Goear.com, etc.

I'm thinking about expanding my blog to include more things non-music. I don't do it often, but whenever I browse blogs I almost always get sucked into them, and inevitably want to start having conversations with their writers. I'm not suggesting anything, just simply stating that I might share some more stuff; I suppose that's blogging.

Anyway here are the songs I'm listening to on repeat these days, wonderfully conveniently streamed on goear.com (which happens to be a pretty awesome site with a huge selection of songs that you can listen to):

Two Step (DMB)
Merry Happy (Kate Nash)
Nothingman (Pearl Jam)
Heartbeats (José González)
You Will. You? Will. You? Will. You? Will. (Bright Eyes)

Looking over these tracks, I could say why I keep listening to each of them, based on the lyrics to each. But who ever knows what the real reason is that we pick songs? I like to think that I choose songs for their lyrics some times, but more often than not I either 1. have the song stuck in my head so want to hear it, or 2. love the way the song sounds and/or makes me feel. How much do the lyrics really have to do with both of these? Everything? Nothing? One of my buddies says he doesn't know the lyrics to any songs, because he just focuses on the music, whereas I read and interpret and memorize them.... There are so many facets to this experience called music; I'm excitedly hoping this book I just bought will shed some light!

Coupl'a Bon Iver Videos

Vernon performed two songs off his debut album over at The Current's studio in Minneapolis on January 17th, 2008. He's so good live! So pure, so clean. I can't wait to see him in April.

"Flume"



"Lump Sum"

Sony Bravia - "Balls" Commercial

This is probably my favorite ad, ever. The slow movement of the balls with José González's "Heartbeats" makes for a supremely calming, happy viewing experience. There's no computer-generated images in this ad; it's all high-speed cameras on literally busloads of bouncy balls on the streets of San Francisco.

This ad introduced me to this song, which has since become one of my absolute favorite songs. It's actually a cover of The Knife's original, which is much different. After listening to the original, which is mostly synthesizer, heavy bass, and skreeching vocals, I felt a new reverence for José's talent, and his ability to completely transform a song to make it his own. There's something about the guitar in his version that pierces straight to the heart. The lyrics take on a new significance with his relaxed but emotion-laden voice, the result of which simultaneously makes me feel like crying and screaming for joy.

Bon Iver | For Emma, Forever Ago

This record really surprised me. I mean, what really good music has come out of Eau Claire, Wisconsin, ever? Yeah, he didn't record the album there, but that's where he's from. Justin Vernon is Bon Iver, pronounced "bohn eevair" which is french for "good winter," and apparently hiver is spelled wrong on purpose. The winter he's referring to is November-January 2006-2007, when he shacked up in an old hunting cabin of his family's in northwestern Wisconsin. He'd just broken up with his longtime band, and decided to surround himself with quiet seclusion to think, write, focus on music, and simply experience the land. His music developed into something that was entirely him at that point; he lost all the songs and journal entries he'd written when his powerbook hard drive fried, which forced him to begin anew. Over the next two-three months he wrote, in his own words, "seven songs that have succeeded to pull me through a hardened shell of myself, suprise me, entertain, impress and even heal me. They are me, and I am them, but, they sound nothing like I have ever really written before. No need to explain, I kind of understand." He describes a completely new feeling for him; a discovery.

With only himself and a collection of modest recording equipment and microphones, he recorded one of the most beautiful folk albums I've ever heard. There is a distinct feeling of sadness behind these songs, but for the most part that emotion doesn't carry over to the listener. More than anything this album has a calming effect. The music is his acoustic guitar, a bass drum, and layers of his voice. That's really about it. It may be hard to convey here what he's accomplished with so little, but first listen invariably entices the response, "that's beautiful." He sings in falsetto almost entirely throughout, and made me think immediately of Daniel G. Harmann, but the intimacy that Vernon creates is simply unparalleled. It's like David Gray's A Century Ends era, when he was recording albums in his certainly-not-soundproof apartment.

There's just something so real about this album. There's no pretense, just honesty. "All of his personal trouble, lack of perspective, heartache, longing, love, loss and guilt that had been stock piled over the course of the past six years, was suddenly purged into the form of song."* The lyrics tell the story of a man who takes time off from his life to evaluate it, and the growth that occurs because of this. In the first single, and one of the most passionate tracks on the album, "Skinny Love," Vernon wavers between regretful pleading to frustrated affirmations, and captures the feelings at the precipice: at both the end and the beginning. From

sold my cold knot
a heavy stone
sold my red horse for a venture home
to vanish on the bow--
settling slow

in "Lump Sum" to

this is not the sound of a new man or crispy realization
it's the sound of the unlocking and the lift away
your love will be
safe with me

in the album's closer "Re: Stacks"...we certainly get the feeling that he's figured something out, and that this album serves as both the catharsis (the process) and the celebration (the result).

Skinny Love.mp3

*Bon Iver on VIRB (listen to the entire album streamed)
JAGJAGUWAR

A New Kind of Music Video

Robert Hodgin makes really cool videos with an open source program called Processing. If you're interested, check out his blog to get an idea of how much work goes into these. Really, you should click on the title beneath the vid to see it bigger and in HD. btw, the song is "Lovely Head" by Goldfrapp.


Solar, with lyrics. from flight404 on Vimeo.

If You Like Björk...

Then you'll probably enjoy this interview. It's a bit long and slow, but enlightening.



I've always been on the fence with her; some of her work I love, some I hate. Maybe most people are like that with her. But after watching this interview I definitely understood her more. Pretty easy to see that she is a genius.

"[Music is] just the one, most all-embracing, forgiving, understanding thing there is. Just in the full obstruction of it, it doesn't ask any questions, and you don't have to explain yourself, and it's the one world that can cover all the emotional levels of view..."

Radiohead | In Rainbows

I've decided that it's preferable to review an album after I've understood exactly how I feel about it. I say this because after my first listen of this album, on the night of January 5th (I waited to buy the album in-store), I hated it. A couple friends of mine (who'd downloaded it) had told me that it felt more like background music than anything substantial and worthy of attentive listening or excitement. I treated it as such on a drive home, listening to it straight through and never getting into it. I realize now, after listening to it more than anything else since, that this is because it wasn't what I expected at all. I suppose I expected something groundbreaking--something like I'd never heard before, since this has always been Radiohead's method. This album may not be groundbreaking in its other-worldly creativity and electronic sampling, but may be in its cohesiveness and as an exceptionally well-crafted album.

Radiohead's seventh studio album is simultaneously similar to, and very different from their previous six. This album is undeniably Radiohead, but Radiohead at a very different place musically. It's being hailed as "the best Radiohead album since Kid A," and I agree. As for the band's discography, I've always felt that their albums contain both the spectacular and the mediocre, although some obviously with more of the great than others (i.e. OK Computer and The Bends over Pablo Honey and the last two albums). Kid A was the first Radiohead album that sounded perfect in its entirety: every song flowed into the next, and the whole album felt like a wonderfully preserved memory that evoked a strong set of feelings each time. I couldn't help but crave and listen to the entire album straight through every time.

