Recommended Listen: In Colour by Jamie xx

I was excited for this album to be released in June, if only to tide me over to the next release from The xx-- the group Jamie xx is a member-- but I've come to love it on it's own merit. While this CD isn't nearly as stark or moody as The xx albums, this should still please existing fans and perhaps gain some new ones due to his expanding repertoire. Three tracks feature vocalist Romy Madley Croft and Oliver Sim, both members of the xx. So, even though this is a solo album, he's still got one foot planted in the group. The track that diverts the most is the hip-hop and dance-hall inspired I Know There's Gonna Be (Good Times), featuring Popcaan and Young Thug.

What makes this album different from previous efforts is that it's not as cohesive from track to track. It's more diverse: this disc oscillates between house and more-laid back compositions and the aforementioned hip hop/dancehall track. You can dance, or just plain relax to this disc, which isn't true of all electronic albums. My standouts include Sleep Sound, Obvs, Hold Tight, The Rest is Noise, and Girls, which is my favorite of the pack. This is a definite step forward for Jamie.

In Colour by Jamie xx
Find it in the catalog

Audio Obsession: The xx

British band, the xx, have two beautiful albums to their name. At the Library we have their debut album, titled the xx. They exemplify indie-rock with an atmospheric, dance beat bent - there are no extraneous notes to be found on the albums. The beauty of the xx is that you can listen to them repeatedly and find different songs to like each time, and you can play them as background music or listen attentively. Basically, they're all-purpose listening.

One quality that sets the xx apart are the vocals. The vocal duties alternate between two members, Romy Madley Croft and Oliver Sim. Sometimes the two alternate on the same track with clever calls and answers. Neither is a perfect singer, but both have a haunting quality to their voice.

The xx are also masters of the electronic crescendo (listen to Reunion, from Coexist). I can't think of another band of the top of my head that is this skillful at creating tension in songs that are so stark (if you can think of another band, let me know in the comments).

I would encourage you to listen to either disc, and eagerly await their next.

Country Albums You Can't Miss

 You may not have guessed it from my first post, but I'm a whiskey drinkin', cowboy chasin', hell of a time (that's a Brooks & Dunn reference...I'm not actually that clever). Some of my favorite albums of all time include George Strait's Easy Come, Easy Go and Garth Brooks' Ropin the Wind. While a lot of people tend to believe that country music is only for the beer-drinking or the brokenhearted-mostly true- it's also for the hopeless romantics and the old souls like myself. So, without further ado, here are some country albums you may have missed, coming from a self-proclaimed expert in the genre. 

Brandy Clark: 12 Stories

Released in 2013, Brandy's album is the quintessential country album. A huge relief for true country fans: Brandy's writing tackles topics like drug abuse, murder, and adultery. Most of the songs on this album have just been waiting to be recorded while Brandy has been busy writing chart toppers for superstars like Miranda Lambert, The Band Perry, and Keith Urban. Whether you're a fan of contemporary country or a Dolly Parton diehard, 12 Stories is worth checking out. Stand-out tracks: Get High, Hold My Hand, Pray to Jesus

Eric Church: The Outsiders

On his fourth studio album, North Carolina singer-songwriter Eric Church made a record that's weirder, louder and even more badass than any before. Church is a crafty, ambitious songwriter with a sensitive, rueful side. With The Outsiders, Church splits the difference between contemporary country's biggest trends: new-school storytelling (Kacey Musgraves, Ashley Monroe ) and check-cashing bro-country (Florida Georgia Line, Luke Bryan). And why not? His success raises the bar of possibility in an overcautious industry. Stand-out tracks: Like a Wrecking Ball, That's Damn Rock & Roll, The Joint

Ashley Monroe: Like a Rose

Monroe is classic, Tennessee country. I first discovered her when the Pistol Annies released their debut album in 2011. She can only be described as "sassy" or "spunky" or with some other coded feminine adjectives. Her second solo album Like a Rose brings out the singer's true colors. Similar to Clark in that her writing doesn't shy away from darker themes, the lyrics are as close as you can get to poetry in country music. Stand-out tracks: Used, Monroe Suede, You Ain't Dolly (And You Ain't Porter)

Song Obsessions: Bob Dylan Edition

Though they certainly aren't mutually exclusive, of the big name folk singer-songwriters from the 60s, I tend to be more of a Paul Simon girl than a Dylanite.  I listened to Dylan in college, but not obsessively (minus Blonde on Blonde); and while I really enjoyed some of his lyrics, his music didn't emotionally resonate with me in the same way some of Simon's songs did (blasphemy, I know!).  Lately, however, I have been listening to a ton of Dylan.  I'm not sure what spurred this development. Perhaps, I just listened to Sounds of Silence one too many times and decided I needed something darker and more ironic (sorry Paul!).  Anyway, below are five Dylan tracks I can't get enough of currently:

1).  "Like a Rolling Stone" from Highway 61 Revisited.  I kept this album in my car stereo an embarrassingly long time just because I could not turn off this track once it had started.  This is pretty obvious Dylan, but I really like him at his meanest.  Dylan is great at crafting insults.  Here, he is able to be both ruthless to the song's subject while being occasional empathetic, especially at the end: "When you got nothing, you've got nothing to lose/ You're invisible now, you've got no secrets to conceal."

