This song has been coming on my shuffle lately. Its funky beats and simple lyrics keep me listening and its a love song for Yoko so what more could you ask for? But I think this track off of Plastic Ono (1970) also appeals to me as fourth week in my impossible math class and spring break approach. It’s not too much of an commitment, over in less than 2 minutes, so go ahead and give it a listen. John also gets away with growling “cookie” halfway through.
For some reason Neil Young’s piano riffs are often a kind of muted cornflower blue. That, combined with the rhythm and his cream-colored voice, makes this song wonderfully soothing (and, since it’s Neil Young, melancholic). It makes me feel like I’m rocking back and forth in a hammock. Listen before you go to bed for peaceful, restorative, Neil Young-filled sleep.
Future Islands’ new single, “Ran”, off their upcoming album, “The Far Field”, is pretty sweet. In standard Future Islands form the song revolves around lead singer Sam Herring’s rather unique voice. Backed by a hazy synth and bass but rather crisp drum beats, this song fits in with previous albums of Future Islands. I’m fairly confident that this new album will seem more like a continuation of their progression as a band rather than an evolution of their sound and I’m perfectly happy with that. I’ve come to love Future Islands, especially their last album, “Singles”, and I’d be bummed to see that sound go. They’re a distinctive sound in a sea of indistinct indie bands (due in part to Sam Herring’s voice) and for that I’m thankful.
Although Alex G’s last full album, Beach Music, was released in 2015, he’s picked up a fair amount of steam this past year, mostly through collaborating with Frank Ocean on both Blonde (he played guitar on “White Ferrari” and “Self Control”) and Endless. While it was extremely gratifying to hear his contribution to both of those beautiful albums, I’ve been hoping to hear some of his own new work, and it seems as though I am in luck –– Alex just announced a new album, Rocket, that’s supposed to come out on May 19th. Here is a beautiful new country-ish single from the album to tide you over for now; prepare your ears for some gorgeous fiddle.
“Orange Blossom” is a precursor to Destiny Frasqueri’s (Princess Nokia) album, 1992. The song itself is reminiscent of Frasqueri’s Afro Futurist style. “Orange Blossom” was released after Frasqueri’s experimental hip-hop album Metallic Butterfly. The song serves as a segway between Metallic Butterfly and 1992 as she departs from the experimental and recalls a soulful R&B influence instead.
If you’re looking to add a little healthy competition to your and your (other music nerd) friends’ day, look no further. Esquire has made a quiz that ranks your “music IQ” by seeing if you can match a song with its album cover, and it’s definitely worth fifteen minutes of your time. Check it out here:
For a good chunk of my life as a music consumer, I’ve described my taste as “anything but country.” I’m not sure where this antagonistic view comes from. Maybe it’s because I grew up in a region where country music dominates the airwaves. Maybe it’s my general aversion to corn. Maybe I’ve just pigeonholed myself as an urban elitist liberal and am the reason Hillary lost the election. Who knows.
All of this is to say that I’ve been making an effort to diversify my music library, and venturing into the world of country has been a major part of my journey. Along the way I came across the work of Loretta Lynn. She’s got some pipes, and her tunes are catchy enough that I’ve started humming honky tonk under my breath. “You’re The Reason Our Kids Are Ugly” has been a repeat offender in this regard. Anyone who’s got a bone to pick could get some satisfaction from singing the chorus out loud.
I’ve been a huge fan of the Byrds ever since my idealistic high school days, which is why I’ve been kicking myself for not listening to Gene Clark’s masterpiece of an album No Other until a few days ago. Since then I’ve been playing the album on repeat, and the grandiose sounds permeate the mundanity of my days with a brilliance I haven’t felt since first hearing the Dead’s American Beauty. “Life’s Greatest Fool” kicks off the album with Clark’s country croon, jangly guitars, a lofty choir. The upbeat tune moves you to perceive your surroundings with rose-tinted glasses, engendering a need for sun soaked road trips while this song blares in the background.
At a first listen, the grandiosity of the production can feel overdone, the lyrics pretentious in their sweeping statements; however, Clark’s delivery subdues the whole thing. He doesn’t give us a concrete perspective on life. He admits that “words can be empty though filled with sound/Stoned numb and drifting, hard to be profound.” And despite this the lyrics are rife with profundity in humbling ways. It’s a song full of questioning, Clark’s unique outlook bundled in the guise of genuine curiosity, open ended and unsure.
Angel Olsen’s stage presence left the audience in the Gothic Theater silent. You could hear a pin drop as she crooned out notes from many hits of her newest album, “My Woman”. At first one could look around the theater wondering why everyone got the memo to act as a phalanx of statues staring straight ahead. But it was not that the crowd wasn’t enjoying themselves. Following their gazes it was not difficult to figure out why; and fall under Angel’s spell and be captivated by her stage presence. Although Angel sounded amazing on stage, her presence was one of the best aspects of the show. She had the complete attention of everyone around, I think even her bandmates had stars in their eyes.
Her set lasted around an hour, where I was left hungry for more (of course) but I knew it wasn’t the end. Soon to follow was one of the best encores I have seen in a while. Featured was an amazing cover of Motel’s “Total Control” and after being subject to that I can’t think of one person in the audience who wasn’t obsessed with Angel.
Just wanted to say a quick happy birthday to one of the most soul-touching, delicately constructed albums of all time –– Elliott Smith’s Either/Or turns 20 today. Speaking (with no authority whatsoever) on behalf of thousands of angsty teenagers and disappointed adults, I want to say thank you to Elliott Smith on this album (as well as some others) for being able to evoke such a wide range of emotions, most stemming from melancholia, in slightly over (or under) three minutes. The expectations for the power that music can have on emotions have shifted a lot in the last twenty years, and we definitely owe some of that shift to Either/Or. If you have a spare three minutes today, pick any song from the album below, hit play and dissolve a little bit.