In Rainbows achieves the same synergy. That may be a reason why it is relatively easy to gloss over: it doesn't have the stark contrasts between radically different tracks, and each track sounds like it was meant to follow the one that preceded it. That being said, this album must be listened to: track by track; then you'll hear it come together. Overall, this album is much more band-centered. The musical arrangements focus much less on electronics and much more on the traditional guitars, percussion, and bass. Radiohead thus achieves an "uncomplicated beauty"* on this album that really is quite striking.

----------
What follows are my notes on this album, written about a month or so after listening to this album constantly. I was going to clean them up, but upon reading them just now, I like them the way they are; if you want to know my analysis of and thoughts on each song, take a look:

(1) 15 Step - builds...has so much energy...the low-key guitar in the background really drives the song...the bridge from 1:46-1:58 and 2:24-2:40 and the new backing sound is my favorite...with perfectly placed what-seems-like-children-celebrating...the percussion is what shines most brightly in this song, undoubtedly. being the first impression of their new album, one immediately realizes that this is more band-constructed/centered music than electronic-constructed/centered music. (this holds true throughout the album, for the most part) when it's over you're left wondering, where could this album possibly go from here?...lyric: 15 steps, then a sheer drop. tonight this song made me think of death. . .

(2) Bodysnatchers - harsher, distorted guitar, relatively basic everything (vocals, percussion)..."I've no idea what I am talking about / I'm trapped in this body and can't get out" - they do an excellent job of making you feel like you're trapped in a cage that's being shaken and yelled at by others... "has the light gone out for you? / because the light's gone out for me. / it is the 21st century..." - from 2:07 to 3:10, he takes a step back from the chaos and sees what's really happened to him; this section is what makes this song worth listening to for me. beginning of song pretty cacophonous, but 2:07 to 2:54 is a characteristically ethereal radiohead transition......you definitely (I, at least) have to be in the right mood for this song.

(3) Nude - an older song, unreleased since its conception in the ok computer era; very beautiful: slow, minimalistic, really achieved by yorke's high croon (not like the deeper mellow of Motion Picture Soundtrack, e.g.) the soft, smooth guitar line throughout is really cool. 2:45 to 3:10 is yorke at his best, a transcending solo - in which his most contemptible, or rather, most observant lyric invests all its emotional impact ("you'll go to hell for what your dirty mind is thinking"); "don't get any big ideas / they're not gonna happen." opening lines. gee, thanks guys....but you realize later that it's not a statement of fact, it's a 'motivating suggestion'....allegedly about living in a man's world, the lyrics seem to paint the picture of sexual desire and desistance, and the guilt and inadequacy that can inevitably follow. "Nude" not only physically but emotionally and spiritually/mentally as well.

(4) Weird Fishes/Arpeggi - very positive-feeling song. flowing, swirling music that acquires layers gradually throughout the entire song : percussion, bass, guitar, more guitar, vocals (with enough echo to create space) - one doesn't have a difficult time believing he's at the bottom of the sea on this one - "i'd be crazy not to follow / follow where you lead / your eyes / they turn me"..."turn me on to phantoms / i'll follow to the edge of the earth" -there is a turn in the song here. builds to its height (most layered, most moving) from 2:26 to 3:03...(rest of lyrics are pretty damn good...leaves if they get the chance, this is my chance)...down to the keyboards and guitar accompaniment, yorke alone until 3:41, when we're moving again, but in a much different direction: an almost foreboding backing vocal, dissonance created between the guitars and orchestra now, as yorke sings "i'll hit the bottom / hit the bottom and escape / escape" we realize his weariness and also a sense of finality; . . . it's as if we're sinking the whole time...following at first, taking in the weird fishes we pass on the way, and finally, the end, escaping?...

(5) All I Need - i feel like this is so obviously a favorite song candidate, because it kinda has the 'perfect song' formula. but they've pulled it off. similar to and strangely unlike anything they've ever done in its entirety. reading the lyrics without listening to the song seems so...blatantly...conforming...analogies that express one's dependence on another, while including a piece of imagery that connects the two vividly... but it's the way he sings, and most importantly, the music that creates one of the great moments i've heard in music this year. (many comparisons to Boards of Canada's "Roygbiv," and although there must be an influence, this song kills roygbiv.) the addition of the xylophone and the static is a precursor to the noise that explodes... but on the base level the song remains simple throughout. it's 2:45 to the end (esp. 3:01) that this song takes over your world; yorke, among the noise, sings through, you can feel the effort..."dressing up what begins as a skeletal rhythm section in cavernous swaths of glockenspiel, synths, pianos, and white noise."*

-two sides-i really wish i had this on vinyl, because after All I Need i feel like the next song comes much too quickly. i usually turn my cd player off for a few minutes, because i feel like i need time to bask in what i've just heard, or at least come down.

(6) Faust Arp - therefore feels like a bridge that connects the two sides of the album, although the sides are not equal other than that, not a very substantial track on its own. the orchestral arrangement is very nice, as is near the end when yorke actually starts singing.

(7) Reckoner - very satisfyingly complex beat to this one, which is amplified by the introduction of the bass at 1:28 and yorke's "you are not to blame for..." the first real change at 2:23 (the music stops...and slowly builds, amid repetitions of "because we seperate like / ripples on a blank shore" into a sweeping full-bodied orchestral backing. and back to the original movement/riff at 3:18. . .which now becomes accompanied by the orchestra, until a slow fade-out. overall, something very emotional in the lyrics that yorke sings in this one...

(8) House of Cards - starts out very simple, very feel-the-beat. This was the first song to stand out for me, because of the opening lyrics: "I don't want to be your friend / I just want to be your lover" (Yes! Thank you!) Yorke's voice is nicely echoed, over a pretty minimal guitar pick and ride&rim shot, but the choruses conjure up a set of really cool effects that provide a lot of depth and weight to his "denial, denial" lamentations.

(9) Jigsaw Falling into Place - this song is awesome. it moves so well. the only narrative on the album, in a way. quick guitar riff opens, to a driving force of a beat. yorke intros some backing vocals which repeat, and then the story begins (of course, his lower speaking-like voice) "dance, dance, dance," change at 2:53--lighter guitars....about being in a danceclub at night, meeting someone, and the excitement and euphoria that can be felt losing oneself in the music and the dancing...the chance encounters that happen seem to be jigsaws falling into place...

(10) Videotape - videotape has been a disappointment to many, myself included, since It doesn't really go anywhere; the 4-note piano measure repeats the same throughout the entire song, which is somewhat relaxing in its wind-down but ultimately uninteresting. but truthfully it's a pretty perfect end to this album. it's very clear from its beginning that it's the last song of the album and it would never work any other way; the lyrics are actually pretty profound, although the repetition of the word "videotape" gets a little annoying. it winds down, reminiscent of Motion Picture Soundtrack... but it doesn't take that long, and there's no mind-blowing hidden track; it's pretty deliberate, like they hold no illusions about how straightforward this album is. in so doing, they've basically created the requirement that you start listening to the album again.

*Pitchfork's review.

Keren Ann | Self-Titled

Keren Ann Zeidel's self-titled fifth studio album (third in English) is, if you've never heard her, something new. If you're looking for something a little deeper, varied, and against the norm...look no further. Basically Zeidel oscillates between and incorporates elements of a contemporary Mazzy Star (a la So Tonight That I Might See), an unassuming under-the-radar folk-pop princess, and a guitar-playing chanteuse. The result is an entirely unique sound: one that changes from song to song but remains undeniably her. As Q Magazine (7/01/07) stated, the album "remains resolutely unconcerned with commercial clutter. Its nine songs are introspective and exclusively indifferent to anything outside its own self-created world."