2).  "You're Gonna Make Me Lonesome When You Go" from Blood on the Tracks. There are a lot of great tracks off this album, but I adore the pessimism of this love song.  The song perfectly captures the early glow of a new relationship, "Flowers on the hillside, bloomin' crazy/ Crickets talkin' back and forth in rhyme/ Blue river runnin' slow and lazy/ I could stay with you forever and never realize the time."  However, the narrator has been down this particular road a few to many times to expect a happy ending, "Situations have ended sad/ Relationships have all been bad/ Mine've been like Verlaine's and Rimbaud's."  So, the most romantic thing he can muster up to say to his lady love is that she'll make him lonesome when she leaves. 

3).  "4th Time Around" from Blonde on Blonde.  I've been listening to this album on-and-off since college and I just recently learned it's a parody of the Beatles' "Norwegian Wood."  John Lennon's lyrics sounded a little too Dylanesque for Dylan, so he decided to show him how it was done. Now, when I listen to the song, I can definitely hear the similarity.  But really I like it because Dylan portrays himself as hilariously jerky in these lyrics.  It's one of two songs on the album that make me laugh out ("Leopard Skin Pill Box Hat" being the other).  I love what a little punk Bob Dylan was on this album.

4).  "Mr. Tambourine Man" from Bringing It All Back Home.  This is one of the few Dylan songs I actually listened to growing up.  My father did not become a big Dylan fan until later in life; so while I was growing up he pretty much only listened to the "Greatest Hits."  Since my dad loved this song, I didn't allow myself to like it until recently (Dads are so uncool).  However, I really admire the complexity of the rhymes with in this song.  The lyrics are little more poetic, and less flippant than my favorite Dylan.  However, the guy was like 23 when he wrote, so I'll give him a pass.  It's much less literary mag than the stuff Paul Simon wrote at that age.

5). "Idiot Wind" from Blood on the Tracks.  This is a Bob Dylan put down song of the finest caliber.  The lyrics have the bitterness and biting of his earlier angry songs like "Positively 4th Street" and "Like a Rolling Stone," but their is less self-righteous coldness and more emotional pain in "Idiot Wind."  Dylan sings the song so passionately, that at times he sounds vaguely like a pirate.  One of my favorite line sequences in the song nicely sums up the hurt accompanying the end of a long relationship, "I can't feel you anymore/ I can't even touch the books you've read/ Every time I crawl past your door/ I've been wishin' I was someone else instead."  By the end of the song, Dylan even includes himself as equally culpable, "We're idiots, babe/ It's a wonder we can even feed ourselves."  Awesome song, awesome album, check out both!

Listen up: Voices by Phantogram

Big beats and big guitars. You can't get much better than that. Phantogram is an electro-rock duo from New York state, and they produce a big sound for only two people. Sarah Barthel handles the vocals, and she does so with power. While two other tracks initially caught my attention (Howling at the Moon and Bad Dreams), their single Fall In Love is catchy and completely exemplary of the band's sound, so if you like this single, you'll enjoy the entire album. Phantogram remind me of M83, with their fairly seamless integration of electronic elements. Also one of their tracks is titled Bill Murray - so there's that in their favor. It's a good one for listening to in the car, loudly.

Voices by Phantogram
Find it in the catalog!

Audio Obsession: Lost in the Dream by the War on Drugs

Lost in the Dream by the War on Drugs (2014).
Find it in the catalog!

This album has been on permanent repeat in my car since it came out in March.  I’ve been a fan of the War on Drugs since their 2011 album, Slave Ambient.  The band has a dreamy, sprawling sound that makes for excellent road music.  Additionally, I’m a huge sucker for break-up albums, which Lost in the Dream sort of is.  However, singer Adam Granduciel’s lyrical angst and anxiety span far beyond just the fate of one relationship.

A mixture of shoegaze and classic rock (think: Springsteen and Dylan), the War on Drugs has a sound that is familiar, but more expansive and distinctive.  Sort of like comfort food listening for the perpetually anxious.  Philadelphia guitarist Kurt Vile used to be a member of the band, and he’s probably the best touchstone for their sound.  However, Vile’s solo albums tend to be less complex and more upbeat.  Lost in the Dream incorporates a variety of sounds (synth riffs, horn blasts, discordant noise) into its guitar and drum driven propulsion forward.  Adam Granduciel’s voice is noticeably less Dylanesque here than on the band’s two previous album; which as much as I adore Dylan, is a nice change.  It makes his voice less distracting and blends-in better with the sound of the band’s music.

