Bibio “Town & Country”

“Town & Country” is sung entirely in the second person – “you’re tired of working in the city, you fight for life…,” and so on – and it makes me wonder whether we’re meant to interpret it as Bibio singing to someone else, or to some version of himself. I tend to hear it more as the latter even if it’s not strictly autobiographical because it comes out sounding like a litany of complaints being used in a campaign to change your own mind and break bad habits.

The angst and negative vibes in the lyrics are at odds with the sound of the music, which feels extremely relaxed and lovely in this very ‘70s soft rock sort of way. Maybe it’s the fantasy of being somewhere else, and having an entirely different life. Or it could be like visiting some other place, and realizing how much better you feel, and that positive experience forcing you to reckon with problems you’ve put on the back burner for a long time because you’re too busy to take them seriously for long otherwise. I’ve never personally related to the sentiment of this song, but I know a lot of people who have struggled with this “gotta get out of the city” anxiety, and the way Bibio expresses it in this song sounds very authentic to me.

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Andrew Bird “Truth Lies Low”

I ignored Andrew Bird for over a decade, and I’m not sure why. Maybe I just thought he was another Sufjan Stevens, and I’ve always had negative vibes about that guy? Perhaps I heard the wrong random tracks along the way? I probably just associated him too closely with NPR and shrugged him off, just as I do with a lot of other artists in that cultural niche. It’s so easy to be dismissive of pleasant, introverted soft rock, even when you like pleasant, introverted soft rock.

“Truth Lies Low” reminds me a lot of Grizzly Bear in good ways – there’s a gentle grace to the melody, and even if there’s a bit of fussiness to the arrangement, it’s not so neat and tidy that all character is lost. Bird, like the Grizzly Bear guys and the full-band incarnation of Iron & Wine, puts his songs together like a hip interior decorator. A low organ riff gently rumbles through the track, and it sits in the center of it like a handsome table made from “reclaimed wood.” The bright metallic pizzicato notes plucked on Bird’s violin and all those soft snare taps are like bits of intriguing ornamentation that draw your attention without being too distracting. The song feels like a shabby place turned into something quite fancy, or perhaps vice versa. I listen to it and feel like I’m about to pay too much for a cocktail. But it’s going to be a good cocktail, and I’m going to enjoy being in the room even if I’m not certain I belong there.

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Nap Eyes “Mixer”

“Mixer” has a distinct rainy day vibe, evoking the specific feeling of the sort of dreary, chilly, dark days that seem to move verrry sloooowly and sap the energy of pretty much everyone. It’s a feeling that can be quite pleasant under the right circumstances, just the same way sadness can feel comforting and pleasing sometimes. The song lingers in that space, with Nigel Chapman’s doleful Dean Wareham-ish voice describing what it’s like to drift along without a job or any particular motivation, and feeling trapped by inertia and resentful of people who condescend to you about your situation. There’s a bit of bite to the way he sings the chorus, but not a lot. The mood is exceedingly lackadaisical, and just after he pushes back against the notion that it’d be easy to fix his problems, the song just kinda slunks back down into a relaxed, resigned state of depression.

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Sales “Ivy”

The sound of “Ivy” is fragile and tentative, conveying the feeling of attempting to communicate someone without disrupting some delicate emotional equilibrium. Lauren Morgan’s words sketch out a vague narrative – she’s concerned about Ivy’s insecurity, there’s some indication of submissive sexuality, a desire to subsume all her needs, and a breakdown in communication. She leaves you wanting more details, but immediately recognizing the feeling of wanting to repair something that was probably never actually working. The one time Morgan sounds totally certain in this song is when she sings “the distance between us, the size of a planet.” It’s a very intimate song, but that’s a bit ironic as it’s really about yearning for a deeper intimacy or lamenting an intimacy that’s gradually disappeared.

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Xenia Rubinos “Lonely Lover”

There’s barely anything in this track aside from Xenia Rubino’s voice, her bass, and Marco Buccelli’s percussion, but the song feels so robust that I barely noticed that at first. Rubino’s bass playing is dynamic and nimble, elegantly gliding from groove to groove without overwhelming the negative space or getting in the way of her own voice. I love the way her bass part will suddenly climb up or double back around Buccelli’s incredibly crisp snare hits, and how just a few perfect piano chords enter the arrangement for the chorus. Rubino and Buccelli make everything feel loose and improvised even when it’s clear that they’ve carefully thought out every bit of the song, and that carries over to her vocal, which is highly expressive and soulful, but also sorta low-key and conversational. It’s a gorgeous piece of music, and it pulls off the rare trick of seeming warm and familiar yet very distinctive and unusual.

