In my recent dollar bin shopping spree at Amoeba, I finally got around to picking up Donald Fagen’s post-Steely Dan solo debut, The Nightfly. It’s very typical Fagen — jazzy, sardonic, nerdy, and wonderfully creative all at the same time. I remember the first single, “IGY (What a Beautiful World)” being played a bit on the radio, but the second single, “New Frontier”, was the one had the video on MTV and became the memorable hit.
I loved the use of animation in this video, multiple styles used to show multiple facets of the song itself: the (then modern) computer graphics to show the futuristic layout of new housing developments; the early Vogue ads and the Picasso paintings come to life; Soviet propaganda hinting at the impending Cold War. And my two favorite bits of animation: the cowboy-hatted, pistol-packing general marching around and shooting at rogue Commie nukes (a distinct nod to the old UPA films), and the bendy, lo-fi-but-cool jazz band.
[That last one had a particular effect on me; a few years later when I went through my jazz phase in the mid-80s, I would often visualize this particular image while listening to it late at night on my headphones.]
[Also, a quick bit of interesting trivia: the directors of this video, Annabel Jenkel and Rocky Morton, also directly my other favorite animated video, Elvis Costello’s “Accidents Will Happen.” Furthermore, they’re the co-creators of the Max Headroom franchise, and also co-directed the Super Mario Bros movie.]
I was listening to this track the other day and thinking about the sounds of the radio, pre-1989, before the end of the Cold War and the fall of the Berlin Wall. Growing up in the 70s and 80s, we all listened to the popular sounds and were aware of the possible political threats out there. Some of us kept it separate, some of us mixed the two Amnesty International-style.
We weren’t oblivious or ignorant of world issues out there; we just chose not to be completely frightened or doom-laden about it (Prince’s “1999” comes to mind, for instance). We’d gotten so used to the elephant in the room that we just treated it as part of the furniture, and felt reasonably sure that in its advanced age and sedentariness, it probably wasn’t going to act up any time soon. Our reaction to the fall of the Berlin Wall and the dissolution of the USSR wasn’t so much a patriotic whoop of victory as a sigh of happy relief that it had finally gone away.
I’m still getting used to that. I’m so used to getting my new release emails from AllMusic and elsewhere on Mondays that it seems strange getting them midweek now.
This month signaled the global change of new music release dates to Fridays. Per Billboard, it’s been Tuesday in the US since April 1989 (coincidentally, my next-to-last month of high school life and right about the time I really started paying closer attention to album releases for my beloved college music). Before that, Mondays were the default release day for years. It was moved in ’89 due to the fact that most retailers were not receiving their product until later in the day, thus losing most of their first-day sales. Moving the release date one day leveled the playing fields.
I’m a bit surprised that this is a global thing; it wasn’t just the US moving the standard drop date, but labels and distributors worldwide, finally aligning. That’s pretty big news, considering the UK has always been Monday (the start of the retail week, natch) and other countries have had similar setups.
I’ll be honest, I loved working Mondays when I was at HMV. That meant that I got to unpack all the new titles and slap security tags, price tags, and sale stickers on them, all while listening to them a day before everyone else. I discovered way too many great albums that way, and it’s part of the reason my music collection is so ridiculously large. But back then it was also perfect for when I was on the sales floor, as I could upsell new titles to customers and back it up with actual listening.
Nowadays, (again per Billboard), in this digital age, more active fans and listeners prefer listening to new titles on Fridays and Saturdays, and would rather not have to wait that extra day or so in their own country for a title to drop. Granted, it’s gotten a mixed reaction from some of the labels and distributors — some feel this will continue to let the majors to oversaturate the stores, leaving the indies in the lurch — and that’s frustrating yet understandable, given that that’s been pretty much the norm for decades anyway.
I imagine this would have come in handy during my years at Yankee Candle, when I’d get paid at the end of the week and would have to wait four or five days before I could do my music shopping. Then again, I most likely would have been in much deeper financial straits in the process. So it’s a toss-up there. Still, I’m curious if we’ll see an uptick in sales, given that some of us still get paid just before the weekend.
