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“While You Wait for the Others” – Grizzly Bear
(Words/music: Grizzly Bear, available on Veckatimest, Warp 2009) 

“Two Weeks” did a lot of the heavy lifting for Grizzly Bear last year, but “While You Wait for the Others”  bore its share of the load as well.  If nothing else, it pulled together most of the pieces that made so many people interested in Veckatimest last spring.  Yes, the harmonies are there (and used particularly well in place of a traditional hook) but it’s not the main attraction.  Daniel Rossen’s quiet voice and guitar drenched in dry reverb makes him sound like he’s in a cavern, especially when the rest of the band plays and overpowers him.  The louder parts in the verse have a dark tone to them as well, making Rossen sound like he’s the sole dissenter against this sonic fog enveloping him.  Even if it’s only a fleeting moment before the harmonies take over, Rossen continues along nobly before becoming part of the larger sound, giving way to the inevitable. 

Back to the harmonies for a minute; to some, the harmonies are the band’s featured attraction.  While this song won’t change that perception (nor should it), it thrives on a dry, crisp sound that foils these softer harmonies.  “While You Wait for the Others” instead suggests that Grizzly Bear has more than one trick in their arsenal.

More on Grizzly Bear: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: grizzly bear | 2009 | 2000s | warp records | harmonies | stuck somewhere between a david-goliath metaphor and a sisyphean reference. Clearly I'm tired |
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“All My Heroes are Weirdos” - !!!
(Words/music: !!!, available on Myth Takes, Warp 2007)

Lately, I feel like I’ve been paying a lot of attention to formative songs in my personal listening history.  It’s strange referring to these important musicians as “heroes” when I’m not writing or (currently) performing music, but there’s a definite element of admiration involved.  If nothing else, I admire their innovation – at least innovation in the sense that many of my favorites willfully went outside of their comfort zone.  Whether it’s through risk-taking or pushing the envelope, these are reminders that excellence often requires to step out of our comfort zone.  I’ve been told (more when I was younger) that these people produced “weird music,” and I think this is the reason they captivated me in the first place.  Even if I never got around to starting that noise rock band, there’s a strange comfort in watching something beautiful come out of something unconventional.

!!! pay homage to odd idols appropriately by turning a cacophony of jarring sounds into a fluid groove.  They play funk like a rusty bicycle – some of the parts might not please the senses, but together it’s a machine that moves adeptly as it weaves in and out of traffic.  Among others, the Talking Heads’ glitch-funk from the Remain in Light era serves as a prominent touchstone of weirdness.  Like the ‘Heads, !!! try to cloud the core of the song in an unconventional fog.  However, like their weird heroes, the groove cuts right through, letting the freak-show flood light illuminate the dance floor for the rest of us.

More on !!!: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: !!! | Warp records | 2007 | 2000s | track analysis | talking heads |
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“Another Day” – Jamie Lidell
(Words/music: Jamie Lidell and Dominic Salole, available on Jim, Warp 2008)

Jamie Lidell’s “Another Day” is a love song without the word “love” in it.  In fact, it doesn’t have any overtly romantic gestures – at least not ones that would make him end up on the “soft news” part of a local broadcast.  Instead, Lidell revels in the day-to-day moments of his relationship – the happy silences, the small discoveries, and the general peacefulness of the day-to-day.  It’s easy to be in love during those moments of pure bliss, and every relationship needs these to survive.  However, true love turns what some might call “ordinary” or “boring” days into extraordinary days.  Lidell’s narrator shares this revelation, describing how he changed from demanding these exciting moments to appreciating the quiet whispers together.  I know plenty of people who struggle with these moments and as a result create moments or ecstasy or enragement as habit.  Instead, Lidell’s protagonist takes each day for what it is – another day to learn a little more about the person he loves.

About a year ago, my girlfriend Jenny introduced me to Jamie Lidell, and one of our first outings together was to see him at the Paradise in Boston.  She raved about his hybrid of blue-eyed soul and electronic manipulations, so I took her word for it and went with her.  Lidell didn’t disappoint, doing everything from leading his band through funky arrangements to manipulating and looping his voice for over five minutes while somehow making it sound interesting.  By the time he came out from the encore with a TV on his head, I was sold.  This is only one of many things Jenny’s brought into my life over the last year.  I’ll always associate Lidell’s music with her because of this show, with “Another Day” being particularly special.  A year ago today, Jenny and I went on our first “date” (retroactively declared a “date” at least) where we drove around northern Connecticut talking about the radio, sat at a diner way too long, and talked in her car until well after two in the morning.  Every day since then, I’ve fallen a little more in love with her each day, in part because she continues to amaze me with everything she does professionally, creatively, and personally.  I share this because it’s exactly what I think of when I hear “Another Day” – even if we have a quiet day together walking around, making dinner, and talking, there’s no place else in the entire world I’d rather be and nothing else I’d rather be doing.  We’ve had our blissful moments, but in reality she makes all of them blissful for me.  I tell her that she’s my hero because I want to be more like her, and in a way this blog is one way that I’ve tried to be more creative and reflective.  It’s only appropriate that I should use it to thank her, because without her constant encouragement (and her understanding when I duck away for an hour to type a post when visiting her) there’s no way this blog would have lasted more than a week.

More on Jamie Lidell: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: jamie lidell | 2008 | 2000s | personal reflection | Warp records | Shout Out | love song |
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“Atlas” – Battles
(Words/music: Battles, available on Mirrored, Warp Records 2007)

If this is your first time hearing “Atlas,” you’ll likely find it a little strange.  For those of you who have heard it before, you’ll probably find it strange that I like it given the other entries in this blog.  Believe me, I was surprised too – “Atlas” runs over seven minutes and repeats the same few musical ideas, including two different high pitched vocal sections (which, for the sake of this blog, I will assume has actual words), over this time.  On paper it sounds (to me) abhorrent, yet I’m strangely charmed into liking it.  Even though it’s loud and direct, it has a way of blending into the background when I listen; I know it’s there, yet it seems to mesh well with whatever else I’m doing, in particular when I’m driving.  It’s blatant yet not intruding into everything else, and thus it’s the kind of song I always let play out, even if it takes seven minutes.

I think “Atlas” also piques my interest because it presents a different spin on the “man versus technology” thread in music.  Some bands look at technology as an alienating factor, something that makes us seem less than human, and there are some great songs and albums (OK Computer, for one) borne out of this tension.  Others, such as electronic musicians, use technology to create otherworldly music or, in the case of something like trance, perform tasks (such as precisely and infinitely keeping a fast beat) that humans can’t accomplish.  Still, both of these views see technology, for better or worse, as outsourcing some sort of humanity to machines.  “Atlas” provides one example of human and machine coming together to create something unique.  The distorted vocals and electronic effects are necessities to the song – without these vocals (however grating you may find them) “Atlas” becomes a plodding instrumental or a sort of rhythmic exercise.  However, a primal energy runs through the song, and no matter what electronic flourishes surround it, it’s this relentless beat that makes me pound along on my desk or steering wheel that draws me back into the song.  Even if the song executes all of the notes with the precision of a computer processing commands, this deliberate pulse tugs at the part of us that craves rhythm.  Even at this slow tempo, it activates that part of my brain that wants to follow along, and while machines can set the beat for us, it takes this human element to translate it into something we can feel.  I’m not sure how a track so precise still has a groove to it, but I’ll trust my instincts on this one.

More on Battles: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: battles | 2007 | 2000s | warp records | track analysis | man versus technology |
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