Overall, this is definitely my favorite album by the War on Drugs to date, and my favorite album of the year so far.  Stand out tracks for me include: “An Ocean Between the Waves,” “Suffering,”  the titular track “Lost in the Dream” and closer “In Reverse.”  Though all of the tracks on the album are enjoyable.  If you are planning on going on a road trip this summer, this album (or really anything by the War on Drugs) would make an excellent soundtrack!

A Valentine From De La Soul

"Love sought is good, but given unsought better."

-William Shakespeare, Twelfth Night (III.i)

The best valentine that you, or anyone, will receive this year comes courtesy of the legendary hip hop trio De La Soul. In celebration of the 25th anniversary of their classic debut album 3 Feet High and Rising, the group is offering their entire discography for free download. Repeat: the entire De La Soul catalog can be legally downloaded for free via the group's website; from 3 Feet High and Rising and De La Soul is Dead (endlessly inventive albums on which producer Prince Paul completely redefined the art of sampling in popular music) to their more sober-minded '90s work and beyond. This give-away is not limited to studio albums, so even devoted fans can find rarities and instrumentals for download. This is an extraordinary opportunity to familiarize yourself with one of the most innovative musical acts of the last quarter century. But, you've got to be quick about it, as the offer expires when Valentine's Day expires.

My Favorite Things 2013

This year, more so than any other in recent memory, I found myself playing catch-up with last year's "best-of" that I didn't take in much from this calendar year. Basically, I haven't read, listened to or watched enough of anything to make separate lists for each ... so, here's my Top Ten Favorite Things from 2013.

1 & 2. While everyone is talking about AMC, HBO and Showtime and their popular programming, I'm interested in BBC America, which produced two of my favorite television shows this year: Orphan Black and the third season of Luther. One could not find better acting, nor more complicated and well-drawn characters. Bonus: the female characters are strong. Tatiana Maslany (playing 7 characters on Orphan Black) should have been nominated and won an Emmy, and Ruth Wilson (from Luther) is so on point as psychopath Alice Morgan, it actually makes me giddy when she shows up on screen.

3 & 4. The Death of Bees by Lisa O'Donnell and Wave by Sonali Deraniyagala. I wrote reviews of both a while back, so I won't get into it again. Simply, both are books that stay with you.

5 & 6. I have slacked the most this year in the movie department. I have seen only one movie in the theater and about a handful on DVD. My two favorite films of the year are The Way Way Back and the German film Lore. It was theatrically released in 2012, but out on DVD in 2013, so I'm counting it. Lore takes place at the end of World War II and focuses on siblings who've been abandoned by their Nazi-sympathizing parents and now must confront the harsh reality of losing a war and the propaganda they've been fed. Superb performances from a very young cast and a WWII perspective not often told. The Way Way Back also features a younger actor with potential: Liam James (in the role of Duncan). His interactions with Sam Rockwell made this movie.

7. The album that sticks out to me this year is Tomorrow's Harvest by Boards of Canada. I enjoyed many others (from artists Daft Punk, Phoenix, Local Natives, The National, Quadron, Thundercat, and Cut Copy), but this one I enjoyed the whole way through. And I got sucked in. It's ambient, but not boring.

8-11. Even though I enjoyed the above album as a whole, my favorite songs of the year were Trying to Be Cool by Phoenix, Holy by Frightened Rabbit, Diane Young by Vampire Weekend (love, love, love the ending), and Heartbreaks + Setbacks by Thundercat.

Lou Reed: 1942-2013

It would be difficult to overstate Lou Reed's contributions to modern music. As founder and lead singer of the most influential rock band of all time, The Velvet Underground, he did more to broaden the lyrical range of popular music than just about anyone since Lennon/McCartney or Bob Dylan. His formative influence on punk music is undeniable; as essential to punk's progression as Patti Smith, Iggy Pop, and The Ramones. Even his voice, which has nothing in the way of technical proficiency, has been endlessly imitated. (Listen to any Sonic Youth record from the '80s or '90s and you'll hear Thurston Moore and Kim Gordon doing their best Lou Reed impression.)

Post-Velvet Underground, Reed collaborated with kindred spirit David Bowie, became a glam-rocker, became whatever is the opposite of a glam-rocker, released an entire album of noise (Metal Machine Music) that is still divisive, and experimented with everything from rap to cabaret. He also cultivated a curmudgeonly public persona that grew more myopic with each passing year. Reed had a special loathing for music critics; many of his interviews seem weirdly tense, even on the page, and he was notorious for blowing cigar smoke in his interlocutors' faces. Given his long-standing antipathy for music journalism, it was downright shocking when earlier this year he published a lengthy review of Kanye West's  album Yeezus. In typical Reed fashion the review was effusive, profanity-laden, and entirely heartfelt.