How do I feel about this now, though? Well, I’ll admit I didn’t notice the change right away, at least not until I looked at my shopping list and saw all the new stuff this week with the drop date of 7/10. [Yes, I have a shopping list. It’s a spreadsheet, showing prices from multiple purchase sites. I am such a sad and pathetic man.] [On the plus side, said spreadsheet comes in mighty handy because I can access it via Dropbox on my phone while I’m at Amoeba!] [ANYWAY] I suppose this makes things a bit more exciting if I happen to be heading towards a brick and mortar shop, because it’ll be something to look forward to on the weekend, which is when we usually head over to the Haight for anything in particular.
It’s too early for me to say how I feel about it, but I’m pretty sure I’ll be totally fine with it. As a good portion of my purchases are downloads nowadays, I think it’s something I’ll have to get used to. For a good few years there, I had a solid schedule of checking out all the new release streams on Monday so I would know what to expect the next day…now I have more time to do that. I follow a number of music blogs on Twitter, and they’re more than happy to let us all know when something new is streaming.
I’ll just have to learn to start saving up for Fridays then.
Hey, every other blog is posting one of these, so I may as well join in the fun, amirite?
The year in music so far has actually been quite enjoyable, as many of the bands that had come out with great albums in or around 2012 are now releasing new titles that are equally as great, if not better.
In order of release date:
The Decemberists, What a Terrible World, What a Beautiful World (20 January)
Colin Meloy and Co have come up with another wonderful record of alternafolk the way I like it – full, strong vocals, original (and often quirky) song subjects, and wonderful performances. It’s hard not to like this band.
Dutch Uncles, O Shudder (24 February)
My wife came up with the phrase “in a totally different film” to describe a character or person (or in this case, a band) who doesn’t seem to fit anywhere within the context of everything else surrounding them, and yet somehow they fit in just nicely despite that. Dutch Uncles is like that for me–a band who seems to willingly bypass trying to fit into the indie scene by way of odd time signatures, intelligent (and sometimes purposely awkward) lyrics, and a complete lack of irony. This album is about childbirth, for instance.
Public Service Broadcasting, The Race for Space (24 February)
Another band from out of nowhere (and a band that consists of two people playing multiple instruments…that seems that’s a thing now) that popped up on my radar…um, how? I think YouTube suggested I check them out at one point. They kind of remind me of Emergency Broadcast Network from the 90s (remember them?), who melded media soundbites with danceable pop. PSB, on the other hand, mix public domain newsreels with instrumental rock and funk, and the end result is pretty damn fine. This latest release of theirs is, you guessed it, based on the Russian/US race for space in the 50s and 60s.
Noel Gallagher’s High Flying Birds, Chasing Yesterday (3 March)
I’d mentioned earlier that I felt Noel’s first HFB album was kind of hit or miss, and that this second album is miles stronger musically. The more I listen to it, it kind of reminds me of Oasis’ early 2000s work (Heathen Chemistry in particular), dialing back the Britpoppiness and the overt Beatle nods and really showing off his excellent songwriting skills.
Steven Wilson, Hand. Cannot. Erase. (3 March)
Wilson returns for a third solo album, this time a song cycle based on a harrowing story about a missing person who was found dead in her own apartment, having passed away there three years earlier. A haunting subject, but a beautiful album.
Swervedriver, I Wasn’t Born to Lose You (3 March)
Really, why had I not owned any Swervedriver before this? I loved “Rave Down” even when it came out back in the early 90s, but I never got around to buying any of their albums. That changed with their excellent comeback album, in which they haven’t missed a beat. Swirly and crunchy guitars and fantastic writing. Think a more melodic, rocking and understandable MBV.
Big Data, 2.0(24 March)
I’m sure most of you have heard “Dangerous” at some point (that song that kinda sorta steals the slappy bass line from Nine Inch Nails’ “Only”). The rest of this album is a lot of fun, combining both analog guitar melody and bloopy synth work in such a unique way it works perfectly. Bonus points for using overmodulation as a legit sound level on “The Business of Emotion”. More bonus points for getting away with using a broken image icon for an album cover!
