Nothing to See... Moving On...

No one knows me on here

[nothingtoseemovingon]

And we're going downtown Cause we feel like running around Is it really this fun when you're on my mind Is it really this cool to be in your life

I love cities - the hustle, the noise, the endless opportunities for excitement. I cannot imagine living somewhere more secluded. Downtown, or the idea of “downtown,” is prevalent in so many songs - it’s a place where you can forget your troubles and start again. Here, among a sea of people, you can reinvent yourself.

I love this song because here a person fulfills that ideal of “downtown“ - no matter what happens, the memories of the excitement and idealism remain.

[nothingtoseemovingon]

I'm lying to myself When I'm lying next to you I'm making love to myself When I'm making love to you I can hear you grind your teeth When you're laying fast asleep I think I'm the one I need I think I'm the one I need

I am loving this debut album from Empress Of - just an interesting pop album. I’ve seen her compared to Bjork and Beyonce, which alone should make people take notice.

The album is so vivid with the details, but in a way that detail makes it more accessible. The need to find yourself, to become comfortable with yourself - those are not feelings that are easily resolved by anyone. Especially coming after a breakup or major life change.

I’m not even sure that this is my favorite song on the album, but it has become the one I’ve listened to the most. Recently I had to make a potentially life-changing decision. The process of figuring out my own complicated emotions lead me to spend a lot of time alone. When this song came on while I was deliberating, the chorus of I just need myself /Just need myself, just need myself /Just need myself kept playing on a loop in my head. Over the weekend, I realized that as long as I was able to be happy with myself, I could be happy no matter the outcome. It’s not a bad mantra to have, if you are looking for one.

[nothingtoseemovingon]

I will show restraint Just like we said we should You think I'll apologize for things I left behind But you got it wrong And I'm as sane as I ever was You talk far too much For someone so unkind I will wipe the salt off of my skin And I'll admit that I got it wrong And there is grey between the lines And you had best believe That you cannot build what I don't need

Many of Chvrches songs feel like they are ready to go into battle. The soft loveliness of Lauren Mayberry’s voice is perfectly complimented by the sharpness of her words. She can lure you in before landing the knockout blow.

I think people overlook the defiantness of these songs because they are busy swaying to the perfect electro-pop beats. And that’s okay. Each song contains a Trojan horse - when you really hear the lyrics, and feel the sheer power of them, the complexities of the songs become evident. Chvrches write music with incredible technique and skill...as well as contain that “never surrender” attitude missing from a lot of their contemporaries.

[nothingtoseemovingon]

I like my love with a budget I like my hugs with a scent You smell like light, gas, water, electricity, rent

A little over a month since I saw Chance the Rapper at Pitchfork Music Festival, and I still smile when I think of his set. I cannot imagine how incredible it must have felt to close out a festival in your hometown, surrounded by family and friends.

I also cannot think of a recent song with so much love and joy or an accompanying video that is so charming. If there was any justice, this would be the song of the summer - we could use more of its happiness.

[nothingtoseemovingon]

Shake your hair, have some fun Forget our mothers and past lovers, forget everyone

Are you wild like me? Raised by wolves and other beasts

Spending most of my childhood moving around the country made it hard to have one of those long-term childhood friendships. There was no way of having a shared history with a friend or neighbor when you moved away from them in a matter of months.

The closest thing I had was my sister. To remember how we felt about each other when we were young is difficult now…despite living in the same city, we rarely see each other outside of family functions. The similarities between us are just too overshadowed by the differences. So rarely do we get together alone that when it happens, the first few moments seem awkward like a first date. But then, the iciness begins to thaw, and there can be a warm familiarity that only comes from being present in someone’s life for a long time.

I spent last night with her, watching a movie that we spent our entire childhood quoting. Afterward we went to have a few drinks, and for a night I forgot those negative emotions I associate with her. I left feeling mostly happy and content (a rarity after time with her), and I sincerely hope she felt the same way.

This morning, thinking about the previous night, I thought of this song - my sister and I are definitely not friends, at least not in the way I think about “friendship,” but our childhood links us together whether we like it or not. We don’t share much in common now, and our lives have gone in different way, but maybe those memories of the past can sustain our relationship for a little longer.