Lou Reed lived one of those wild American lives that, however improbably, just kept on going. He underwent electroshock therapy as a teenager, experimented with everything that the '60s/'70s New York art-scene had to offer, hung out at Andy Warhol's Factory, struggled with narcotics addiction, remade himself artistically, time and time again, and left a musical legacy that continues to inspire and challenge.

CDs:
The Velvet Underground and Nico (with the Velvet Underground)
The Velvet Underground Live at Max's Kansas City (with the Velvet Underground)
The Definitive Collection
The Best of Lou Reed
Coney Island Baby
Animal Serenade
Ecstasy
Metal Machine Music

DVDs:
Lou Reed: Rock and Roll Heart

Books:
Please Kill Me: The Uncensored Oral History of Punk

Jason Molina: 1973-2013

News outlets report that singer-songwriter Jason Molina passed away March 16, 2013, at the age of 39. He had been in poor health in recent years and a campaign was underway to help raise funds for his mounting medical bills. Molina is best known for the music he recorded under the names Songs: Ohia and Magnolia Electric Co. His music was noticeably influenced by American folk and country, and his unique voice was instantly recognizable. Molina's highly poetic lyrics often centered on the lives and concerns of working people, particularly in his home state of Ohio and the city of Chicago, which had become something of an adopted home for the musician. His protagonists were tired, anxious, uncertain about what their lives meant and where they might end up. But Molina expressed these pervasive anxieties with such tenderness that many of his songs have the comforting qualities of lullabies. I am reminded of a lyric from his song "Blue Factory Flame":

when i die put my bones in an empty street
to remind me of how it used to be
don’t write my name on a stone
bring a Coleman lantern and a radio
a Cleveland game and two fishing poles
and watch with me from the shore
ghostly steel and iron ore ships coming home
where i am paralyzed by the emptiness

The Tallest Man On Earth: Love Is All

The Tallest Man On Earth is the enigmatic stage name of Swedish singer-songwriter Kristian Matsson. He has been recording original music and performing live for several years, but recently received a significant profile boost when he toured with critically-acclaimed artist Bon Iver. All of Matsson's work is guitar-based and heavily folk influenced, and his distinctively raspy voice is a wonderful instrument for his evocative song lyrics. While I would recommend the entirety of his 2010 album The Wild Hunt, it's the song "Love Is All" that has really stolen my heart. The video director Johan Stolpe has collected and edited vintage home movies - seemingly shot on Super 8 - into an unexpectedly moving complement to the song itself.

What we're listening to: Master of My Make-Believe by Santigold

I'm still catching up on music from last year, so I'm just now listening to Santigold's album Master of My Make-Believe, which was released last spring.

Drawing obvious comparisons to M.I.A., Santigold is less aggressive in her style and delivery, but still has something to say. Her influences are abundant and eclectic. Karen O. and Nick Zinner of the Yeah, Yeah, Yeahs, were quite involved in this record, from Karen O.'s vocal and writing contributions to Nick's handling of guitar work on several tracks. Diplo, Switch, Q-Tip, and Dave Sitek from TV on the Radio, among others, all produced at least one track. She also mentioned in an interview that she gains visual inspiration for her live shows from artists such as David Byrne and Bjork, but I would go as far to say that she is influenced by them musically because those two artists come to mind when I hear Santigold's record-- it has that worldly and genre-bending vibe to it.

Two tracks in particular stand out to me: "Disparate Youth" and "This Isn't Our Parade." They're nothing alike. The former is more straightforward and perhaps her more representative sound, the latter is laid-back and as close to a ballad as she gets. Track 9, "The Keepers," has a bouncy beat, but damning lyrics. It's all about the contrast. A great record for repeated listens because different elements come forward each time. This disc would be perfect for parties.

Side note: "Disparate Youth" is featured in the current Honda commercial.

Music Roundup: My Top 10 Albums of 2012

Top Ten

The Seer - Swans
The music on The Seer is far more sophisticated than the Swans recordings of the early-'80s, when the band was about brutal noise and confrontation at the expense of all else. Michael Gira has refined his songwriting and expanded his thematic concerns throughout his long career, most notably with his Angels of Light project. But the dark drama and punishing intensity are still integral to the band's vision. The Seer is a sinister, droning masterpiece.

'Allelujah! Don't Bend! Ascend! - Godspeed You! Black Emperor
Certain artists inspire devotion, and GY!BE have had a devout following since their 1997 debut. 'Allelujah! is their first new record since 2002 (Yanqui U.X.O.);  a record comprised of two relatively long compositions and two shorter works that have been part of the collective's live repertoire. (The Guardian published a statement from the group coincident with the release of 'Allelujah!, providing some genuinely moving sentiments about the group's ambitions.) If you're unfamiliar with GY!BE, the ideal introduction is "The Dead Flag Blues," the legendary first track from the group's debut record. There's simply no better encapsulation of the what Godspeed You! Black Emperor is about. Follow that with the 'Allelujah! track "Their Helicopters' Sing" for further evidence of the visceral beauty of this group's music.