Joywave, How Do You Feel Now? (21 April)
I’m convinced Big Data and Joywave are the same band, as they seem to be all over each other’s records. I heard these guys on Radio BDC near the end of last year via the track “Tongues”. It’s one of those songs that’s kinda doofy and not that good, but it gets under your skin to the point that you start to believe that it’s actually better than you thought. Their other single “Somebody New” shows their other side, a stronger rock track that hints at what they actually do sound like.
Wire, Wire (21 April)
WOO YAY NEW WIRE! Always happy to see a release from one of my favorite bands! While their Mark III era (from the Read & Burn EPs forward) has been louder and crunchier, they’ve begun infusing their music with less experimentation and more melody as they go on…in essence, combining the post-punk of the 70s Wire and the melody of 80s Wire to come up with something both hard and soft at the same time. With new a new guitarist in the mix (Bruce Gilbert having left a few years ago), they’ve got a fuller sound and seem much more confident this time out.
Blur, The Magic Whip (28 April)
I’ve admitted to being a shameless Blur fan, and that’s because I’ve always been a big Britpop fan for years. It’s great to see a new platter from this foursome (now a foursome again!), especially after that excellent single “Under the Westway” from a few years ago. They haven’t lost a bit of their quirkiness or their knack for being able to write an extremely fun song. Definitely a welcome return.
Best Coast, California Nights (4 May)
Okay, hands down, the title track from Best Coast’s new platter is totally my summer jam. I never thought I’d say that, but there we are. And the rest of the album is absolutely gorgeous. Possibly my top favorite of the year so far. Here, have a listen:
Dog Party, Vol 4 (16 June)
I was introduced to this band via Santa Clara University’s college station. These two sisters from Sacramento (one of which just graduated high school, I should add) are my favorite local band at the moment. Cute and punky in a style that reminds me of We’ve Got a Fuzzbox and We’re Gonna Use It!! (specifically their Bostin Steve Austin album), the album is perfect punk: chunky riffs, fun melodies, goofy lyrics, and totally jamming econo.
Failure, The Heart Is a Monster (30 June)
WOO YAY NEW FAILURE! Another one of my big favorite bands (Fantastic Planet still gets a shit ton of play here in Spare Oom and at the gym) put this one out via PledgeMusic, so how could I say no? A great band that makes excellent use of unexpected directions in melody, drop tuning and tasty, chunky riffs. Ken, Greg and Kellii came back with one hell of a great album.
So…what does the next half of 2015 have in store for us? A very brief look at my shopping list says new albums by Civil Twilight, Chemical Brothers, MS MR, Oberhofer, P.O.D., Duran Duran, Low, New Order, Veruca Salt, Frank Turner, Beach House, Foals, Ben Folds, Stereophonics, Metric, Robert DeLong…and maybe a new Editors (which I am pumped about, if their new single “No Harm” is any indication of what it’ll sound like).
All in all, an excellent year for music, I’m happy to report!
Warning: May Contain High Amounts of Classic Ska and Britpop.
We have returned home, albeit about six hours later than expected, due to missing our connecting flight, the illogical checking through US Customs while in Toronto, and an incredibly frustrating and nonsensical argument at one of the help desks. But I won’t go into that. I will mention, however, that we finally got back to the apartment at 1am PT this morning (after waking in London at around 7:30am UTC), so that means we’d been up and awake for…um…20 hours? Maybe? Either way, we both decided to stay awake instead of attempting to sleep for six or so hours. So yeah…not quite loopy (yet), but my inner clock has no idea what time or day it is right now.
That said… As you can see above, our London trip was a success on many levels…many sights seen, a few great friends met up with, many beers and pub food had, and way too many pictures taken. The above cd stash is courtesy of Sister Ray in Soho and Rough Trade in Notting Hill, two great music stores well worth searching out. Sister Ray is probably my favorite — it’s not huge, but it’s got an excellent selection, very well kept, and the workers there are quite friendly and knowledgeable.