[nothingtoseemovingon]

You used to call me on my cell phone Late night when you need my love Call me on my cell phone Late night when you need my love I know when that hotline bling That can only mean one thing

In the midst of all the Drake/Meek Mill whatever, Drake released some diss tracks which effectively took down his critic, and allowed the country to talk about badass Drake again.

It’s too bad that all of this talk of the “beef” has caused this song to be overlooked a little - it is one of Drake’s best in recent years. And while I may have some issues with the potential sex-shaming (Dudes - some girls like to get a lot of dick. It’s cool), this song deals with Drake’s selfishness…there is a sort of narcissism at play here when he associates his leaving/getting famous to his former girl’s downfall. Because of him, she’s “running out of pages in her passport” and “getting nasty with someone else.” Drake doesn’t necessarily want her, but he’s not cool with her no longer being the good girl who stayed home on the weekends.

All of this would bother me immensely if I didn’t think Drake understood how petty he comes off in some of his songs. At his best, he addresses the price of fame and success with the effect it has on his personal relationships. And to me, he comes off worse in this song than his old flame…he’s worried about her, but that worry comes from a place of arrogance.

Or maybe not…who knows really. Maybe Drake really is judging the girl more than he’s judging himself. If that’s the case…well, I’ll just focus on the incredible beat of the song, which is a gorgeous slowed down cha-cha perfect for those late-night moments of self-reflection.

[nothingtoseemovingon]

We're never going backwards We're never growing young We're never coming back here Remember, love's not in our hearts

Take away the industrial beat with its animalistic aggression and listen just to the vocals - this could be one of the best pop songs of the year. The repetition of the lyrics, the softly sweet vocals with a slight edge, and the universal theme of love gone wrong. With a different backing track, this would fit in on any Top 40 radio station.

But HEALTH, despite any pop super-stardom ideas, is still themselves. The sheer abrasive noise featured on their remixes and earlier singles is present here. Just as isolating the vocals could make this a perfect pop song, removing the vocals completely makes you think of a dark basement club where  pain and anger are released on the dance floor, perhaps in a violent way.

This is a song only HEALTH could create and have it make sense. Isolate the two parts, and it can be effective for a specific audience. Combine these two elements and it is practically perfect.

[nothingtoseemovingon]

And suddenly the day gets you down But this is not the end, no this is fine We’re still towers in the valley Still winds down this stream Still we’re in the light of day With our ghosts within

I am so looking forward to seeing The Tallest Man on Earth live later this week. I’m not sure what to expect but I’m hopeful the night will be filled with melancholy and joy, which is a strange combination but one that is perfectly encapsulated by Kristian Matsson‘s music.

This song, for example, deals with the duality of being sad about the end of a relationship but also feeling happiness that it existed. The end of something important is a time for reflection - your life can and should be affected by it. But that effect may not all be negative, and you can appreciate how another person shaped your life, perhaps for the better.

The ending of a relationship/job/whatever isn’t necessarily the end of you - you can still continue, persevere, and strive toward a better day. Sadness may exist, but you can overcome…you can be fine.

[nothingtoseemovingon]

Let’s have a toast for the douchebags Let’s have a toast for the assholes Let’s have a toast for the scumbags Every one of them that I know Let’s have a toast for the jerk-offs That’ll never take work off Baby, I got a plan Run away fast as you can

Getting ready to head to Chicago for Pitchfork Festival, and thinking about the possibility of a Kanye appearance with Chance the Rapper/Vic Mensa/Vince Staples. I could say that I was thinking of Kanye only because of Chicago/Pitchfork but that would be a lie. In all honesty, I think about Kanye a lot.

To a lot of people, I’m known as a “Kanye apologist.” After the whole Taylor Swift MTV debacle, I argued that the public’s response was basically racist (would people have cared if John Mayer did that?) and that his actions were very “rock and roll.” Whenever he makes an idiotic comment, I get dozens of texts from my friends, asking me how I can justify my opinion of him.

I would like to say it’s hard to justify when honestly - fuck all that. Kanye talks a big game, makes boneheaded comments, and I love him for it. I could say that underneath the bravado is a sensitive person struggling to make peace with conflicting emotions about fame and success. For every “Gold Digger,” there is “Runaway” - an asshole who knows he is one for better or worse but tries to be better. Not necessarily good but better.

