June 16th, 2014 2:05am
My relationship with twee and “indie pop” has always been a little tricky. I mean, I definitely love particularly artists in that realm, but for the most part I have no particular sentimentality or reverence for that canon. I tend to think of indie pop artists as cutesy underachievers with a willfully narrow range of musical influences. In other words, a song in this genre needs to be exceptionally well made and charming to appeal to me. This song is one of those: The tonality and melodic style is familiar, but the execution is fantastic. Like a lot of the best songs in this genre, it’s effective partly because the wistful tone of the song matches the relatively small emotional scale of the lyrics. This is basically just a song about a crush, and not even a particularly intense one. She’s trying to understand it, but there’s no particular urgency. This could be a bad thing for some songs, something that forces your to think “who cares???”, but “Adult Diversion” really connects with the vague pleasure that comes with having this kind of non-problem in your life.
June 12th, 2014 1:06pm
At least part of Lana Del Rey’s success is owed to the fact that she’s pretty much the only notable artist in pop music who is entirely devoted to performing melancholy ballads and torch songs. That style of pop has been out of fashion for so long that the irony in her music is necessary – the audience’s associations with this particular sort of melodrama and sentimentality are removed from historical context. The music has to be a commentary on its own genre because it’s such a self conscious and contrary thing to embrace, and the modern details in the lyrics should be slightly at odds with the tone of the music. She’s gone overboard with the winking in the past, but with her third album Ultraviolence, she’s found a way to dial down the irony and focus more clearly on the emotion in her songs.
“Shades of Cool” is particularly great because it takes on a very James Bond theme sort of grandeur while keeping the lyrics very direct. This is very plainly a song about a woman who is dealing with a severely emotionally unavailable man, and reckoning with the reality of the situation. She has no illusions about him – the most powerful moment of the song is the part of the chorus in which she sings the words “You’re unfixable” with this odd, trilling tone – but she’s still holding on to some hope that things will work out. It’s a simple and lovely sentiment, and entirely merits this melodramatic arrangement.
June 11th, 2014 12:19pm
I went to the Governors Ball festival over the weekend, and when I was there I had to reckon with the reality that if you want to see dance/house music in a setting like that now, you’re going to have to deal with a lot of asshole bros. Like, a LOT. I tried to enjoy Disclosure but I just couldn’t, it was too unpleasant and aggravating. And while I get how this happened on a lot of levels, it’s still weird to me because Disclosure’s music is not particularly aggressive or macho. But it is physical, and it is what would be played a lot of the clubs where these people go, and I never do. I like the idea of a dance club in the abstract, but my experience with dance music is more personal — I listen mainly on headphones, the physical experience is limited to things like sorta-dancing in an inconspicuous way at my desk, or walking a little faster down the street, or accelerating a bit on an elliptical machine. In the case of dance music like xxxy, my experience is actually not that different from shoegazer indie music – it’s something to daze off to, to just feel on a musical level that doesn’t necessarily intersect with active thought. I know I’m not alone in this sort of thing, but it still feels like something I should apologize for on some level, as though there’s something bad about enjoying something made for a specific utility in some other way. It’s dumb, but I do.
June 10th, 2014 3:12am
Ishmael Butler makes hip-hop music, but his approach defies many formal conventions of the genre. Even a lot of the most adventurous rap music tends to be somewhat formulaic in structure, as the music is basically scaffolding to support the rhymed verses. Butler’s music has that, of course, but he’s very interested in building something bigger than a rap delivery system. Ever since he started working as Shabazz Palaces, he’s been playing around with tonal and rhythmic digressions, and in setting a thick atmosphere that doesn’t always need to involve vocals. His forthcoming album Lese Majesty pushes this all much further, with its 18 tracks actually adding up to movements divided among 7 discrete suites. The music isn’t as immediate as the songs on its basically perfect predecessor Black Up, but it’s a lot more hypnotic, ambient, and disorienting. To be honest, I’ve barely processed Butler’s dense lyrics, but it’s mainly because the music is so vivid and shifting that it’s a lot to just take in the experience of finding your way through the overall piece. “They Come In Gold” is about as conventional as Lese Majesty gets – it basically serves as a doorway to a very strange but rewarding musical space.
June 4th, 2014 12:55pm
Jack White’s last album, his solo debut, is unquestionably my favorite record he’s ever made. So it’s definitely a let down for me that his second solo record, Lazaretto, feels so uninspired. White has a level of craft and talent that keeps the record from being *bad*, but most of the songs sound like he’s just kinda going through the motions and writing material that falls into his stock song types. He seems content with being himself, which is great, but unless you’re a super fan it’s never that interesting to hear an artist just sorta coast along. It’s funny how the things that get on my nerves on this record – his female duet partner, the lush ’60s country arrangements, White’s old-timey affectations in general – didn’t bother me at all when he had a ridiculously strong set of songs the last time around.
There’s a few keepers, though – “Three Women” and the title track are fine if a bit too much like older, better songs, and “Just One Drink” and “Alone In My Home” are well-written pop tunes. The latter is definitely my favorite – I really like White in piano mode, and the lyrics play on his paranoia and anxieties in a way that doesn’t grate with a sense of martyrdom and entitlement, like a lot of the other songs.