My main goal for import shopping, as is evident, was cheaply-priced reissues. I believe the average price for the Catatonia and Specials cds were £12, and the Wedding Present cds were slightly more — translating to about $18 and $20 USD each. Not bad, considering they’re all two or three cd sets costing about six dollars more before tax on Amazon. I’m still missing 3 Weddoes titles, but I think I can find those relatively easily on Amazon UK. Still — it added up rather quickly, so I may have to tighten my belt for a little while!
[Noted, London didn’t so much suck the life out of me as it drained me of energy. It’s a very walkable city and OH BOY did we walk all over creation! I shall be posting pictures of our trip eventually over at my Tumblr blog, and may post some music-related pictures here.]
It was 28 years ago today that The Cure’s Kiss Me, Kiss Me, Kiss Me was released, and of course I’ve got it playing on my PC while I’m writing this up.
The Cure’s release history up to that date in the US was quite scattershot in the mid-80s…multiple labels over the course of four years (Boys Don’t Cry on PVC, Happily Ever After and Pornography on A&M, the 1982-83 singles and The Top on Sire). It wasn’t until 1985’s much poppier and upbeat The Head on the Door showed a new and invigorated band, and their new label Elektra made sure they didn’t falter. The 1986 singles compilation Standing on a Beach only served to push their status ever higher, and by the time Kiss Me (or “Kiss Me Cubed” as my friends and I used to call it) came out, America had finally taken notice.
This sprawling yet exciting double album came out at the same time I was asserting my individualism as a teenager. A new circle of friends, a burgeoning record collection full of newly-found college rock, and a fresh coat of not giving a fuck anymore of what other kids thought of me. I’d gone to see them with my sister and a friend that August in Worcester, and came back with a concert tee with Robert Smith’s pasty, lipsticked mug on the front and the lyrics to “Hot Hot Hot!!!” on the back. I practically wore that shirt out in the ensuing months. I certainly got a lot of guff from both kids and teachers, but I didn’t care. This was the new me. Forget fitting in, time to figure out who I was.
Kiss Me was indeed a sprawling album, but like Standing on a Beach it got a hell of a lot of play on my tape players. I was a huge Cure fan by that time, and thanks to Elektra buying out the old contracts, their early releases were finally much easier to find. I listened to them all on heavy rotation whenever and wherever I could. I even predicted that “Just Like Heaven” would end up being one of their next (and best, and most famous) singles, and I was not proven wrong.
My friends and I would occasionally take road trips down to Amherst and Northampton to hang out at the record stores, and during the fall of 1987 and into 1988 this album would often be playing. [This was back in the days before most of our parents’ cars had tape decks, so one of us, usually me, would lug along a boombox and have it playing in the back seat. During one memorable trip when this was playing, the drinking of many sodas that evening came to its expected fruition and I urged they pulled over. As I’m running into the woods, they pulled away, leaving me completely alone. Returning a few minutes later, they saw me on the side of the road, running after them, and slammed on the breaks, causing my radio to crash to the car’s floor in a thump! loud enough that I heard it from fifty yards away.] To this day I still think of the winding Daniel Shays Highway and the back roads of Shutesbury when I listen to this album.
Compared to their earlier, darker albums of the early 80s and the intense frailty of Disintegration just a few years later, this album seems is so much more energetic, even a bit psychedelic. It kind of reminds me of Prince’s Sign ‘o’ the Times, which had come out almost exactly two months earlier; it’s a beefy double album full of multiple and quite different genres, but it’s also a crowning achievement where nearly all the tracks are memorable, wonderfully produced, and leaves little to no room for boredom. But also like Prince’s album, Kiss Me was a departure from their earlier albums, where they chose to break down the barriers, both creative and personal, to record something they would be proud of. I kind of think The Head on the Door was a practice run, Standing on the Beach was the fanbase test, and this was the first official run; it would culminate of course with Disintegration. It’s of no surprise that this was also the era of one of their best band line-ups, with Simon Gallup on bass, Porl Thompson on guitar, Lol Tolhurst on keyboards and Boris Williams on drums. This particular quintet remains one of the strongest versions of the band for many older fans, as their sound was amazingly tight and inventive.