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Zayn “Truth”

It’s funny that although I’m pretty familiar with One Direction, I don’t think I had any sense of Zayn Malik as a singer until he released his first solo singles. One Direction songs are built so the five guys all sorta blur together, to the point that most of them sound like there’s only one lead singer, and the backup vocals have more or less the same timbre. Left to his own devices, Malik strays from the high-gloss rock of 1D and gravitates towards a very Frank Ocean-ish brand of R&B. It suits him well, particularly when he moves towards the extremes of his voice – the deliberately sexy early morning rasp he slips into on “Truth;” the stunning falsetto he uses on the chorus of “It’s You.” Those two songs are not coincidentally the best on his debut record, which suggests that he should probably lean into those strengths later on. “Truth” is particularly well-written, and though it has some of the best hooks on the album, it’s decidedly mellow and low-key. A lot of Zayn’s brand is projecting a very potent yet chill hyper-masculinity, and “Truth” conveys that better than anything else he’s recorded. It’s a sound he can grow into, for sure.

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Hundred Waters featuring Chance the Rapper, Moses Sumney and Robin Hannibal “Show Me Love (Skrillex remix)”

Even just a year ago you’d see “Skrillex remix” attached to a song title and reasonably expect it’d be really fast and aggro. He’s a bit more subtle these days, and so this track is allowed to retain its gentle warmth even as he layers in dynamic beats and very sparkly synth notes. Instead of amping up the energy, he amps of the sentiment, and so the song feels like a big, teary hug. Chance the Rapper and the stylistically similar Moses Sumney are perfectly suited to this sound – it flatters their melodic rhymes, and nicely frames the kind-hearted humanity at the core of their aesthetic. Chance’s verse is brief, but it’s a super-concentrated dose of his seemingly effortless charisma and relentless Chicago boosterism that makes me even hungrier for a full album from him than even his SNL appearance or album-stealing verse on Kanye’s “Ultralight Beam.” That record can’t come quickly enough.

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This is the sixth in my series of 1980s survey mixes, which are moving backwards in time from 1989 to the start of the decade. These compilations are designed to give more context to the music of the ‘80s, and give a sense of how various niches and trends overlapped in this cultural moment.

1984 is a pretty huge year for music, with a lot of major releases that changed the course of pop, rock, and rap history. It’s also a transitional year that bridges the gap between the more artsy new wave of the early ’80s and the sort of schlock pop that ends up dominating the next few years. As with 1985 and 1986, there’s a major aesthetic divide between mainstream and underground aesthetics, to the point that it’s surprising to realize that, say, Minor Threat was happening at the same time as Foreigner and REO Speedwagon. But that’s kinda the point of these surveys, right?

Thanks to Paul Cox and Chris Conroy for their help in compiling this survey. All of the previous 1980s surveys are still available: 1989, 1988, 1987, 1986, 1985. The 1983 survey should be ready at the end of April.

DOWNLOAD DISC 1

Prince and the Revolution “When Doves Cry” / Madonna “Material Girl” / Pointer Sisters “Jump (For My Love)” / Van Halen “Jump” / Wham! “Wake Me Up Before You Go-Go” / Huey Lewis and the News “If This Is It” / Bruce Springsteen and the E Street Band “Dancing in the Dark” / Kenny Loggins “Footloose” / Billy Ocean “Carribean Queen” / Chaka Khan “I Feel For You” / Tina Turner “What’s Love Got To Do With It?” / Bananarama “Cruel Summer” / Deniece Williams “Let’s Hear It For The Boy” / New Edition “Cool It Now” / Cristina “What’s A Girl To Do?” / Sheena Easton “Strut” / ZZ Top “Legs” / Don Henley “All She Wants To Do Is Dance” / Dan Hartman “I Can Dream About You” / Cyndi Lauper “Time After Time” / Pat Benetar “We Belong”