But more than anything, what I love about Kanye most is that bravado. The arrogance to declare yourself a genius is matched by the genius of his work. My Beautiful Dark Twisted Fantasy remains the pinnacle of his career but he has never put out a “weak” album or one that compromises his artistic vision. Kanye is a singular artist - classic and modern, flawless and flawed, pretentious and relatable, vulnerable and invincible. So when he says “I am a god,” people may roll their eyes, but maybe he’s closer to those Greeks than we want to admit.

[nothingtoseemovingon]

It’s always around me, all this noise But not nearly as loud as the voice saying “Let it happen, let it happen (It’s gonna feel so good) Just let it happen, let it happen”

Tame Impala’s first album in two years kicks off with what is probably their greatest song - and considering Lonerism’s amazing “Feels Like We Only Go Backwards” that’s a statement I feel slightly uncomfortable making. But yeezus, this song is so good. Kevin Parker has written about isolation and melancholy in such an expert way, you wonder if he can work his way out of the ennui to find a sense of contentment and happiness. And with this song (and the rest of the album which is just an impressive achievement), you can see an evolution in his view of himself.

In a way, this song is a direct response to “Feels Like” - that song was focused on a pair of individuals at a turning point in their relationship and life. No matter how much they tried, they seemed to be rehashing their past mistakes. With “Let It Happen,” he is still aware of his introvert tendencies, but has realized he cannot depend on someone else to push him to change - while it would be easier to stay comfortable in going backwards, he is beginning to accept that there is a part of him that must move forward, to just “let it happen.”

[nothingtoseemovingon]

I wanna be the one you steal I wanna be the one you shield I wanna be the one That your love, that your love can heal

I am not immune to a well-crafted pop song (hello Call Me Maybe) - after all few things can match the feeling of driving in a car, windows down, and people singing along to the same song. So no matter how niche my music taste seems to become with each passing year, those huge songs can remain impossible to resist.

The new Years & Years album comes out today, and though I’ve heard most of the songs already, I’m still looking forward to listening to it all. But not because I am sure it will be the most important album of the year…I know that it is not. And not because I believe it will become influential in my life…pretty confident it won’t actually. The production might sound like a dozen of other bands, but the power of a good pop song is the universality of the emotions conveyed.

What I am sure of is that I will listen to Communion and will start dancing and singing, mostly out of happiness. And sometimes that’s all you need.

[nothingtoseemovingon]

You see my face in the stars You don’t know me You write my name on your walls But you don’t know me I feel you tracing my scars But you don’t know me You don’t know me at all I see you down on your knees But you don’t know me You don’t know me at all

In some way, this song is a call to action - the tension in the beat matches the pointedness of the lyrics. The “You” being called out could be a friend, a partner, a religious leader, a country. The video, with the absolutely incredible Tatiana Maslany, definitely brings in the religious aspect too.

But the nerve the song hits can also feel very personal. Much like religious leaders can negate the value of those outside their faith, people can do that to each other on a much smaller scale. It is always eye-opening when someone you think “knows” you says or does something that proves just the opposite. It is even worse when you realize that perhaps they never knew you or cared to in the first place.

[nothingtoseemovingon]

Feels like a dream tonight, a little break in time As we howl at the moon Hey, it’s a new summer. Can we live there.. like it’s our last one?

In a random alone moment in a weekend full of friends, music, and beer, I found myself eating a quick bite near two (much) younger girls. I sat down in the middle of their conversation, which seemed like a predictable “summer is awesome” one before it took a turn I wasn’t expecting. One of the girls began talking about all the summer buildup, how her short-term job was boring, and how she couldn’t wait to get back to school. The other agreed, which surprised me even though it really shouldn’t have.

When I was in school, summer was aspirational - make it through the year and be done. But reality was never quite so glamorous. Typically, I worked a job every day and tried to make plans with friends from high school before realizing I had very little in common with them any more. My college friends, scattered around the country, were the ones I missed. But by the end of summer, the friends from home had reminded me of why I missed them every September. It was a vicious three month cycle.

In a way, summer was my melancholy season. Sure I could go out to a club, but the excitement of doing that on a weeknight quickly faded. And yes, you could meet a cute boy, but in the back of your head was the knowledge that in a few months, it would all be over.