For some reason, this album sucks you into that world; it is essential to listen to the album straight through, because the songs move you from one feeling to another, like stops along a journey through an emotional and imagerial dream. In the first two tracks, I felt like I was trapped in a dark cell, then released into a sun-lit, breezy garden with a view of the sea. She takes you sailing, down a slummy alleyway, into a cabaret, and floating across the sea (in a song that reminds me very much of Moby's "God Moving Over the Face of the Waters"), then reflects on it in a fun and completely carefree epilogue...all in 43 minutes.

Her voice is smokey, laden with a distinct flavor of complexity (in its variations between hopeless depression and euphoria), but also pronouncedly delicate. The instrumentation is somewhat minimal, but very diverse, ranging from typical rock-band elements, to backing orchestral and choral arrangments, beautiful piano, and even some twangy guitar (reminiscent of Nancy Sinatra's "Bang Bang," e.g.). A common criticism that I hear of many bands is that "all their songs sound the same;" well, my feelings on that statement notwithstanding, none of these songs (even her voice in each one) sound alike.

I recommend this album highly, especially since it's best experienced as a whole. Check out the tracks on her myspace, especially the album's first single "Lay Your Head Down," and a video of my favorite track from the album, "The Harder Ships of the World" (it's not an official video, but you get to hear the song).

Shabop Shalom! (Mix #1)

Happy new year. I'm starting the year out with my first mix, available upon request or my own generosity ;) This mix has quite a bit of variety, and will most likely surprise you in a couple spots; but these are all songs I cannot ever get sick of, so...enjoy. Oh, and leave a comment to tell me what you think.

----Side One----

01 Sia: "Day Too Soon"

A very happy song, also the first single off her upcoming album Some People Have Real Problems

02 Johnathan Rice: "Mid-November"

A stripped-down, more intimate version of his best song off his debut EP

03 Incubus: "The Warmth"

A song I'd always forget but then strangely crave; one of the coolest openings of any rock song.

04 Bruce Springsteen & The E-Street Band: "Thunder Road [Live]"

An incredible harmonica/piano/voice-only version from their early days

05 My Morning Jacket: "Golden"

One of the smartest, most spiritual songs I've heard in a long time

06 Jeff Buckley: "Lilac Wine"

I can't imagine there was ever a better cover of this song; Buckley in his personal element

07 Devendra Banhart: "Shabop Shalom"

I LOVE this song! It's so creative and fresh, like folk redefined.

08 Radiohead: "Sail to the Moon. (Brush the Cobwebs Out of the Sky.)"

Songs like this are just needed sometimes, and nobody does this stuff any better.

----Side Two----

09 Santa Esmeralda: "Don't Let Me Be Misunderstood"

A ten-minute Spanish epic that is incredibly fun to listen to

10 Bob Dylan: "Fourth Time Around"

The original version; Dylan at his finest, one of my absolute favorites by him

11 Spiritualized: "Ladies and Gentlemen We Are Floating in Space"

Well this song just had to be on here; a must-listen.

12 Meiko Kaji: "The Flower of Carnage"

A gorgeous song; not in English, but it doesn't matter.

13 The Coasters: "Down in Mexico"

From the lap dance scene in Death Proof...Surely memories of that is not why I put that on here... :)

14 Cat Power: "I Found a Reason"

Short but sweet, one of her best covers.

15 Sigur Rós: "Ágætis Byrjun [Live]"

One of their best tracks, completely transformed in its acoustic version

16 Kate Havnevik: "New Day"

Quite possibly one of my favorite tracks of 2007; a perfect orchestral/electronica blend.

Band of Horses | Cease to Begin

The opening track of Band of Horses' new release, "Is There a Ghost," was one of the few tracks that I actively sought out after hearing it on the radio. I was immediately hooked on this band's sound, a sound that was familiar but entirely new.

Band of Horses was formed by Ben Bridwell and Mat Brooke in 2004 Seattle. They're currently signed to Sub Pop Records, a Seattle-based independent label which also manages The Shins, Iron & Wine, and The Postal Service. BoH started out opening for Iron & Wine, and on the cusp of their October 2007 release they started playing their own, packed, giant shows.

Their popularity is merited. Cease to Begin is a notable improvement upon their debut Everything All the Time: It is more straightforward, more refined, more likeable. Lead singer Bridwell's voice had me confused upon first listen, thinking I was hearing a new MMJ track, as his voice is sometimes identical to Jim James's (especially in the reverb-soaked stuff James is so well-known for), only less dark and more pop-friendly. They sound like an amalgamation of My Morning Jacket, The Shins, and a little Coldplay. Their myspace bio claimes that "Band of Horses' woodsy, dreamy songs ooze with amorphous tension, longing and hope," and this is very true.

"Is There a Ghost," beginning with slow anticipation, builds into some powerful stuff, while the next three are very beautiful indie-pop songs about loss that are ironically optimistic. I've gotten into the habit of listening only to the first four songs--which are undoubtedly the strongest--but the rest of the album is quite good. The twangier "The General Specific" and the more upbeat "Island on the Coast" would fit perfectly on a Shins album, while "Marry Song" suggests an attempt at singer-songwriter-ism (MMJ, I&W), but suffers from being too repetitive and not seemingly heartfelt. "Cigarettes Wedding Bands" is another rocker, which sports a catchy chorus, and the closer "Windows Blues" is another slow song, which works much better, since they don't play around with harmonies which allows Bridwell's voice to shine through. It's a quick listen, at only 35 minutes, but it's definitely repeat-friendly.

Download "Is There a Ghost" and listen to "No One's Gonna Love You" at their myspace.

"August and Everything After" by the Counting Crows

(The song, not the album). If you didn't know this song existed, you're in for a treat. It's not a song you play in the background. It's a song you listen to, in your chair or in your bed, with your eyes closed. Adam tells you this story in bits and pieces, like a collection of memories, and you feel at the end that you've seen his life through his eyes. It made me realize how many different types and purposes of songs there are out there. It's so long-how does he have the whole thing memorized? It must be autobiographical. Maria is the beginning focal point, who's a staple in much of his songwriting (recall the line from "Mrs. Potter's Lullaby": And there's a piece of Maria in every song that I sing). This song is similar to that one, not only in its length but in its story-form and its incorporation of the mundane and the profound instances and lessons from life. The loudest cheer from the crowd is right after the first time he sings "August and everything after," when the audience realizes that this is the long-lost song that was supposed to be on, and may have been the origin of, their stunning debut.

August and Everything After [Live].mp3
If you have a different version than the one I've posted, please let me know!

Lyrics

They're wakin' up Maria 'cause everybody else has got some place to go
She makes a little motion with her head,
Rolls over,
And she says she's gonna sleep for a couple minutes more
I said "I'm sorry" to Maria for all the cold hearted things that i have done
I've said "I'm sorry", by now, at least once to just about everyone
She says, "I've forgotten what I'm supposed to do today,
And it slips my mind what I'm supposed to say."
We're getting older and older, and older
And always a little further out of the way
You look into her eyes, and it's more than your heart will allow
In August and everything after, you get a little less than you expected, somehow...