DOWNLOAD DISC 2

U2 “Pride (In the Name of Love)” / The Smiths “Heaven Knows I’m Miserable Now” / The Replacements “I Will Dare” / Game Theory “Shark Pretty” / R.E.M. “So. Central Rain” / Echo and the Bunnymen “The Killing Moon” / Billy Idol “Eyes Without A Face” / Thompson Twins “Hold Me Now” / Wang Chung “Dance Hall Days” / The Go-Go’s “Head Over Heels” / The Cars “You Might Think” / Michael Jackson “Thriller” / Metallica “Creeping Death” / Killing Joke “Eighties” / Paul Oakley and Giorgio Moroder “Together in Electric Dreams” / Nena “99 Luftballons” / Aztec Camera “Still On Fire” / Shannon “Let the Music Play” / Queen “Radio Ga Ga” / Steve Perry “Oh Sherrie” / Phil Collins “Against All Odds”

DOWNLOAD DISC 3

Frankie Goes to Hollywood “Relax” / INXS “Original Sin” / Run-D.M.C. “It’s Like That” / Six Sed Red “Beat ‘em Right” / Eurythmics “Sex Crime (1984)” / Art of Noise “Close (To the Edit)” / Bronski Beat “Smalltown Boy” / T-La Rock featuring Jazzy Jay “It’s Yours” / Whodini “Freaks Come Out At Night” / Egyptian Lover “I Cry (Night After Night)” / Depeche Mode “People Are People” / The Human League “The Lebanon” / Sonic Youth “Brother James” / The Minutemen “Political Song for Michael Jackson to Sing” / Minor Threat “Straight Edge” / G.G. Allin “Drink, Fight, and Fuck” / Frightwig “My Crotch Does Not Say Go” / Yellowman “Nobody Move Nobody Get Hurt” / Stevie Wonder “I Just Called to Say I Love You” / King Crimson “Three of a Perfect Pair” / The Pretenders “Thin Line Between Love and Hate” / Leonard Cohen “Hallelujah”

DOWNLOAD DISC 4

Duran Duran “The Reflex” / Phillip Bailey & Phil Collins “Easy Lover” / Rod Stewart “Some Guys Have All the Luck” / The Fall “C.R.E.E.P.” / New Order “Thieves Like Us” / Man Parrish “Boogie Down Bronx” / Doug E Fresh “The Original Human Beat Box” / Davy DMX “One for the Treble” / Jah Screechy “Walk and Skank” / Special AKA “Free Nelson Mandela” / Konk “Your Life” / Grandmaster Flash, The Furious Five & Grandmaster Melle Mel “Step Off” / Herbie Hancock “Mega-Mix” / Missing Brazillians “Gentle Killers” / Skinny Puppy “Glass Houses” / Laurie Anderson “Sharkey’s Day” / Talking Heads “Burning Down the House (Stop Making Sense live version)”

DOWNLOAD DISC 5

Glenn Frey “The Heat Is On” / Hank Williams Jr. “All My Rowdy Friends Are Coming Over Tonight” / Dolly Parton “Tennessee Homesick Blues” / Los Lobos “A Matter of Time” / Miracle Legion “The Backyard” / The Dream Syndicate “The Medicine Show” / The Del Fuegos “Longest Day” / The Nails “88 Lines About 44 Women” / Talk Talk “It’s My Life” / The Psychedelic Furs “The Ghost in You” / Elton John “Sad Songs (Say So Much)” / Spandeau Ballet “Only When You Leave” / Chicago “Hard Habit to Break” / Paul McCartney “No More Lonely Nights” / Night Ranger “Sister Christian” / The Jacksons featuring Mick Jagger “State of Shock” / The Jesus and Mary Chain “Upside Down” / Malcolm McLaren “Madam Butterfly” / Madness “Michael Caine” / Lee Greenwood “God Bless the U.S.A.” / Felt “The Stagnant Pool”