Last week on the KSCU radio show The 80s Underground (podcast here), the DJ decided to play songs from the Top 25 albums of 1988 per a readers’ poll at the great college rock-themed blog Slicing Up Eyeballs. And you know me, I couldn’t resist. I just had to listen in.
Interestingly enough, hearing my favorite college rock year outside of the normal context (read: my ridiculously large mp3 collection) kind of put things in a different perspective. I purposely didn’t look up the poll they’d done a year or so ago (which I of course took part in), so I was pleasantly entertained by not exactly knowing which song would come next. It was a little jump back in time to my years listening to WAMH.
Back then, I used to have a lot of life soundtracks. Certain albums or compilation tapes I’d listen to during certain times of the day, or certain radio stations and shows. I often do the same thing while I’m writing; lately I’ve been listening to Beck’s Sea Change and Morning Phase during my Spare Oom couch sessions.
Thing is, I don’t have nearly as many of these as I once did, and I suppose in a way that’s a good thing. I always have the radio or some music going during the work day, but I’ve long past grown out of attempting to forge a mood from the music being played. I now listen to KSCU (a college station) as much as I listen to Radio BDC (an internet station) or KFOG and Live 105 (terrestrial stations).
Do I miss those days, giving myself a soundtrack as if I were the living embodiment of a Miami Vice or a Grey’s Anatomy episode? Well, not really. I just grew out of attempting to find the perfect sound to complement whatever I was doing. It had gotten to the point where I was forcing the mood, and that’s no fun. I’m still an active listener, mind you–certain songs will hit me just the right way and I’ll pounce all over them, like I did with that TV On the Radio track a few months back.
Life soundtracks are more of a passive thing now. I let them pop up organically, by serendipity. Just like life itself–sometimes it’s more fun to see what life (or in this case, a radio station) throws at you rather than trying to pigeonhole it into something it’s not.
I know, I know…I promised I’d try to make this an ongoing series of posts, but alas, it’s kind of hard to review albums when the first quarter is more often than not a barren wasteland.
Okay, maybe not exactly a wasteland. Just that the January-March season is often the slowest in the music world. I’ve heard many and varied reasons as to why, and each of them kinda sorta make sense, so I won’t bore you with that little distraction.
I won’t bore you with a distraction about my thoughts on the Global Release Day idea that’s been in the news day. To be honest, I don’t have many thoughts on that anyway…the old Tuesday release in the US was basically to keep sales fair, but the internet has pretty much changed that on multiple levels, what with rush/surprise releases, instant reveals, single track offerings, and so on. It’s a new zoo out there now.
Besides, over the last few weeks we’ve seen some pretty tasty platters drop!
I equate these two with my stay at Emerson College in Boston…the first one released as I was starting my sophomore year, the second when I was about to graduate. A phenomenal band with a sadly short lifespan, Jellyfish popped up in late summer 1990 with their first album and an excellent Beatles-meets-Nuggets track called “The King is Half-Undressed”. Bellybutton was a creative mix of equal parts XTC, Queen, 60s pop, and 90s Gen-X ennui. The band itself had a stellar line-up: lyricist/singer/drummer Andy Sturmer (who would later work with Puffy AmiYumi and many other alt-pop bands), Jason Falkner (just out of the last 80s version of the Three O’Clock and later a respected solo performer), and Manning brothers Chris and Roger Jr (the latter would be a session keyboardist for everyone from Beck to Angels and Airwaves). Jason and Chris would depart after the first album and tour and be replaced by two other session musicians. They released one further album then went their separate ways.