I stumbled into Washington Square just as the sun began to rise
And I walked across the lawn to the cathedral
And lay down in the shadow of St. Mary's in the sky
I'm just one of these late-model children waiting for the king
But there ain't no sign of Elvis in San Fransisco
It's just me, and I'm playing this rock and roll thing
And she wants to be just like me
And I want every damn thing I can see.
One day, you're Daddy's little angel,
The next day you're everything he wanted you to be
They dress you up in white satin
And they give you your very own pair of wings
In August and everything after, I'm after everything.

And I said, la la la la la la la.....

Well now I got my reservations, and I got my seven million-dollar home
And I got the number of some girl in New York City
Who's always wide awake so I never have to spend the night alone
I got this nasty little habit of peeking down the shirts
Of all the little girls as they pass me by
And i wonder, if it all catches up to me
I'm finally breaking down, now
Did you think i was gonna cry?
Well, I've already got my disease,
So take your fucking filthy hands off of me
Well I hope you don't expect me to be crucified,
The best that they can do is just to hang me from the nearest tree

'Cause it's midnight in San Francisco
And I'm waiting here for Jesus on my knees
In August and everything after
I want somebody else to bleed for me

I said la la la la.... na na na....

I came down from North Dakota
'Cause I had a confidence in the military mind
And now, everyone I know is turning show girl
And dancing with their shirt off in some Las Vegas hotel line
So I'm going to New York city, because it got a little sleazy here for me
When I find myself alone, I know I'm never going home
You make the changes, the changes that you need
But I no longer know how to pray
I live in a dog-town and it's a dalmation parade
I change my spots, over and over,
But they never seem to fade away
I am the last remaining Indian,
Looking for the place where the buffalo roam
In August and everything after,
Man, them buffalo ain't never coming home
In August and everything after,
Man, them buffalo ain't never coming home

La la la la la.....

Sigur Rós | Hvarf / Heim

Everyone seems to be wondering about Sigur Rós's new release. This double EP, released 11/06/07 is a separate companion to their first live film, Heima, which was released today in North America. Although this collection (11 tracks, two discs, 72 minutes total) doesn't have any new material, most of it hasn't been released before. Hvarf is a collection of studio-recorded rarities, and Heim is a collection of live acoustic favorites. I found the selections on Hvarf to be somewhat repetitive in their sound, although the remake of Von (from their debut) is pretty good. The live material really makes this cd worth buying, however; if you're a fan of Sigur Rós and you haven't seen them live, this is an essential buy. Hearing their material live proves their musical talent: without the help of synthesizers and everything else they still make incredibly beautiful music. These stripped-down versions also confirm the delicacy of their sound, that is, their ability to create emotion-evoking moments without their characteristic 'noise.' The recording quality is perfect, and the familiar songs chosen for Heim take on a new life.

Sigur Rós's official website on the new EP & DVD, including full descriptions of each song:
Hvarf-Heim CD
Heima DVD

Favorite Song #6: "She Says [Live]" by Howie Day

Sometimes I wonder if I love a song because of the song itself, or because of the memories and emotions it evokes. Well, now that I wonder that, I'm pretty sure it's both. I found Howie Day back in 2001 shortly before the Sony re-release of his debut album Australia, on an Aware Records compilation. I quickly realized how talented this guy was, and was happy to see how much popularity he earned. A direct result of this was an increasingly large collection of live show recordings on the internet, which was so nice with Howie because he played twice as much material on the road than he had (or ever did) released in his albums. My junior year of high school I listened to him nonstop, usually while driving around in my car aimlessly.

This is by far my favorite of the 7 versions I have of this song by the American singer-songwriter. Day doesn't use the looping for which he's known; he uses his guitar and the passion in his voice to fill this song out. This version has a sweeping, ethereal quality to it: listen to the first two seconds and you'll know what I mean. This version in particular, especially over the two album versions, has a much more honest feel, like he's singing-wailing-from his heart; beautiful and fervent, this might just make you a fan of Howie if you're not already. Too bad he hasn't released anything in over two years :-/

*Photo: Barry Brecheisen / Rolling Stone*

She Says [Live].mp3

Cat Power | The Covers Record

Since falling in love with The Greatest, I've found it difficult to really enjoy her earlier albums. It seemed to me that they were more avenues for her own catharsis than adequate representations of her talent. The focus-being completely independent the first two albums, and on a rather small label up until her newest release-did not seem to be primarily on the music: her lyricism was good-at times astounding-but her musicianship was only moderately interesting and her voice did not sound like it does today. Although there are a few gems in her back catalogue that truly shine, most of the songs are too raw, hard, or unpolished to create a pleasant listening experience (they seem to work on some level in the background, or if you're really down, but they're difficult to love). The nature of her (past) music makes sense, considering her battles with alcoholism and depression. Here's a relatively recent NY Times article and video in which she explains some personal things.

After taking a couple years off from music after her 1996 album What Would the Community Think, she released a collection of covers she'd played on the road between 1998 and 1999. It's very interesting how much different the sound of this record is from her prior releases, and even You Are Free, which came out three years later. Perhaps the main difference is that there is no evidence of any other musicians: it's only Chan. She mostly plays her guitar, sometimes the piano, which allows her gentle, smokey voice to be heard as it should without detracting from its almost unnverving intimacy. She covers The Rolling Stones (I don't know if I've ever heard a more radically satisfying cover of a song than her version of "(I Can't Get No) Satisfaction"), Lou Reed, her (ex?) boyfriend Bill Callahan of Smog, and even herself, transforming each song into something nobody else ever could. The most similar song on The Greatest would have to be "Where is My Love," but somehow the songs on this album each have a weighty significance, like she inspected each of them with her heart and expects us to (i.e. knows we will) do the same. Chan's "Wild is the Wind" is perhaps the most hauntingly poignant, soul-piercing song I've ever heard. I absolutely love this album. It is a supremely satisfying listen straight through, and is best suited for listening at night, with quiet stillness, disturbed only by Chan's hauntingly beautiful voice.

Look for a song in my upcoming mix.

A Fine Frenzy

A Fine Frenzy has been getting pretty popular recently in the mainstream circle. If you haven't heard of her, Alison Sudol is a 22-year-old self-taught pianist/chanteuse. She's quite talented on the keys and her voice is capable and beautiful. I got the album after hearing "Almost Lover," and liked it upon first listen while playing Scrabble, especially the last track "Borrowed Time." But after I listened to it more closely, I have to say I started to cringe at how cheesy this album is. Allegedly her lyrics are based on a number of fantasy works she's read growing up, so it seems appropriate that this album sounds like a four-year-old's cup of tea. The album's backing orchestral arrangements add to its fantastic feel, and it's exceptionally produced, but this just results in a sound that is way too over the top, like a G-rated computer-animated Disney film. I would like to hear her stripped down, just her and her piano, with some more heartfelt lyrics, rather than these bedtime stories.

Patrick Park | 11/15/2007

Back in February of 2003 I saw David Gray play at a jam-packed Northrup Auditorium, on his pre-New Day at Midnight tour. In front of nearly 5,000 people, out walked his opener, this quiet guy who nobody'd ever seen before. Once he started singing a hush went over the place; he'd grabbed our attention.