The Sun - Cat Power
Chan Marshall's career has had distinct musical phases that aren't always appreciated by the same audience; her stark, guitar-based recordings from the '90s often go unappreciated by those who favor her Southern soul influenced work. As a fan of her entire catalog, I'd like to think that The Sun represents yet another break/innovation. The soulful horn section has been replaced with warm synthesizers and electronic beats. There isn't much precedent for this type of production in Marshall's work, though it may have some superficial similarities with her guest spot on Handsome Boy Modelling School's 2004 record. The appeal of any Cat Power album is Marshall's voice, and it's invigorating to hear her sing with such directness on The Sun.

Four - Bloc Party
Bloc Party have always excelled at combining the best elements of  late-90s Blur and Radiohead with intense post-punk angularity. Those expected strengths are very much on display on the band's fourth record, but, really, nothing could have prepared me for the monster riffs of "Coliseum."

Cancer4Cure - El-P
The music of El-P is so idiosyncratic and distinctly his own that it's almost instantly identifiable. Forever at the margins of whatever can be considered "mainstream" hip-hop, El-P has consistently crafted innovative and intriguing music that reveals a profound appreciation for classic sampling. C4C is unquestionably one of El-P's finest records; a wild melange of samples and sounds that is, strangely, the most focused he has ever sounded.

Key to the Kuffs - JJ DOOM
You can pair MF DOOM with just about anyone and the results will, at the very least, be interesting. But his recent collaboration with MC/producer Jneiro Jarel is considerably more than a curio. Key to the Kuffs isn't a perfect record; and it suffers by comparison to Madvillainy, DOOM's beloved 2004 collaboration with Madlib. (To be fair, every recording suffers by comparison with Madvillainy.) Taken on a track-by-track basis, this is some of the best work DOOM has done in years. "Guv'nor" is almost certainly the standout, with its woozy production and lyrics that range far wider than DOOM's typical concerns.

awE naturalE - THEESatisfaction
I first heard TheeSatisfaction as guest artists on one my favorite records of 2011, Black Up by Shabazz Palaces. awE naturalE is the Seattle duo's debut full-length, and it easily exceeds all expectations in its seductive beauty and the seemingly effortless interplay between the singer (Cat) and the emcee (Stas).

Don't Be a Stranger - Mark Eitzel
My appreciation for this record may, to some extent, be tinged with nostalgia for the magisterial dolorousness of classic American Music Club. (Along with Red House Painters, A.M.C. were the demigods of slow-core.) But, taken on its own terms, Don't Be a Stranger is a beautifully crafted record that makes the most of Eitzel's unique voice and songcraft.

Between the Times and the Tides - Lee Ranaldo
As guitarist and co-founder of the band Sonic Youth, Lee Ranaldo's legacy as a rock innovator is secure. But, like his band-mates Kim Gordon and Thurston Moore, he has pursued various solo projects throughout has career. While the numerous side projects by Gordon and Moore are still pretty recognizable as Sonic Youth recordings (to the extent that Sonic Youth can be said to have a recognizable template), Ranaldo is pursuing musical ideas far afield of his full-time gig. From the darkly pulsing opening track, "Waiting on a Dream," to the gentle lyricism of "Stranded,"Between the Times and the Tides is a beautiful record that displays Ranaldo's maturation as a songwriter.

Mature Themes - Ariel Pink's Haunted Graffiti
Mature Themes is as strange as Ariel Pink himself. You just need to accept that Pink is working on another level, and the more time you spend with his songs, the more resonant they become. (Though I'm not sure there's any way to make sense of the almost unbelievably odd "Schnitzel Boogie.") Mature Themes isn't all experimentation and obfuscation; "Only in My Dreams" is as direct and charming a pop song as you could ask for, and the album's closer, "Baby," is a surprisingly soulful cover that just may be my favorite track of the year.

Other Highlights

2012 featured new music from some of my longtime favorites: Deerhoof (Breakup Song), Sun Kil Moon (Among the Leaves), Spiritualized (Sweet Heart, Sweet Light), Nas (Life Is Good), Mount Eerie (Clear Moon), and a late-entry from Big Boi (Vicious Lies and Dangerous Rumors). There were also a handful of newcomers who made an indelible impression: Frank Ocean (Channel Orange), Death Grips (The Money Store), and the surprisingly divisive pop singer Lana Del Rey (Born to Die). Say what you will about Del Rey's debut album, her single "Video Games" is an evocative song that feels emblematic of its moment in time, an impression that is only enhanced by its accompanying video.