For those curious, Bellybutton is the easier of the two to get into, as many of the songs are bright and very melodic with a hint of 60s and 70s pop nostalgia. Spilt Milk is a different beast altogether…the alternapop sound is still there, but the sound is a lot darker and denser. The two albums were recently reissued with a ridiculous amount of extra tracks and fascinating liner notes from the band members. They’ve also been remastered for the first time since their initial releases, so the sound is crisp, clear and strong.
I first heard of Black Rivers late last year while listening to RadioBDC. I’d missed the introduction but thought…wow, that really sounds like Jez from Doves. Lo and behold, it was! Fellow Dove Jimi Goodwin had released a solo album last year, but I hadn’t known the other guys would start their own side project as well, so it was a pleasant surprise to hear this track. And you can definitely tell this is Jez and Andy Williams’ work…whereas Jimi’s is more pastoral and perhaps reminiscent of Elbow, Jez and Andy’s songs have more pop to them, more eccentricities.
Black Rivers is a much darker affair than the Doves’ canon, its lyrics (and videos) hinting at a more science fictional setting, perhaps a space opera of sorts. They’re songs about loneliness in travel and in distances. And in an unexpected but welcome twist, Andy and Jez perhaps hint at their pre-Doves past as part of electronic band Sub Sub–there are dark, swelling keyboards here that evoke early Thomas Dolby or the metronomic twitterings of Kraftwerk.
I’m not gonna lie, I’m still an Oasis fan. Some people can’t stand them, others think the only good thing they ever released was Definitely Maybe. I’ve been a fan since “Live Forever”, even despite the fact that neither Gallagher brother owns a great singing voice. Liam’s was always nasal and snarky, and Noel’s was kind of lifeless and just that tiny bit out of tune. Post-breakup, I gravitated more towards Liam’s Beady Eye project (read: late-era Oasis minus Noel) and felt Noel’s HFB project was promising, but hadn’t quite made it yet.
Three and a half years later, however, Chasing Yesterday ends up being a solid winner and an excellent album, even more memorable than either Beady Eye album. He’s returned to his biggest strength — his solid songwriting skills — and he’s written some phenomenal tracks such as the singles “In the Heat of the Moment” and “The Ballad of the Mighty I”. Musically he’s got a much stronger band here that hints at the more mature Heathen Chemistry era sound of Oasis (my favorite album of theirs), letting the music stretch its muscles and reach new points. There’s even a bit of Pink Floyd-y prog going on with a few tracks, which actually works to his advantage.
All told, one of my favorite albums of the year so far.
There are but a handful of bands and musicians where I will buy their album, regardless as to whether I’ve heard a track from it or not. Porcupine Tree is one of them, and PT’s singer Steven Wilson is another. A phenomenal guitarist and songwriter, he puts out beautifully crafted music just this side of prog rock (a label he himself dismisses, as his and PT’s sound does vary wildly from prog to metal to folk balladry).
Hand. Cannot. Erase. is a song cycle inspired by a movie called Dreams of a Life, itself a documentary about Joyce Carol Vincent, a British woman who had died of natural causes in her apartment in 2003 and had not been found until three years later. Like the movie, the album focuses on a woman and her relationships with friends and family, personal and emotional distances, and how, despite how close one can be to family and friends, the connections are often more tenuous than people are willing to believe.
Wilson’s last few solo albums have all been excellent and strong, but often straying into different genres (his last few were more on the jazzy side), but HCE is almost a return to the forms he’s best known for. The widescreen sounds of earlier prog-oriented PT (such as on 1999’s Stupid Dream or 2000’s Lightbulb Sun) make a welcome return here, though there are also hints of tighter, harder-edged intensity (such as from 2002’s In Absentia) as well. Despite the dark theme, it’s filled with gorgeous sounds that you can get lost in.
I’m pretty sure this one’s going to end up on my writing session playlist this year.
I’ve been feeling frustrated lately and I know it’s my own damn fault. I keep falling into my own trap of wasting time when I could be using it for creative endeavors. Granted, I don’t always have the free time in between my Day Job responsibilities to sneak in some daily words, but it’s mid-February and I already see that I’m falling back into timewasting habits.