I loved his stuff then, when it was in its beginnings, having just released his debut EP Under the Unminding Skies a couple days earlier. I was a ways back in the auditorium, but I remember being sucked in by the earnestness in his voice and how poignant his short set was.

Almost five years later, the Colorado native is back in Minneapolis headlining his own show at the 7th Street Entry, a small, run-down, but intimate joint. Since 2003 he's released two full-length albums, Loneliness Knows My Name and Everyone's in Everyone, and has had a couple singles featured on Fox's The O.C.. I'm guessing he gained considerable popularity when his song "Life Is a Song" was played during the show's final episode. His myspace page shows a little over a half-million plays, so I was really surprised with how few people showed up tonight. This makes me wonder how many good artists I miss out on simply because I haven't heard of them before. They need to be marketed better.

Because Patrick is fucking good. It's just him, his guitar, harmonica, and mic. He stands up there, picking and strumming strongly, singing without holding anything back. His voice is very distinctive: folky, substantial (not airy), and genuine. His lyrics are generally melancholy but all of his songs have either an optimistic or really impassioned feel to them. His music varies and thus doesn't lend itself to boredom: it's not all sad, slow stuff. In short, he's a supremely talented singer-songwriter who plays raw, passionate, beautiful music.

Although it may not be awesome for his paycheck, it's always really cool to be at small shows when you can talk to the performer afterward. I asked Patrick to play my favorite song of his, "Love Is a Bomb," (solely on his debut EP) on his myspace page the night before, and so I was happily surprised when he introduced his second song, saying "this one's for Bryon." Turns out he's a really, really nice guy; getting to know him better makes me want to do all I can to get him out there a little more, so please check out his official website or his myspace.

Favorite Song #5: "Ladies and Gentlemen We Are Floating in Space" ...from Vanilla Sky

"Books, records, films--these things matter! Call me shallow, it's the fucking truth."

Why, you may ask, am I quoting Rob from High Fidelity here? Well, because it's the fucking truth. And they matter, ultimately, ...well, for countless reasons... but perhaps primarily because of how they make you feel. And my favorite songs really make me feel something. Something deeper.

Vanilla Sky is one of my top five all-time favorite movies. A lot of people don't like this film, and frankly I can see why (but I won't go into that). But I love it, because it does what a movie should ideally do: it takes me away from reality, and does a pretty good job of forcing me to examine mine when it's over. But more than that, I feel something when I watch it: a set of thoughts and emotions that seem to arise as such only when I watch this particular film (a consistency that is pretty cool to have). I could try to reduce what goes into making me feel those things (the characters and their ties to people in my life, the images and the memories/fantasies they provoke, and the intuitively-placed music...), but that's not what I'm on here for.

One of my dream jobs (another connection to High Fidelity...) is to be the guy who picks out music for movies. Well, I have to say that the placement of this song on Vanilla Sky is absolutely perfect. At one of the most moving (and enlightening) scenes, this song builds until it perfectly coincides--both lyrically and musically--with the movie (seeing Sophia at David's memorial...).

"All I want in life's a little bit of love to take the pain away
Getting strong today, a giant step each day.

I will love you till I die
And I will love you all the time.
So please put your sweet hand in mine
And float in space and drift in time."

After a quiet voice declares "Ladies and gentlemen we are floating in space," these lyrics slowly repeat, and gradually build on one another, layered among guitars, vocals, and a faint 'beep' which suggests that we are, in fact, floating in space.


I would love this song for the lyrics alone, but the way this song flows really does make you feel like you're floating. It's no wonder they marketed their album of the same title as a drug. The title from this song is allegedly derived from the book Sophie's World, and the music might sound a little familiar if you've ever heard Pachelbel's Canon in D. Philosophy, astronomy and classical music as inspiration = more evidence that the music that makes us feel something really is that important.

Stars with Magnet | 11-03-2007

So Stars really rocks out at their shows. Their albums (under myspace's "melodramatic popular song" genre) have always sounded like somewhat subdued indie rock/pop, so I was surprised by their energy tonight. They started it off with a bang on "Take Me to the Riot," and Campbell's voice sounded really strong. They played most of their new album, In Our Bedroom After the War, and I was a little unsure how I felt about them/the new album, but the show made me a believer. Their style is very cool: each band member (five men, one woman) wore something completely different from the next and they had really exciting stage presence considering their alleged inexperience--at one point, Campbell (co-founder/co-lead vocalist) said that they decided the title of their tour will be called "The 'I can't believe there are so many fucking people here' Tour," haha. Considering there were about 45 people at their last Minnesota show, ten times that is definitely an improvement for this Montreal band. The first few rows also loved how the band would periodically fling countless carnations all over the place (you can see them in Even's photo-->); interesting. Some sound issues still need to be worked out, in my opinion, since half of the time the guitars drowned out Amy Millan's soft vocals. But the encore was excellent, they finished with an amped version of "Calendar Girl," and at the end Campbell was screaming "I'm alive!" at the top of his lungs on and on...that was pretty awesome and the crowd loved it. What a fun show, these guys have a really unique sound. Try out tracks 2 and 5 on their myspace page.


I'm glad I liked Stars, because truthfully I attended the show just to see the opener Magnet. I don't remember exactly how I found this Norwegian singer-songwriter (it may have been off the O.C....) but I've loved his music since his first album, On Your Side, came out in '04, which remains one of my favorite mostly-autumn albums that is heard best while driving or lying somewhere with your headphones on. Most of his songs are completely depressing, so I half-expected him to be the same, but he actually had a fun personality, getting the crowd into his performance and cracking jokes about his ties to J-Lo. Magnet is Even Johansen, and he's so good because his lyrics are emotionally raw, and his music is deep and well-produced. The instrumentation on his albums runs the gamut (guitar-based but with electronic, strings, and percussive infusions), but his voice is what really keeps your attention. That he did tonight, even though it was just him. I'm always impressed with artists who are really good with layering and looping everything themselves, which he did to give his sound a much fuller feel. Seeing him live really made me realize how talented this guy is. He just released his third album, The Simple Life, and you can get it on iTunes.

Magnet's myspace.

David Gray Releases Covers Album

David Gray just released his new greatest hits album, which has two new tracks on it including his current single, "The World to Me," available only on iTunes.

But big fans who already have all his albums will be happy to know that he also just released a live album full of covers on his website. I've been listening to it a lot, and it's very good. All the tracks are pretty low-key, most of them just David and his guitar, some backed by Clune and his band. It seems that this is a collection of the covers that Gray plays for a little change-of-pace at his live shows. The sound of the crowds suggests smaller arenas (which is really all he plays anyway--relative to most musicians of his popularity), and contributes to the intimate feel of these songs.

I've always thought of David Gray as my generation's Bob Dylan, because I consider him the best lyricist since Dylan (if you don't believe me, listen to/read his earlier albums especially). It's fitting, then, that this album's title is named after Bob Dylan's song "One Too Many Mornings." It's also very interesting to see what Gray's influences are, at least to the extent that he covers these artists (three by Dylan and two by Springsteen, among various others).

Download the album here on his website's store.