DOWNLOAD DISC 6

Hüsker Dü “Something I Learned Today” / The Gun Club “Moonlight Model” / The Bangles “Going Down to Liverpool” / Barrington Levy “Under Me Sensi” / Sade “Your Love Is King” / George Michael “Careless Whisper” / Lindsey Buckingham “Go Insane” / Let’s Active “Blue Line” / Cocteau Twins “Lorelei” / The Cure “The Caterpillar” / Linton Kwesi Johnson “Making History” / LL Cool J “I Need A Beat” / The Fat Boys “Can You Feel It?” / Ray Parker Jr. “Ghostbusters” / Daryl Hall & John Oates “Out of Touch” / Rush “Distant Early Warning” / Black Flag “Can’t Decide” / Comsat Angels “Day One” / Meat Puppets “Plateau” / Yngwie Malmsteen “Black Star” / Nick Cave and the Bad Seeds “From Her to Eternity”

DOWNLOAD DISC 7

Corey Hart “Sunglasses At Night” / Twisted Sister “We’re Not Gonna Take It” / David Bowie “Blue Jean” / Billy Joel “The Longest Time” / Wynton Marsalis “Lazy Afternoon” / Miles Davis “Code M.D.” / Jandek “Ha Ha” / Siouxsie and the Banshees “Swimming Horses” / Laura Branigan “Self-Control” / Sheila E. “The Glamorous Life” / Krootchey “Qu’Est-Ce Qu’Il A (D’Plus Que Moi Ce Négro Là?)” / JYL “Positions” / Billy Squire “Rock Me Tonight” / Rockwell “Somebody’s Watching Me” / Janet Jackson “Don’t Stand Another Chance” / Captain Rock “Cosmic Blast” / Dhuo “Walkin’” / Marillion “Assassing” / XTC “All You Pretty Girls” / Midnight Oil “When the Generals Talk” / Ultravox “Dancing with Tears in My Eyes” / The Honeydrippers “Sea of Love”

DOWNLOAD DISC 8

Band Aid “Do They Know It’s Christmas?” / John Waite “Missing You” / Howard Jones “New Song” / REO Speedwagon “I Can’t Fight This Feeling Anymore” / The Go-Betweens “Bachelor Kisses” / Cabaret Voltaire “Blue Heat” / Alphaville “Big In Japan” / Anne Murray “Just Another Woman In Love” / Alabama “Roll On (Eighteen Wheeler)” / Bryan Adams “Heaven” / Spinal Tap “Tonight I’m Gonna Rock You Tonight” / Split Enz “I Walk Away” / Lloyd Cole and the Comotions “Rattlesnakes” / Newcleus “Jam On It” / Broken Glass “Style of the Street” / Blancmange “Don’t Tell Me” / The Stranglers “No Mercy” / UB40 “Cherry Oh Baby” / The Pogues “Dark Streets of London” / The Alarm “Sixty Eight Guns” / X “Wild Thing” / Foreigner “I Want To Know What Love Is”

The Range “Superimpose”

James Hinton pulled all the vocals on The Range’s new album Potential from videos of amateur performers on YouTube. It’s a great conceptual hook, and certainly gives a writer plenty of room to riff on, like, technology maaaan and we’re all connected all the time now and social mediiiiiiaaaa and what it’s DOING TO US ALLLLLLLLL. But I do not care about any of that. The most interesting thing about Potential is Hinton’s craft in building these scraps of audio into fully realized pop songs. “Superimpose” is particularly beautiful, with this earnest R&B vocal echoing in the space between clicking beats and looping piano notes. It doesn’t feel like the result of a high concept art project. The vocal is all raw emotion and Hinton just frames it.

In a way, this is like the reverse of Disclosure’s second album, in which all the collaborations seem mandated by corporate synergy. It’s also a record that feels very sociable, like two young guys eager to interact with all these singers. On the other hand, Potential sounds very much like something made in solitude, and the vocal parts always retain a lo-fi quality that reminds us that it’s all just pulled from a video. He’s using these strangers as emotional proxies in the songs, but that’s what we’re always doing as listeners, right?

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Jessy Lanza “It Means I Love You”

There’s only three major elements to this arrangement – drum machine, keyboard, vocal – and while they’re all in sync, they vary quite a bit in urgency. Jessy Lanza’s vocal part is the most relaxed thing in the mix, with her sounding light and conversational, and only partly tethered to the tempo. The beat is considerably more busy and intense, and it’s the main structural element of the song in the way the guitar would provide the primary structure in a standard rock song. The keyboard parts bridge the gap between the two, roughly keeping with the tempo while complementing the loose, slightly detached vibe of the vocal. I like the way this all comes together in the context of Lanza’s lyrics – she’s singing about the earliest stages falling in love and while her tone is casual and playful, the percussion implies a nervous energy that’s driving the feeling but is tactfully being kept under the surface.