Mind you, I haven’t completely turned into a lazy-ass who dreams of being a writer but never quite gets there, never putting word to paper or screen. I’m delivering some decent word count on the Walk in Silence project as of late. I’ve also been having a lot of fun with my art, playing around with a comic version of A Division of Souls for my weekly art exercise (this isn’t top priority at this point, as my art still needs a hell of a lot of work). And I’ve been doing a lot of guitar playing.
Boiling it down: I have a lot of Best Laid Plans coming up against an easily-distracted mind. There’s a reason I have multiple calendars and a whiteboard schedule…if I didn’t, my output would be much lower. But it’s also a matter of finding the willingness to make good on those plans: I can’t just be “in the mood” or “inspired by the music I’m listening to” or whatever else puts me in the correct mindset. I have to make myself want to achieve these goals, or else they’ll just remain Best Laid Plans.
We’re all our own worst enemy at times. How do you combat it? What do you do to clear those hurdles?
[Hi there, and welcome to what will hopefully be an ongoing series here at Walk in Silence! My aim here is mainly to give a bit of an overview of albums that cross my path–some will be new releases, some may be ‘why didn’t I buy this earlier’ albums, some will be ‘where did this come from’ albums. It’ll be a mix. They may be short blurbs, they may be dissertations. I’m also aiming not to be *that* music journo who only likes Pavement and anything sounding remotely like them, or what have you. My tastes vary wildly, and I’m really not one to hate-listen to something, because I’d only be wasting my time and yours. I like what I like, and what I like I want to foist upon everyone as Really Cool Stuff to listen to. Hope you enjoy!]
*
I became one of those people who buys things on the drop date around 1996 when I started working at HMV. Before that, I did have my moments of “Ooh! I need to have that album!” but due to my funds or lack thereof, I rarely picked up titles on their release day. That all changed when I got that job at the record store. My position was the lone shipper/receiver in the back room, so every single bit of stock that came into the store went through me first, where I would enter it into the system, slap a price sticker on it, and send it on its merry way to the sales floor. The register jockeys were the ones with the job of slapping the security clamshells on them, where many a finger was pinched in the process. And if I could in get a sneak preview listen, I would most definitely do so.
I got into the habit of checking out the new releases as they came into the store (we’d get them on Monday so we’d have them ready for sale on Tuesday). It was partly so I’d be knowledgeable for when customers asked, but also because I liked checking out new bands. By the time I left that job in the autumn of 2000, I realized two things: I was deep into the drop-date habit, and I now had to quickly find a new fix. That was soon found in the Newbury Comics store down in Amherst, where I soon became quite the regular. And now in the age of the internets? I read multiple music blogs and magazines, and frequent various new album stream sites to check out what I want to purchase.
It’s actually kind of fun to preview new albums, and I get where the excitement come from. Nowadays bands can go up to three or four years or more between albums, so you’re eager and curious to find out what their new stuff sounds like. Or you’ve heard all the hype from the magazines and the blogs about This Awesome New Album and want to see what it’s all about. Or just that your favorite band in the world just dropped a new platter and you can’t wait to get your mitts all over it. It’s fun, and it’s entertainment. Naught wrong with that.
This Welsh band was one of maybe a dozen or so groups I found via the NoiseTrade free music website, where they released a four song sampler around the same time the single “Kathleen” was released in the UK. It finally dropped last week here in the States, and it’s worth the wait. It kind of reminds me of the jangly guitar bands like Gaslight Anthem, tight and crunchy and maybe even with a tiny touch of country to it. [Props for using the word ‘sympatico’ in the first line of “Kathleen”. Always a good sign when songwriters get nerdy with their lyrics!] I’ll have to listen a little closer to this one to let some of the songs stick, but I don’t think that’ll be a worry–these are catchy, well-written and well-played tracks that are worth checking out.