We Are the Pipettes

Being attractive definitely helps in the music business, for better or worse. I checked out this new girl group because I saw their pictures in one of my latest issues of Spin, which had all these accolades littered around their polka-dot dresses and sexy poses. Good decision! (This wasn't the first time I've found a musician I've liked based on their looks, but hey, you've got to sort through all the music out there somehow, right?)

Anyway The Pipettes are Riot Becki, Gwenno, and Rosay. They are backed by a four-piece band called The Casettes, and hail from the UK. Unfortunately I won't be able to see them in Chicago in a couple weeks, but if you have the chance I hear they put on quite the show, complete with coordinated outfits and dance moves.

Okay, their music. Apparently these girls (who write, sing, and switch off on the keyboards) / the band (led and managed by the guitarist Monster Bobby) thought that the music scene in the UK the last few years sucked (I wonder if the local radios over there are any worse than most of the garbage on ours...), and when Bobby was DJing / promoting all over the place he realized that whenever he put on 60's girl band records people just started dancing, and reacted more enthusiastically than with all the other stuff that he'd play. So they came up with the idea of going back to that sound and putting a modern spin on it. They wanted to go back to a time before the Beatles changed everything.

"We Are the Pipettes is a modern indie pop album, and a classic one at that," raves Pitchfork. The U.S. version of the album (the yellow cover) has two additional songs and has been completely remixed so the tracks sound cleaner. It's a short album, with an average track length of about 2:30, but it's a really fun album to listen to, and the variety throughout is surprising. I suppose with music like this the only drawback would be getting sick of it, but the songs are so damn catchy that they'll be in your head for weeks. The songs' subjects suggest that these girls are very confident, and like Lily Allen show their independence and their disdain for clingy guys, as well as their somewhat insatiable sexuality..."Pull Shapes" is definitely my favorite track, because it just makes you want to dance and be happy (I just want to move / I don't care what the song's about)-and who the hell knows what it means to "pull shapes" anyway? Also check out "Judy," "Because It's Not Love" and the rest, streamed at their official website. This is very fresh, inventive stuff that fills a much-needed niche in one's listening repertoire.

Feist & Broken Social Scene - Lover's Spit

Lover's Spit was always one of my favorite Broken Social Scene tracks, which I first heard on the film Wicker Park. It's so inventive and addictively intoxicating. But this version, found on BSS's Bee Hives (which was rereleased in January), is even better. It's a bit slower (a minute longer than the original off of You Forgot it In People), quieter, and deeper. Whereas their vocals in the original at times compete with and at others blend in with the music and/or noise in the background, Feist's vocals are more pronounced with the stripped down sound of this one. An all-piano intro sets the stage for a touching ballad, which gives way to a low-key groove with the band--Clearly different than the slightly experimental sound of their electro-indie-pop release that garnered their mainstream fame. Feist not only contributes to this alternate version; she (her voice!) completely transforms it.

Lover's Spit (Feist) in iTunes Store

Sæglópur EP - Sigur Rós

I was driving in my car today as the sun was starting to set, the leaves were blowing all over the place, and the air finally felt like fall. Right at this moment the second track on Sæglópur came on and it fit perfectly. That made me think, this is great soundtrack-to-your-life music. Play it when you're driving in your car, especially in the evening, or when you're walking city streets; it works well with motion, because it just flows. It's there in the background, mostly quiet, beautiful, moving. I felt like my life was a movie, it was the coolest thing. God I love this band.

Kate Havnevik - Melankton

If you don't know her already, I'm sure you'll recognize her if you've ever watched Grey's Anatomy. Upon my first listen of this album, I immediately likened her to Imogen Heap and her electronica sound. As it turns out, Havnevik and Heap are friends, and Kate worked with producer Guy Sigsworth, the other half of Frou Frou, and a producer with Madonna and Björk under his belt. But Havnevik has a distinct sound, setting her apart from the rest of the electronica songstresses.

Kate Havnevik is a Norwegian musician who describes Melankton, her first major U.S. release, as a "dramatic, beautiful and euphoric"--I might add, hypnotic--record. She was trained as a classical musician, and I'd have to say that much of the beauty on this record comes from the elaborate orchestral arrangments that back most of the songs. For enlightenment's sake, I'll compare her to Imogen: whereas "Immi" uses a lot more electronic samplings and much more voice manipulation to create light and catchy pop tunes (mostly-we cannot forget her hauntingly beautiful Hide and Seek), Havnevik leaves her voice as-is for the most part, and uses it over longer phrases and heavier, more flowing orchestral mixes. Perhaps the weak point of the album is that her voice tends to sound the same throughout, but it undeniably works on a few standout tracks, such as "Nowhere Warm," "You Again," and the finale "New Day," which is an incredible mixed track suggesting the influence of her part-time vocal borrowers Röyksopp and sounds like a combination of Dntel and Björk. Interestingly enough, Kate is supposedly in the studio working on an acoustic album. If that is as successful as this project, this girl's got major talent.

http://www.myspace.com/katehavnevik

Favorite Song #4: "Dear Chicago"

According to my iTunes library, I've listened to this song twice as many times as any of my other favorite songs. I wonder, why is that? Maybe it's because this song is so short, clocking in at only 2:13; or maybe it's because it's so damn poignant-definitely some of the most depressing lyrics in Adams's repertoire, but-somewhat uncharacteristically-ultimately hopeful...which may be the best part of this song: the irony behind the morose lyrics lightly crooned over an upbeat guitar line.

Dear Chicago is off Demolition, which was released in 2002 between Gold and Rock N Roll (when Adams was only releasing one album per year), and which seems to serve as a musical bridge between his transitioning styles--from Heartbreaker and Gold's country-folk to Rock N Roll's well, rock. It's been an interesting path for him, trying out all these different genres, then reworking everything completely with Love is Hell, which many consider to be either his best or his worst album. Luckily, since that release Adams has seemed to find a comfortable middle ground, mostly amalgamating these various styles into his own.

But Demolition has been overlooked, and underestimated, because it is a good album. From its upbeat beginnings to "Desire," one of Adams's best songs, lyrically and musically, in which he shows off his harmonica skills, and recalls the talents of Dylan and a younger Boss...."Cry on Demand" and "She Wants to Play Hearts" are heartbreaking renditions, that seem to build on each other, before the bluesy/jazzy "Tennessee Sucks" lends a perfect introduction into Adams's shining moment in Dear Chicago. From there, "Tomorrow" and "Chin Up, Cheer Up" attempt at a hopeful future, but the album's closer, "Jesus (Don't Touch my Baby)," the albums darkest track, seems to bring the listener back to reality. But on Dear Chicago, when that first guitar chord hits, and he starts singing to his ex about his life since they broke up...you just feel his heartache, and wonder if the optimism at the end isn't him being true to himself. It's about not being able to fall out of love with someone, and Adams captures such a complicated but important feeling perfectly.


Listen here.


The Lyrics:

Dear Chicago,
You'll never guess
You know the girl you said I'd meet someday?
Well I got something to confess...
She picked me up on friday,
Asked me if she reminded me of you.
I just laughed and lit a cigarette,
Said, "That's impossible to do."
Life's gotten simple since
and it fluctuates so much,
Happy and sad and back again
I'm not crying now too much.

I think about you all the time,
It's strange and hard to deal
I think about you lying there,
and those blankets lie so still.