What we're listening to: Blood Pressures by The Kills

Released just over a year ago, Blood Pressures by The Kills is a pretty rockin' record. As a group and overall sound, the Kills remind me of the Ravonettes and the Black Keys (2 person outfit managing to produce some full and heavy sounds). The Kills are comprised of Alison Mosshart and Jamie Hince.

The disc opens with an excellent, almost tribal-like drum beat, on Future Starts Slow. It's basically a sonic foreshadow of the great beats throughout the record. The third track, Heart is a Beating Drum, features accompaniment by, of all things, a ping pong ball. Track two, Satellite, grabs you right away and doesn't let go. It starts out with a machine-sounding intro and a heavy beat (sense a theme here?) with some prominent, syncopated guitar-- almost ska like. The vocals are slightly sultry and the lyrics clever. It has all the elements for an excellent song; it's my favorite from the record. The barest of the tracks is The Last Goodbye, which features a mournful Mosshart singing about lost love, as you can imagine from the title.

I listened to this disc everyday for six weeks (I renewed it)-- and it never got old.

Blood Pressures by The Kills
Find it in the catalog!

My Music Year: 1988

After considerable deliberation, one stopgap exercise, and an awesome assist from Heather, I'm ready to endorse a music year. How did I settle on 1988? Was it my fond recollection of the molded plastic California Raisins that were so bountiful that year? It was not. My actual music-related memories of 1988 are fairly limited: I remember Fine Young Cannibals on the radio in my dad’s car (“She Drives Me Crazy” and  “Good Thing”), and Bobby Brown's "My Prerogative" was getting some serious play from my older sister. Oh, and the treacly "Living Years" by Mike + The Mechanics was an inescapable pop song. Apparently the New Kids on the Block were Hangin' Tough that year, but I don't really recall. (This Billboard compilation offers a fairly concise glimpse of what else people were listening to in '88.)

I was ten years old in 1988, and I was functionally illiterate as far as pop-culture goes. I didn't even have a tape deck. I think my only exposure to rap music had been a surreptitious viewing of the Beastie Boys' video "(You Gotta) Fight for Your Right (To Party)". It would be some time before I had the opportunity to understand the Beasties' oeuvre beyond that one song, but I did appreciate their sense of humor. (Yes, even I knew they were lampooning themselves.) I was so remarkably ignorant of popular music that I thought Simon & Garfunkel were a current group. (I'm not sure how to account for that misnomer, but I would guess it had something to do with PBS re-airing the duo's 1980 reunion concert.) What can I say? I lived in my own head-space, as many young people do, and I was content with my paperback copies of Sir Arthur Conan Doyle and Jules Verne.

It wasn't until I was thirteen or fourteen that I began developing musical tastes of my own, and once that happened, 1988 proved to be the wellspring of my musical interests. In an odd way, the music of 1988 would influence me considerably from my middle-school years to the present day. And let me tell you, there are few constants in my life that span those years. (I'm not strictly using "constant" in the Desmond Hume sense of the word, but you are encouraged to interpret it that way.)

Time Capsule Album Obsessions: College

Somehow when I had dreamed of going way to college, I didn't imagine that I'd be escaping to Appleton, WI-a city almost more culturally devoid than the tiny, far-north Chicago suburb that I grew up in. I had more exotic locales like Chicago or New York City in mind. But a scholarship, parental pressure, and a campus that reminded me of Rushmore Academy won out in the end and I went to Lawrence University in Appleton.  Lawrence University is one of the premier colleges for music in the United States, which is great if you like classical music or the opera. However, for rock music you pretty much have to drive to Milwaukee (a little over an hour away) or Madison (about an hour and a half away) to see anyone decent live.  Unsurprisingly, I didn't go to a lot of shows during this period.  However, I did discover a bunch of new bands thanks to being surrounded by a bunch of music geeks.  Below are my five most listened to albums from college (check out the whole list here):

Transatlanticism by Death Cab for Cutie (2003).
Find it in the catalog!
This is one of the few early Death Cab albums that I can still listen to without cringing too much at my former, college-aged self.  I related to these songs immensely then, so listening to them is sort of like looking at pictures of yourself with a bad haircut that you thought was awesome at the time.  That's no diss to Death Cab.  I actually like their recent stuff quite a bit (especially Codes and Keys).  And Chris Walla's guitar work has always been superb. But Ben Gibbard's lyrics seem a little too angst ridden and confessional in hindsight.  Maybe I've just grown to hate earnestness.  In spite of this, Transatlanticism still holds up pretty well for me, possibly because Gibbard's lyrics aren't as intensely personally as on some of Death Cab's other albums from the early aughts.  I'm not a huge fan of "Tiny Vessels" or "Death of an Interior Decorator."  But the rest of the album is pretty solid. 

