop punk, it just doesn’t get a whole lot better than this. Courage My Love’s “Unfamiliar Sheets” is one of the standouts from their excellent Becoming and is worth a listen whether the genre is up your alley or not.

[alittlewhitelighter]

Everything is You - Empress Of

Today’s Monday Song of the Week, Empress Of’s “Everything is You,” is a perfect example of a little weirdness going a very long way. This track — and really all of her excellent LP, Me — is one focus group away from a run of the mill electro-inflected singer/songwriter cut. “Everything is You” actually is an out of this world, psych’d-out take on an increasingly ubiquitous sub-genre.

The song’s trappings are recognizable — hollow vibes, jittery snaps and claps, and woozy synth chords — but Lorely Rodriguez’s vocals and melodic sensibility are what really set “Everything is You” apart. Her long, melismatic verse is almost shocking on first listen. She sets you up with one expectation and gives you something very different straight out of the gate. Yet, it’s so well done and confidently presented that by the time the verse returns, what was once jarring now feels completely natural. 

The song’s pièce de résistance comes right around the 2:30 mark. Rodriguez speeds up the vibes, creating an illusion of increased tempo. But then the chorus “You are everything/everything is you” enters, slowed down considerably. The crash of faster and slower tempos is phenomenally executed and allows the twisting melody to morph into a gently flowing, ascending figure that serves as the perfect conclusion. All the while Rodriguez flecks the track with glorious harmonies and crystalline “oohs” and “aahs.” It’s a rich tapestry that takes the familiar and blows it out it to create something peculiar, engaging  and completely unique. 

If you like “Everything is You,” I strongly urge you to give Me a listen. Empress Of straddles the line between singer/songwriter and EDM, all the while putting an inimitable spin on both. It’s one of the most enjoyable, surprising, and inventive records I’ve heard all year.

P.S. Big thanks to my friend Collin for sending Empress Of my way!

[alittlewhitelighter]

New Schedule

As my school schedule has rounded into shape and gotten busier, as you can tell, I’ve been able to write less. In an effort to fix that, I’m switching up the schedule. The new features are as follows:

Monday: Song of the Week

Wednesday: Cover, Remake, or Video of the Week.

Saturday: Song of the Week II

Sunday: Sunday Funday: Album/Ep/??? of the Week 

As always, thank you all so much for reading!

[alittlewhitelighter]

I’ve had to do a lot of reflecting and a fair amount of crying today. Blair School of Music — my alma mater — lost a brother today. Sang Han left us some time this morning or last night. I call him a brother because, although I regret that I didn’t know him better, Blair is a family. Some people we become closer to than others, but at the end of the day I feel that we all share a unique bond with each other, whether we spent hours together in the Blounge or never said anything more than “hi” in the hallways.  I still remember every class I was in with Sang and many of the concerts he played in orchestra, ensembles, or as a soloist. I remember so many conversations I had with him, even the time I accidentally asked him and another clarinetist to play the same part in the same piece.  He was one of the nicest people I’ve ever met and an incredibly talented musician. He had so much more of his story to tell and so much more to share with the world. 

Today I wish I was there to mourn with my Blair family. I miss them, I’ll miss Sang, I’m there in spirit, and I’m sure there will be many more times over the years I’ll have to stop myself and remember that he is gone. This song is dedicated to Sang and to the rest of my Blair family. It’s the only way I can make sense of this tragic loss right now. I hope that we can all find answers and peace in the coming days. And to Sang, I hope you find rest.

Rest In Peace, Sang.

[alittlewhitelighter]

Killer - Phoebe Bridgers

Tonight we have a Sunday EP of the Week as opposed to the usual Song of the Week. It piggybacks off of this Wednesday’s track, “Georgia.” I’ve had Phoebe Bridgers’ Killer — from which that cut comes — on repeat for the better part of the last three days. 

Killer is a brilliant, bite-sized piece of no-frills folk music. With a instrument list that begins and ends with voice and guitar (with blink-and-you’ll-miss-it appearances from pedal steel and banjo), it would be easy to assume this EP to be a sparse one. It would also be incorrect. Bridgers fills the record’s soundstage with her warm, inviting guitar work and stellar voice, never allowing the cavernous reverb to overpower her. Much of the richness is owed also to the clever orchestration of the limited forces. She keeps the guitar, for the most part, in its higher, treble-heavy registers. The resulting brightness acts as a foil for the darkness of Bridgers’ tone in her lower melodies and compliments her brilliance as she reaches into higher passages. Bridgers herself hits the vocal sweet spot. It’s a beautiful instrument that she manages to stonewash with just the right amount of grit, especially when her lyrics call for that little bit of dirt.

Each of the three songs — economically titled “Killer,” “Georgia,” and “Steamroller” — possess strong ties to the folk and singer/songwriter traditions. Bridgers’ impeccable performance, nuanced lyrics, and slight deviations from the norm make sure she’s always on the right side of the razor thin line between tried-and-true and tired. I’ll highlight “Steamroller” in particular, if only because it begins as one kind of song then effortlessly pivots its tone and tenor to a completely new place. It begins as a moribund lament: “[sadness] hits me like a sickness/Or a steamroller/Makes me want to lay down/And get run over.” The next line, “But then I see you/Always smiling/Makes me want to touch you/Keep from dying” reveals it to be something more akin to a love song. It’s an ode to someone who allows Bridgers to find her way out of those dark moments — a wonderful, unexpected turn from a potentially morose ballad to the lone moment of joy on the EP.

As I listened to Killer I kept wishing there was more of it. Bridgers’ music is not necessarily groundbreaking, but it’s so impressive in its craft and irresistible in its honesty. Each of the three songs is a masterclass in folk songwriting with the emotional weight behind it to move beyond mere exercise. They remind me of Noah Gundersen, whose stripped down material is equally stunning in its simple perfection. As an EP, Killer does its job perfectly; it’s a musical amuse bouche designed to excite listeners in the spaces between LP releases — or, in this case, before a debut album. I’ll conclude by saying this: if your only complaint about a record is that there isn’t more of it, you’ve probably got something pretty special on your hands. 

I hope we’ll get to hear more from Phoebe Bridgers sooner rather than later.