June 3rd, 2014 12:48pm
I’m not sure if this song is religious, per se, but it is a very interesting meditation on the way people often reflexively evoke God and prayer when it’s convenient to them, even though they don’t ordinarily live their lives as religious people. Dice Raw flips the idea a little on the chorus, shifting the perspective to a God who is confounded by humanity, where we’re just as much a mystery to Him as He is to us. And if you come at it from a non-religious place, it’s like a structure created so humans can understand themselves has fundamentally lost its ability to do so. And all these people, all of us, are left without really knowing what to do about that.
June 2nd, 2014 1:05pm
Dee Dee has been slowly shifting over the past few years from a more demure ’60s aesthetic to something more lurid and ’80s. Her new record as Haunted Hearts with her husband, Brandon Welchez, is the most overtly sexual record of her career. The lyrics are very clearly about S&M and kink, and it’s all filtered through this hazy, Cure-like atmosphere that’s both romantic and sorta sinister. I think this works really well for the both of them – it’s probably better that this is separate from the Dum Dum Girls catalog, though it’s definitely on a similar wavelength of tonality and musicality as their new record Too True. I like that as Dee Dee becomes more bold and open in her music, there’s still this quiet, shy quality to the music – this album in particular is a very introverted sort of sexuality.
May 30th, 2014 12:01pm
It grates on me so much when people say that bands “sound like Pavement,” because they never really do. It’s usually just code for “indie rock band, dude can’t sing.” And while Malkmus is very far from a technically proficient singer, he’s a guy who has a remarkably expressive voice, and that – along with the seemingly effortless grasp of melody and an innate, casual swing to the way he and the others played – is what makes Pavement sound like Pavement. Parquet Courts is a pretty decent indie rock band, but they sound way more like a band who definitely likes Pavement a lot than Pavement. Andrew Savage can sometimes come close to that casual swing here and there, but he and his band can’t help but sound kinda uptight. That’s a really good thing on “Bodies,” which has a vague, neurotic charge to it that makes it feel exciting and evocative. Savage’s voice works here too – he sounds like an anxious guy trying to seem super chill. Sometimes his voice is too flat and dull for me to take, but this is the best approach for him.
May 28th, 2014 12:43pm
I think it’s to Sam Smith’s credit that I heard “Money On My Mind” many times over before I actually noticed that the song is entirely about him announcing his independence as an artist. It felt more universal than that, and even if he’s going into some details that are extremely specific to a young artist signed to a recording contract, maybe it is. This song is a statement of idealism and authenticity, and that’s something a lot of young people try to make one way or another. Smith’s lyrics could very easily seem petulant or self-aggrandizing, but the breeziness of the track and the gentle quality in his voice keep it from getting douchey. It just feels really pleasant, but with just enough touch of urgency to the rhythm to give it some nervous energy.
May 27th, 2014 12:32pm
Guided by Voices @ 5/23/2014
These Dooms / Table at Fool’s Tooth / A Good Flying Bird / A Bird with No Name / Alex and the Omegas / Authoritarian Zoo / Vote for Me Dummy / You Get Every Game / Game of Pricks / Xeno Pariah / Pan Swimmer / The Head / Buzzards and Dreadful Crows / Psychotic Crush / Wished I Was a Giant / Planet Score / Males of Wormwood Mars / How I Met My Mother / Record Level Love / Echos Myron / Zero Elasticity / Fast Crawl / Tractor Rape Chain / Ester’s Day / Fair Touching / Teenage FBI / Hat of Flames / All American Boy / Gold Star For Robot Boy / Littlest League Possible / The Goldheart Mountaintop Queen Directory / No Transmission / Spiderfighter / Cool Planet / I Am A Scientist // The Challenge Is Much More / Unleashed! The Large-Hearted Boy / 14 Cheerleader Coldfront / Smothered in Hugs /// He Rises! Our Union Bellboy / Shocker in Gloomtown / Awful Bliss / Pimple Zoo / Motor Away /// Cut-Out Witch / Exit Flagger / Quality of Armor / A Salty Salute
I was sorta wary about going to this show, mainly because I haven’t spent a great deal of time with the six post-reunion GBV records, and I don’t feel any particular sentimentality for the “classic lineup” of the band. I simply disagree with that – to me, the version of the live band anchored by Doug Gillard through the early ’00s is the one I love and associate with many great memories. But that was silly: GBV shows are always fun, and Bob Pollard has so much charisma that it’s easy to get on board with an onslaught of songs you only sorta know. I was never tuned out for the many recent songs in this show, and the generous helping of music from the Bee Thousand/Alien Lanes era is always going to be welcome, even if I do wish Pollard would play more from the long middle period of the band’s history. I’m definitely a lot more sold on the new songs, particularly those on this year’s Motivational Jumpsuit and Cool Planet – I think the first few nu-GBV records were a little uninspired, but Pollard and Tobin Sprout are in a good creative zone at the moment.