Nothing breathes here in the cold,
Nothing moves or even smiles,
I've been thinking some of suicide...
but there's bars out here for miles.
Sorry about the every kiss;
Every kiss you wasted bad.
I think the thing you said was true,
I'm gonna die alone and sad.

The wind's feelin' real these days,
yeah and baby it hurts me some...
Never thought I'd feel so blue,
New York City you're almost gone.

I think that I've fallen out of love,
I think I've fallen out of love,
I think I've fallen out of love...with you.

Feist's New Album, "Intuition" Video

It's always nice to see really talented artists get the attention they deserve. Leslie Feist, the Canadian songstress who began by lending her vocals for Broken Social Scene and Kings of Convenience before launching her solo career, certainly has no shortage of exposure right now, with her own iTunes commercial.

The Reminder, Feist's third album (most people don't know about her debut, "Monarch (Lay Your Jeweled Head Down)" released in 1999) is her strongest yet, and has rightly proven to be the most successful. Contributing to this success is its impeccable production, which along with her talent for songwriting, composing, and singing, has made an album of top-notch indie-folk-pop songs that vary considerably but never cease to please.

Whereas Let it Die showed hints of genius, her weaker songs suggested that she was still trying to find her comfort zone. The Reminder is an album full of confidence, in which Leslie (again) bares her soul, but does so in a way that suggests she's moved on, in more ways than one perhaps. Her new songs are beautiful; some are very catchy ("My Moon My Man", "1234"), others are very chill ("The Park"), but they're all spot-on lyrically and melodically.

One thing that I've noticed about the ablum is its perfect song arrangement. Being one whose favorite hobby is to make mix cds, I must say that the order of songs on this album is absolutely perfect, and makes listening to it enjoyable as a whole. It starts out exactly how it should and ends exactly how it should; in the journey from an apology in the first track through the many feelings one feels in and out of love to a realization of oneself, you don't want to miss a beat. All the emotions are here, and all her talents are on display.

Intuition is my favorite track on the album, because it is the most heartfelt and it is the song in which Feist's voice shines through the best. I didn't even know she played guitar on this song, which is amazing, until I saw this video. It's only she and her guitar, recorded live. Seeing her perform it adds so much to it. I can't wait to see her live in Chicago come November. (She recently added some North American tour dates, check out her official site for info).

Favorite Song #3: "Moving Pictures, Silent Films" by Great Lake Swimmers

Great Lake Swimmers is a Canadian indie-folk band fronted by Tony Dekker that is similar in sound to Red House Painters, Nick Drake, and Iron & Wine. Therefore, if you're unfamiliar with these bands, GLS plays mostly soft, lyrical, essentially bare music that embodies the understanding that you don't need many instruments and heavy production to create poignant, heartfelt music.

Their self-titled 2003 debut consists of ten guitar-vocal duets, with the exception of two songs that utilize drums. I read once that the entire album was recorded in an abandoned grain silo with minimal equipment. That's apparent in the echo and especially the ambient noises-such as the crickets and other insects which can be heard throughout this song and the rest of the album-which add an atmospheric and relaxing effect to the music. It's a perfect album for the night, since that seems to be its original auditory and emotional home.

The songs are mostly sad, slow ballads, so obviously you have to be in the right mood to really enjoy this stuff. I love sad music, but if you hate it, you might want to stay away.

This track, the first on the album, is probably one of the happier-sounding songs on the whole album (although its subject matter, may be the most depressing). The guitar line on this song is the prettiest sounding of the ten, and the slight piano accompaniment adds a great deal of melodic depth. But Dekker's voice is best displayed on this track, blending perfectly with the melody and expressed earnestly.

Perhaps the reason why this is one of my favorite songs is because 1. I never get sick of it, listening to it over and over again; and 2. I can never quite determine exactly what this song is about. Dekker has said that it's simply a song about hibernation, but it's impossible to accept that as its meaning simply because of how emotional this song feels. I've heard countless interpretations, but I'll leave it up to you.

Moving Pictures Silent Films.mp3

Here are the lyrics:

Oh wake me please when this is over
Oh when the ice is melted away
And the hunger returns
I will be the same, but older
And maybe twice the bear
That I thought I was

Where have you been,
And what have you done?
I've been under the ground
Eating prayers from this old book I found
Under the ground
Saving it up, and spending it all
On moving pictures
Silent films
Moving pictures
Silent films

Or is this the dream I've been saving?
Oh where the heart beats slower and slower
To almost nothing
Almost nothing
Almost nothing

I took it for love
Or at least something beautiful
Out there in the spotlight
But I turned around suddenly,
Turned around squinting
And saw
That it was headlights
And then the truth, the truth was unbearable
Oh, and imminent
Bearing down on these two shadow animals

Caught painting a dotted line
Caught painting a dotted line
Caught painting a dotted line

Where have you been?
And what have you done?
I've been under the ground
Eating in prayers from this old book I found
Under the ground
Saving it up
And spending it all
On moving pictures
Silent films
Moving pictures
Silent films

Amy Winehouse

I was going to review AW's Back to Black, but I don't have much more to say than Pitchfork; they capture the album's essence almost perfectly, and interestingly enough, compare her to the lovely Miss Allen. It's a good review, so check it out if you're curious. Oh, I should add, I hated "Rehab" when I heard it, and gave the album a chance anyway. I'm really glad I did, because the rest of the album is much better, especially my favorite track "You Know I'm No Good" and tracks 3-8. Its jazzy-pop feel is ideal for parties and get togethers that require a little movement and funk.

The Onion Blasts Pitchfork

This is hilarious, especially since I love Pitchfork. It kinda puts things into perspective; read it and you'll know what I mean.

Pitchfork Gives Music 6.8

CHICAGO—According to the review, the popular medium that predates the written word shows promise but nonetheless "leaves the listener wanting more."

"Alright, Still" ...by Lily Allen

By now I'm sure you've heard of this wit of a Brit. So this review is late on two accounts: it's the perfect summer album. But better late than never.

I was introduced to Lily Allen by her "Smile" single and video which made me chuckle a little, and of course ogle at this adorable vixen. But she's got much more than a cute countenance: the hype around her is actually well-founded, for a change.

Allen has composed (well, I'm not sure how much of that she did, but anyway) a pretty brilliant pop record. She infuses pop, R&B, and hip hop, creating an album that is both fun to listen to and perpetually fresh--i.e. it doesn't get old. Maybe that's because of the variety on the album; I played it start to finish countless times over the summer, because I like each track a lot, and they're all so damn catchy.

LDN is my favorite track, a satirical take on the pleasantries of Allen's hometown of London...which simultaneously shows off Allen's talent for rhyming and coming up with uplifting pop hooks and choruses. In fact, a lot of this album comes across as rather ironic, in its sordid subject matter but pleasant backing melodies.

The subject matter of this album is somewhat bitter, mostly disappointed and angry (i.e. downright mean), and occasionally regretful, centering mostly on failed relationships with inadequate men, and also people who aren't as good as Lily. She's got a big, cocky, forward personality, but she's cute, smart, and talented. And she doesn't give a shit what anyone thinks. You love her or you hate her, apparently, taking into account the attention she's garnered from the media.