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Basia Bulat “Long Goodbye”

“Long Goodbye” is a song about coming out of a relationship that you know wasn’t very good and still being angry about how it ended. How could they be so careless with your heart? How could they string you along for so long? How did you fall for any of it? You blame yourself for being blinded by love, and maybe that’s it. Basia Bulat sings this song with a steely, bitter tone, and the words are rather cutting. But as much as the lyrics are a string of recriminations ostensibly directed towards the ex, it’s clear that this isn’t for them at all. This isn’t for their ears; it’s all directed inward. It’s the story you need to tell yourself over and over so a narrative sticks, and you can write off a bit of the past and move on.

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A Giant Dog “Sex & Drugs”

I wonder if the hook to this song, in which the singer shouts “I can’t even remember being young!,” would’ve seemed defiant to me if I’d heard it a decade or so ago. Maybe it would’ve hit me as a cool line, but I don’t think it would’ve resonated as much. It feels genuinely rebellious to hear a rock band play a very fast and loud song about how conflating rock music with youth is total bullshit, and the mythology built around living fast and dying young is empty and dumb. “Sex & Drugs,” which is followed by an equally great up-tempo number called “& Rock & Roll,” is an earnest celebration of the fun side of rock, and I think for this band, a way of reclaiming it from everything in culture that’s made it seem tired and clichéd.

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Kendrick Lamar “Untitled 06 (06.30.2014)”

I love the way Kendrick writes about being infatuated with women. He always seems so consumed by his fascination, like he wants to learn everything about them and take in every last detail, as if there was a way for him to crack the code of what makes them so beautiful and compelling. As smooth, clever, and laid back as Kendrick gets, he still sounds a bit flustered thinking of this woman, and he seems so eager to impress her. He’s putting her on a pedestal in some ways, but at the same time, this song is mainly a meditation on imperfection, and how closely someone’s strengths are connected to their flaws. The really sweet sentiment here isn’t so much the “you’re beautiful exactly as you are” thing, but more that he sees this woman as an equal, and is drawn to her because they both are a bit out of step with the rest of the world. It makes some sense of the intensity of his crush – he’s a guy who can have his pick of available women, but he’s only fixating on the one who’s attuned to the same odd frequency he’s on.

Ali Shaheed Muhammad and Adrian Younge’s track is gorgeous, and could stand on its own quite well as an instrumental with that lovely, lyrical flute part becoming the most expressive element of the arrangement. There’s a light, slick feeling to the track, and it suits the infatuated tone – in this context, Kendrick sounds flirty and cool, and the words flow like they’re carried on a cool breeze. Cee-Lo’s vocal is great too, rooting the track firmly in mid 20th century R&B without making it feel overly retro.

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Beach House @ Webster Hall 3/15/2016
Beyond Love / Walk in the Park / PPP / The Hours / Silver Soul / Space Song / 10 Mile Stereo / One Thing / Wishes / Rough Song / Master of None / Bluebird / Take Care / Elegy to the Void / Myth // Sparks

Beach House “Space Song”

I spent a lot of this show focused on Alex Scally’s guitar playing and wishing I could get a better view of what exactly he’s doing with the instrument. His style is so distinct but also oddly understated – for one thing, I think most people think of the keyboard drones as the most notable thing about Beach House’s sound, despite his guitar being the actual focus of their compositions. But then, a lot of what makes their songs work is this sort of emotional equilibrium between Scally’s parts and Victoria Legrand’s vocals. They usually take turns playing the emotive or meditative parts, so there’s this sustained soul-searching quality to their music. Legrand’s voice grounds the music, but it’s Scally’s guitar that gives the tunes drama and grace, and a low key romanticism that few of their immediate peers can match.