I’ve always liked Guster…they’re your favorite quirky band that doesn’t quite fit into any specific description–the weirdness of “Airport Song” is different from the poppy-but-offkilter “Barrel of a Gun”, and so on. With Evermotion they’ve maintained the oddness, but they’ve also become less acoustic and organic and more electronic. The new single “Simple Machine” is damn addictive; it’s got that OK Go-style bounciness and fun. They still retain some of their acoustic sound here, but the music feels more wired, maybe a bit twitchier and full of nervous energy. It’s a new direction for them, but it fits them quite nicely.
I admit there’s a stretch there between 2006 and 2009 where I actually didn’t pay that much attention to new music. Part of it was that we were too busy settling in to completely new surroundings (having moved from the northeast to California), and another part was that a lot of the sounds from that time just weren’t quite jiving with me. They weren’t bad…they just didn’t sing to me. The latter could probably date further back to maybe 2001 or 2002, when I started seeing the next wave of indie bands going against the commercial grain. Some worked for me, some didn’t. Animal Collective was one of them. I totally admit that I didn’t quite grok Panda Bear (AC’s singer) until he guested on Daft Punk’s Random Access Memories. By then I was making up for lost time and catching up on those bands I missed out on. That said…Panda Bear’s newest contains the usual oddness in sound and melody, but I now get what he’s trying to do with the songs. I’m fascinated by what he’s doing with the vocals on these songs, sort of a layered one-man overdubbed chorus that treats itself like another instrument. This’ll definitely take some time for it to cement itself in my brain, but I definitely like what I’ve heard so far.
Yup, got this one simply because of the buzz that’s been generating. Threw it on with barely a pre-purchase sampling, and was instantly transported to my preteen youth. Right now it’s 1977 and I’m wearing brown corduroys and an Ernie-like stripey shirt, hearing “Summer Breaking” on the crackly AM car radio on the way up to Keene. “Uptown Funk” and it’s now 1981 and I’m hearing Prince for the first time. “Daffodils” and I’m watching one of those pre-Solid Gold variety TV shows, watching the band play in all their bellbottomed glory. “In Case of Fire” and I’m hearing Wings on the family stereo. In short: I love it when an album that’s meant to evoke a retro feel, does so flawlessly. Well worth the buzz.
*
As always, January’s releases are often few and far between, but already we have a few strong contenders, so I’m happy. There promises to be a lot of excellent new titles coming out in the near future (The Decemberists, Steven Wilson, Noel Gallagher’s High Flying Birds and Black Rivers to name a few), so this promises to be an interesting first quarter!
Hey all! Didn’t expect to see three entries in two days from me, did you? Well, I can’t promise that’ll be the norm from here on in, but this year I’m planning on being more consistent with my blogging. Starting today, you should be seeing an entry from me by each Thursday of the month, talking about my favorite subject: music.
I’ll be hitting on things such as new and current releases and reissues, as well as hitting on older albums and bands I’d like to talk about. I’d also like to expand on the genres too, as a change of pace. I don’t have too many concrete plans for this other than reviews, so I’m as curious as you are to see where this leads.
Also, in other news…
I’m proud to announce that I have not one but two self-published projects I’m planning on releasing into the world sometime this year as well! I’m thinking epub at this point, although print could be involved, depending on which self-publishing company I end up working with to produce and release it. These are two projects I’ve been working on over the last few years; one is complete and the other is about three-quarters of the way done.
The first will be a book version of Blogging the Beatles, the series I started here a while back, in which I listened and talked about the Beatles’ discography in chronological release order. I had so much fun writing it, and learned so much musically as I studied the songs, that I felt it would be perfect for an ebook. I’ll be revising it and adding new items as I do so, and hope to have this one out at least by midyear.
The second will be Walk in Silence itself. This one’s the biggie. I’m about three quarters of the way done on the more personal side of the story, with revision number two to add in more about the music. This one may roll into 2016 if other issues pop up, but the aim is to get it out into the wild by autumn 2015.
Of course, releasing books about popular music could be tricky considering the rights involved, but since I’m not directly quoting the music but only commenting on it, I think I should be okay. These are both books focusing on my love of music, in particular about a band and a genre that inspired me and shaped who I am.
Walk In Silence 