But it's gotta be impossible to hate her music. Sure, she continuously comes up with increasingly creative ways to deny and denigrate men, but her wit is so sharp you can't help but appreciate it, or at least laugh and sing along. Her music is so fresh and addicting that it appeals to people who like all sorts of music, which is why, if you haven't already, you should give her a listen.

Try out LDN, Everything's Just Wonderful, and Littlest Things streamed at her official website or her myspace page.

Bloc Party's "A Weekend in the City"

Have you ever listened to a song or an album in which the lyrics seemed to define your life perfectly at that moment? This album is that for me right now.

This British foursome had to follow up on a huge debut success. Silent Alarm broke genre barriers, strengthened the argument that European, specifically British-born music is better than American music, and opened discussion about Bloc Party's potential as the next great rock band. Their first album was innovative, smart, catchy pop-rock that was as fresh as it was influenced.

The second album has a lot of the same elements as their first, but it has a distinctly different sound overall. Kele, the lead singer, has said that in this album they tried to capture the various happenings and feelings of the city, which they've accomplished pretty well (if the music doesn't make you feel like you're in the business of a city, read the lyrics). But in general, the album is much darker in subject, a little less varied in sound, but pretty damn good in its completed composition (they do have a new producer...).

The album kicks off with the beat-driven "Song for Clay," which starts soft and ends in a cacophony. It gets the album off to a good start, and serves as an adequate transition from their last album; I like playing this song when starting a night out. "Hunting for Witches" incorporates mixed up radio and noise samples, along with a repetitive and loud chorus, which gets annoying quickly; this seems to be one of the emptiest tracks on the album. "Waiting For The 7:18" has some pretty touching lyrics about looking back, characterized by chimes, a cool drum beat, and full choruses, but bores me a little simply because the songs at this point have all begun slow/soft and eneded fast/loud.

"The Prayer," their first UK single, is one of the fastest songs on the album. It is reminiscent of "Banquet," with a less melodic verse structure, but with a sweeping chorus that almost saves the song from its less-than-genius verses and almost cringe-worthy bridges.

The fifth track, "Uniform," made me think of Coldplay's X&Y. Here's why: after a few listens of Coldplay's third release, I began to realize that all the songs on the album followed a formula, which goes like this: start slow, build up to a fast/loud/emotional middle, and end slow. I call it the X&Y formula (how clever!). It made me lose a lot of respect for Coldplay, although I have to admit it does work in some songs awfully well, such as "Fix You." But here, "Uniform" follows that pattern, which makes it so predictable! And Bloc Party were never predictable. I still kind of like the song though, so they're not all that bad at it.

Finally, Kele allows his vocals to shine through on the sixth track, "On," which, although the lyrics are less-than-enchanting, the music complements the vocals very well, and sounds more like the Bloc Party most people really seemed to like. Still not one of their stronger tracks, though.

"Where is Home?" is another disappointing track, and everytime I listen to this album now, I skip over it, simply because of the first minute or so. Kele's voice is distorted to a higher...screech almost, with ghoulish croonings hauntingly voiced in the background; clearly a mood is trying to be evoked in this song, but I don't care--it's not fun to listen to. Granted the chorus is kind of cool (this is Bloc Party), but the rest, and the "guitar solo" at the end ruins it.

The last four tracks of this album are why I would ever rate this album moderately high; I love the last four tracks. Despite my somewhat dismal reviews of the preceding tracks, here's the thing about this album: it's much better when listened to front to back than it is when listened to in bits and pieces. It's as if the album follows the day, with the first track representing the morning and the last representing the night. The first track looks back on his life and wonders what if, and if given another chance, what he'd do over...then he's waiting for the bus and asserting his "unstoppable" will, after which he eventually comes down and looks back again, then perhaps makes a conclusion about his life, or at least becomes honest with himself about it.

"Kreuzberg" is where he makes a decision:

"I have decided at 25
That something must change..."

And ruminates over his meaningless social interactions and the loneliness that results:

"After sex the bitter taste
Been fooled again, the search continues
Concerned mothers of the west,
Teach your sons, how to truly love."

For me, this is my favorite type of Bloc Party's music, the "Blue Light," "This Modern Love," and "So Here We Are" Bloc Party--the softer, more melodic, lyric-based stuff. This is where their strengths really shine, in my opinion. Kele really sounds like he's figuring it out in this song, and we begin to feel a shift in the music's mood.

"I Still Remember" is an extension of this mood, lyrically at least. The words focus on regrets about a lost love, but the tempo and the instrumentation are paradoxically upbeat; perhaps, despite the regrets, there lies an optimism.

"Sunday" offers a promise to love her in the morning, after all the shit's that happened. Yeah, there are a lot of things going on that suck, and we've definitely made some mistakes, but when we're together everything can be okay. That's basically the message; the song is very layered, with a good melody under Kele's vocals. After the last, and most important verse,

When I'm with you, I am calm
A pearl in your oyster
Head on my chest a silent smile
A private kind of happiness
You see giant proclamations
Are all very well
But our love is louder than words

The guitar cranks up out of nothing, creating quite the moment and really driving home the passion of his love.

"SRXT" is my favorite song on the album. Although the subject is the most morose of all the tracks--he's basically talking about killing himself the whole time, or at least the death of a phase of his life--it presents the best moment on the entire album.

I've always debated with myself whether the best music is made up of almost transcendent moments that take your breath away, or just really good consistency (that's harder to explain). For example, I love the song "Ants Marching" by DMB, but there isn't really a particular moment that takes hold of me, I just love the whole song, and become energetic and happy when I listen to it. But there's a certain pluck of the guitar in "Untitled #4" that gets me every time, and this song has a similar moment.

The whole song builds up to it; he's talking about how he was telling his friend how he's drowning in his sorrows, recounting memories and the reasons why he's sad and discouraged. Then the band stops, and at 3:01, up comes the guitar into an explosion of the band's full power....

Suddenly, the rest of the album makes sense.

Favorite Song #2: "Untitled #4 / Njósnavélin / The Nothing Song"

I first heard this song (although a slightly different version) at the final scene of the movie Vanilla Sky. "I'm frozen, and you're dead. And I love you." I've always thought this song was beautiful, but I used to think it was atmospheric background music, which I'd play while lighting incense and reading or playing video games. Then at one point, when I was feeling especially sad, I listened to this song, and it absorbed all my feelings--they were simultaneously nonexistent and amplified--the music overcame me and it was like I was in another place.

This song is off Sigur Rós's third album, untitled (), released in 2002, which contains eight untitled tracks, although the band has created working titles through their touring (see the album's story here).

The music builds and moves in such a way that you'd swear you were on a journey. When the guitar peaks, it's as if the clouds open up to let the light in. It's a pretty amazing moment.

Upon first listen, I thought I knew what they were saying in this song, and you might have some ideas yourself. But the band made up their own language for this album, which they call hopelandic, and since it's nonsensical it simply serves as another instrument. But trust me, you do not need words to get into and enjoy this music.

I made a mix of sad songs for a girl once, and she told me this song didn't fit, because she thought it was a happy song. It turns out the band views this as one of their optimistic ones as well. I still hear it as both. Either way, it's definitely an emotional song, especially if you allow the music to surround you and pervade your thoughts.

Njósnavélin.mp3

Bjork - It's Oh So Quiet

Brilliant. Captures the mood of this wonderful song perfectly.