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TV Girl “(Do The) Act Like You Never Met Me”

I guess it was about time that sad boy indie dance music came back into style, right? TV Girl is a guy named Brad Petering who making tracks that would’ve sounded very suave and urbane back in the late ‘90s, and singing like Ben Gibbard’s lovelorn little brother about the sort of hopeless, haphazard relationships people typically have in their early 20s. “(Do the) Act Like You’ve Never Met Me” is a sad sack tune about the frustration of having to pretend like you’ve never been intimate with someone and acting like total strangers, even though part of your brain is screaming “THIS IS ALL A LIE! DON’T YOU REMEMBER???” This could easily be awful “nice guy” stuff, but Petering has a sense of humor about it – he doesn’t undermine his own emotions, but does put them in proper perspective with a nod and a wink.

Buy it from Bandcamp.

Salami Rose Joe Louis “I Miss You So”

Everything about this is strange in the best way. The band name is totally confounding – like, are those the names of the members? Is one of them called “Salami”? Is Salami Rose Joe Louis actually one woman? Why would a woman call herself that, if she’s indeed a solo artist? Who can say!

“I Miss You So,” like the other tracks available in advance of the full record coming out in a couple weeks, is zonked-out low-key funk, and at times sounds like a record that’s been slightly warped by the sunlight. The singer shifts between breathy girlish whispers and restrained soul vocals, like some kind of severely stoned jazz singer child. The music reminds me a bit of the sort of stylish vaguely R&B-ish, trip-hop-ish stuff that was big in upscale bars and shops circa the late ‘90s and early ‘00s, but a lot more psychedelic and hazy. A lot of the time it sounds like an extremely drowsy funk/R&B band, and it totally works. This song sounds very romantic and intimate, like something being whispered in bed in the middle of the night.

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The Orielles “Jobin”

This is a pretty simple garage rock song, but it has the presence of something a lot more grand and ornate. A lot of that is in the main lead guitar part, which cuts through the song with the grace of a gentle folk tune while the drums bash out a simple beat that echoes like something a lot more epic. “Jobin” is just over two minutes long, but The Orielles do a lot with very little in that time, all at the service of a lead vocal that gets across some very critical words with just the right balance of seriousness and sass.

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Quilt “Hissing My Plea”

I wasn’t surprised when I read a thing in which the singer of this band explained that “Hissing My Plea” was built out of bits of other abandoned songs. Not in the sense that the song is fragmented or doesn’t hang together well, but in that there’s several strong melodies and grooves in this, and it sounds very carefully crafted. I love the way they contrast this casual, stoner-ish bass groove with a very regal string arrangement, and the way Anna Fox Rochinski sounds so poised as she sings. There’s a delicate quality to her voice, but also this very grounded confidence in her phrasing, particularly as she expresses frustration and desperation. She makes the darkest feelings seem sorta serene.

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Animal Collective “Vertical”

There’s very little ego in Animal Collective. When they sing about personal relationships, it’s always in this gentle, supportive way, and appreciative of small moments with people they care about. When they sing about the world around them, it’s with a bit of awe or bemusement. That comes through in the sound of the music too, as they favor these sort of upbeat melodies that signal amiable generosity, or stoned introversion. “Vertical” is a great example of this, as the harmonies and syncopation are just odd enough that a rather straightforward melodic theme feels scattered and swirled. I love the effect this has on the way you hear the lyrics – these snippets of images and stray thoughts are evocative, but are scrambled enough that it’s less about a statement, and more about a sensation of feeling like everything’s spinning around you.

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Lucy Dacus “Direct Address”

Lucy Dacus keeps singing “I don’t believe in love at first sight” in this song, but every other line suggests otherwise, as she describes feeling totally paralyzed with lust for these men she sees in passing. Now, of course, that’s not real love, per se. But it is exactly what “love at first sight is;” the feeling of sudden intense infatuation with someone you see and feel very strongly that you need. “Direct Address” describes this feeling so well, examining the odd dynamic of filling in as many details about a person as you can from inference, and never acting on the attraction but holding on to the memory for years because the feeling was more eventful than most actual events. Dacus’ performance is lodged somewhere between frustrated irritation and coy flirtation, and the pace of the song feels impatient and restless. She sounds like she’s trying to shake herself out of a bad habit, but in the end when she recalls a man she saw in an audience years ago, the details are rendered with so much affection that she makes a good case for these moments being actually quite meaningful and beautiful.

Buy it from Amazon.