Favorite Songs: Sound of Settling, Transatlanticism, Passenger Seat

Alligator by the National. 
Find it in the catalog!
The National were a band I had been hearing good things about for a while, but could never track down one of their records.  When  I saw Alligator on the shelves at Borders (in McHenry, of all places), I picked it up and fell in love with it instantly.  The National were different from a lot of the bands I had been listening to at the time.  The music was dark and well-crafted, and singer Matt Berninger had a deep, world-weary voice.  The National is still one of my favorite bands and I've loved both of their subsequent albums, but Alligator still probably has the most songs on it that I love (Boxer is my favorite overall).  Out of the albums that I loved in college, this is definitely the one that I revisit the most often. 

Favorite Songs: All the Wine, Geese of Beverly Road, Daughters of the Soho Riots, Mr. November

Yankee Hotel Foxtrot- Wilco (2002)
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When I was in high school, "country" even of the alt variety, sounded like something that I just couldn't get into.  So it took me a really long time to listen to Wilco.  So long, in fact, that I did not check out Yankee Hotel Foxtrot until a year after it was released, in spite of its universal acclaim.  However, once I finally did get around to checking it out, I pretty much listened to it on repeat for about two years (it is part of my subconscious now). This is still one of my favorite albums of all time.

Favorite Songs:  I'm Trying to Break Your Heart, Ashes of American Flags, Jesus, Etc., Poor Places

Something Else- Kinks
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The Kinks were probably my favorite band in college. Yet I don't remember how I started listening to them, I just remember suddenly being into the Kinks.  But it's pretty safe to blame the movie Blow-up, which made me want to check out anything that British and from the 60s.  The Kinks definitely had a gritter sound than other music from the 60s that I was used to (i.e. The Beatles and Simon and Garfunkel), which made their music sound more modern to me.  Also, Ray Davies is probably one of my favorite songwriters ever.  His lyrics are funny, biting and have great social commentary.  Something Else was my introduction to the Kinks.  While I'd eventually love The Kinks are the Village Green Preservation Society and Lola Versus Powerman and the Money-go-round more, Something Else remained in heavy rotation until grad school, largely thanks to "Waterloo Sunset."

Favorite Songs:  Waterloo Sunset, Afternoon Tea, and Tin Solider Man

69 Love Songs- Magnetic Fields
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I first got into the Magnetic Fields with the album The Charm of the Highway.  I liked how poppy and yet bleak Stephin Merritt's songs were, as well as how clever some of the lyrics were.  Pretty much all of the Magnetic Fields albums were played in heavy rotation in my dorm room, but 69 Love Songs is probably Merritt's masterpiece.  Also, the three disc set was the perfect length to drive home for breaks.

Favorite songs: I Don't Want to Get Over You, I Don't Believe in the Sun, No One Will Ever Love You,  The Sun Goes Down and The World Goes Dancing, Busby Berkeley Dream, I Can't Touch You Anymore

Happy Birthday Ghostface Killah!

Break out your biggest gold chain necklace and start blasting Supreme Clientele, because it's Dennis Coles aka. Ghostface Killah aka. Ghostdini aka. Ironman aka. Tony Starks aka. my spirit Wu-Tang Clan member's 42nd Birthday!  Check out an album by Wu-Tang Clan or by Ghostface to celebrate!

The Rise and Fall of Wu-Tang: An Infodiscography

An enterprising designer named Jess Bachman has assembled an "infodiscography" of the legendary hip-hop group, Wu-Tang Clan. These visually striking graphics offer an insightful overview of the myriad Wu-affiliated releases, and are particularly useful for exploring the members' solo projects. The three-part series sets out to highlight the rise, fragmentation, and decline of the group. I would argue that the enduring artistic influence of the Wu-Tang Clan precludes anything like a decline, but it's a well executed project that can be especially useful to beginner or intermediate Wu aficionados. If you'd like to know which of these solo projects are available through the library, you can take a look at the list I've compiled in bibliocommons.

The "infodiscography" graphics themselves are quite large. Check out part one after the jump.

Time Capsule Album Obsessions: High School

My high school years aren’t really a period I’m nostalgic about.  Like a lot of people from a small town, I spent much of  high school looking forward to leaving home and going to college.  I was more of an honor students than a rebel, but I did experiment with punk rock and light subversion.  After spending my freshman and sophomore years listening to emo (Bright Eyes, mostly) and glam rock (thanks to Ewan McGregor) I discovered the Cure and 80s post punk (which would dominate my playlists until grad school).  Below are five albums that I listened to way too much during high school:  

 

The Smiths- The Queen Is Dead.
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The Smiths are basically required listening for every angst-ridden high school student.  At the time, I could certainly relate to Morrissey’s sizable amount of self-pity on songs like “I Know It’s Over” and “Never Had No One Ever.”  But it was more than just adolescent woefulness that drew me to the Smiths.  Morrissey has one of best voices in rock, and he can be pretty funny at times.  Also, Johnny Marr’s excellent guitar work makes the music still sound fresh today.  
 