This song, more than any other (Sorry Lana), captures that feeling of melancholy. It feels like the last song played at the club, right before the lights go up, where you realize you have very few of these moments left. Now that I’m older, and summer mostly just means “hot,” I no longer associate it with a twinge of sadness and regret. And I don’t miss those months of conflicted feelings and fleeting moments.

[nothingtoseemovingon]

There's a moment to seize every time that we meet But you always keep passing me by No, you never were, and you never will be mine

One of Robyn’s best attributes (of which there are many) is the fact that she seems completely relatable despite being so incredibly badass. Even when she is signing at the height of her bravado (”U Should Know Better,” for example), there are slivers of humanity. This is a woman who took on her record label, bought herself out of her deal, and went on to record some of the greatest pop songs of my lifetime. She is a force to be reckoned with - all the more impressive because she has succeeded on her own terms.

Today is her birthday, and I’ve seen some shout outs on Twitter and other social media. She might not get the attention than any other pop star would, and that’s okay. Robyn doesn’t need the attention - she knows she is killing it. She doesn’t need any to affirm what she already knows.

And while “Dancing on My Own” might be her most popular (and best) song, I have to single out my personal favorite - I love how honest the lyrics are and how danceable to the beat is.

Sometimes I wish more people knew of her...just so she could have the credibility I believe she deserves. But then I realize that Robyn doesn’t care about that stuff. She just cares about expressing true emotions, on or off the dance floor.

[nothingtoseemovingon]

Waiting for a roar Looking at the mutated skyline The city is my church It wraps me in its blinding twilight

There are days when you feel pretty small…whether it be receiving sad news from a friend or having a personal setback, even if it is just a minor “how I am going to pay for this?” one.

In just over 4 minutes, “Midnight City” presents the antidote to the feeling of smallness. Everything is epic - the song begins at full strength, ready for you to join this mythical city where you can build something new, better, and full of the promise that seems to be eluding you in the real world.

I find myself coming to this song when I am having one of those overwhelming days, when nothing is epically wrong, just many things seem out of focus. It’s nice to imagine a place where you can reboot and become energized. A place where the inhabitants are waiting for you, saying hurry up so we can begin again.

[nothingtoseemovingon]

I wish I could paint our love These moments in vibrant hues

As someone who typically defaults to sarcasm at all times, the sincerity of Miguel’s songs sometimes gives me pause. I loved Kaleidoscope Dream, his last full length album, so much it was surprising. Here was a man singing about being vulnerable, being in love and being joyful in life. The cynic in me overcame the initial eye-rolling quickly - once I succumbed to the album’s charm, I was all in.

His new song has been released a few times - first as a short version, and now a version with Wale and a “clean” version. While I’m not crazy about Wale’s contribution, he does capture some of the fun and silliness of sex. Oh yeah, this song is totally about sex. But Miguel’s version of sex is what happens when two people are completely comfortable with each other - it is easy and fulfilling, connecting him with his lover in a way that comforts and inspires him. The sweetness of Miguel’s voice is evenly matched by the sweet sentiment in the song.

And as much as I, ever the grouch, would hate to admit it, I know exactly my reaction should someone sing this song to me - I would swoon and I would fucking love it.

[nothingtoseemovingon]

When I get my back up against the wall Don’t need no one to rescue me Because I am not waiting up for no miracle Yeah tonight I’m running free

Today is Kylie Minogue’s birthday and it feels weird not to say something about her - after all she has inspired so many dance parties and happy sing-a-longs. I read a quote from Rufus Wainwright once where he said Kylie is shorthand for joy. As cheesy as it sounds, he is completely correct. Kylie, and her music, put nothing but love and joy out into the world. Having a bad day? Put on some Kylie and you can feel the smile forming on your face.

I love so many of her songs and probably could not pick a favorite, so I’m singling out one of her most recent. Kylie has survived breast cancer, broken relationships, and other personal setbacks, but she has continued to persevere. She owns her past and doesn’t feel the need to bring anyone down - she wants everyone to win. This sentiment in music today is all too rare.

So thanks Kylie for being there for the single girls and boys, the dancers and the wallflowers, young and old. And (to echo another song of hers) thanks for reminding us all of the simple truth - “what’s the point of living if you don’t want to dance.”