Favorite tracks: The Boy with the Thorn In His Side, There is a Light (That Never Goes Out), Some Girls are Bigger Than Others

Joy Division- Closer

Find Closer in the catalog! 

I think I definitely enjoy this album more now than I did in high school. Back then, I thought liking Joy Division made me dark and edgy, so I pretended to enjoy it more than I did.  And I liked the cryptic but bleak lyrics.  It wasn’t until college, when a lot of bands started to emulate Joy Division’s sound that I began to appreciate how spare and yet awesomely rocking they were.  Still, I listened to this album a lot in high school for only sort of liking it.  Perhaps, I just wanted to scare my parents.

 

Favorite tracks:  Isolation, Heart and Soul, The Eternal.  

  Joni Mitchell-Blue

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My sophomore year of high school, I bought a turntable.  I had a cheap box record player before this, but the turntable was a definite step up.  To build up my record collection, I'd buy pretty much anything from the 60s and 70s that was reasonably cool or had a spiffy cover. This was one of those records.  I bought it for it's pretty blue cover, but played it over and over again for its mellow vibe and romantic angst.  At 15, I hadn't really lived enough to understand the complex emotions on the album.  But I was naive enough to think that I did.

Favorite Tracks: California, River, A Case of You.

Simon and Garfunkel- Bridge Over Troubled Water

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I went to high school about 30 years after it was cool to like this album.  Thankfully, none of my classmates knew who S and G were and therefore were clueless as to how much of a geek I was.  I started listening to S and G after hearing that Paul Simon was a big influence on my then rock-God, Connor Oberst of Bright Eyes.  My dad didn’t have Graceland, but I permanently borrowed his copies of Bookends and BOTW.  Paul Simon’s witty, literate, and offbeat lyrics really appealed to me.  I also liked the band’s quirky folk rock sound.  BOTW is an ambitious but fun album.  S and G played around with a bunch of sounds, including gospel (“Bridge Over Troubled Water,”) straight rock ‘n’ roll (“Baby Driver”) and even Bossa Nova (“So Long, Frank Lloyd Wright”- not my favorite).  There are lots of classic songs on the this album, including the title track, “The Boxer” and “Cecilia,” but my all-time favorite song is the haunting “Only Living Boy in New York.”

 

Favorite Tracks:  Cecilia, Keep the Customer Satisfied, Baby Driver, Only Living Boy in New York, and Song for the Asking. 

Belle and Sebastian- If You're Feeling Sinister

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I discovered this band from one of my friends who was much hipper than me.  From their cool, retro red cover to their jangly, 60s inspired folk pop, Belle and Sebastian were pretty much perfect in my book.  Stuart Murdoch's lyrics were smart and funny, but a little wistful.  Belle and Sebastian were more or less the sonic equivalent of watching a Wes Anderson movie.   What more could a pretentious, old soul 17 year old want in a band?  Even with their post-Juno popularity and accusations of tweeness, If You're Feeling Sinister and Tigermilk are still favorites of mine. 

Favorite Tracks: The Fox in the Snow; Get Me Away From Here, I'm Dying; If You're Feeling Sinister

Check out my whole list of high school album obsessions. 

What We're Listening to: Tramp by Sharon Van Etten

Tramp by Sharon Van Etten
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Tramp is the third album by New York City-based singer-songwriter Sharon Van Etten.  I really enjoyed her last album, Epic (especially the closing track, "Love More").  However, Tramp sounded even more promising because it was produced by Aaron Dessner of The National (one of my favorite bands) and had a stellar guest list including Zach Condon of Beirut, Jenn Wasner of Wye Oak, and Matt Barrick of the Walkmen among others.

Van Etten could rival Adele for writing songs about love gone wrong.  On her last two albums, many songs revolved around a break up with a particularly nasty boyfriend.  While I'm a break-up song connoisseur, I was happy to see that she had mostly moved on from that on Tramp. There is still some romantic angst (including the awesome break-up anthem "Serpents"), but Van Etten seems more focused on personal growth and her own failings this time out.

Van Etten's lyrics really add a lot to the album.  She's good a conveying a lot simply.  For instance, one of my favorite lines on the album is from "Give Out:" "You're the reason why I'll move to the city/ Or why I'll need to leave."  Tramp has a somber and emotional vibe; it's a great album to listen to on a gloomy day.

Stand out tracks:  I love "Serpents", which rocks surprisingly hard for an otherwise mellow album.  "Give Out" is a beautiful but bittersweet track about starting a new relationship after being hurt.  "I'm Wrong" is a builder and is oddly inspirational for a song pleading for self-delusion.  The closer "Joke or a Lie" is a lovely blend of vulnerability and melancholy.