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“Here Comes the Summer” – The Fiery Furnaces
(Words/music: Eleanor Friedberger and Matthew Friedberger, available on The Fiery Furnaces EP, Rough Trade 2005)

I’ve been to the opera once in my life.  In high school, I saw La bohéme at the Metropolitan Opera House and enjoyed the experience about as much as a teenager with only the most cursory understanding of classical music could.  Since I didn’t understand a word of the libretto, I ended up focusing more attention on the ways that the music told the story, whether through the vocal performance, the specific key, or the choice of instrumentation.  To a much smaller degree, I approach the Fiery Furnaces the same way – the lyrics are often interesting but often the music carries some of the story as well.  In a sense, the early Fiery Furnaces records have operatic tendencies – recurring themes, sweeping arrangements, and ambition everywhere.  I think this is what makes the band such an acquired taste – one person’s masterpiece is another’s pompous misfire I suppose.  Still, whether as entire albums or independent songs, the Friedberger siblings aim to tell stories and use every element of their songs – arrangements, lyrics, and performance – to bring the story to life.

At the heart of “Here Comes the Summer” lies a promise Eleanor Friedberger makes about the impending summer.  “I’ve been waiting since I don’t know when and now it finally seems about to start,” she sings, adding, “I swear, I swear that I will do my part.”  There’s a mix of excitement and let down in this line, with the joy of an anticipated event arriving and the realization that the dreams for the future might lie slightly out of reach.  The music tries to balance these two emotions, countering bouncy, squealing keyboards with slower, more wistful phrasing.  In what seems like a straightforward arrangement (at least for the Friedbergers), this musical pivot point contains the heart of the song – the point where daydreams and reality merge together.

Today marks the same moment “Here Comes the Summer” captures, and we’re at the same place Eleanor Friedberger reaches when the song shifts into those long keyboards.  We have the same opportunity to make the same promise – to do our part – to make the summer into what we want it to be.  Personally, I’m a few weeks away from my summer, but I’m looking to embrace the longer days, warmer nights, and free time as much as possible.  Even if the summer doesn’t turn out to be as good as the one I imagined when scraping the ice off my car in January, I’m going to make the most out of it.  I’ll do my part.  How about you?

More on The Fiery Furnaces: Allmusic | Amazon MP3 | Emusic | Last.fm

TAGGED UNDER: the fiery furnaces | 2005 | 2000s | rough trade | track analysis | dubious and half hearted comparision to classical music only for a specific effect and not a statement about the artistic merits of either one | musical theatre played by cartoon characters |
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“New Ways of Living” – Destroyer
(Words/music: Dan Bejar, available on Your Blues, Merge Records 2004)

Calling Dan Bejar’s songs “strange” shortchanges both the man and his compositions.  Whether providing a handful of digressions from Carl Newman’s straight-forward power-pop with the New Pornographers or spinning densely melodic songs with Destroyer, Bejar challenges himself creatively with each new release. Still, “creative” might not be the first adjective one might think of when hearing “New Ways of Living” for the first time, as the rapid changes in tempo and Bejar’s exaggerated intonation make it sound like a bizarre piece of musical theatre.  This works for Bejar mainly because he’s too clever to fall in the trap of “musical theatre” meaning “be as literal as possible.”  The song has the same types of odd imagery, self-referential jokes, and wordplay that led fans to create a wiki resource devoted to Destroyer and Bejar’s songs.

However, “New Ways of Living” endears itself to me more for its musical quirks than its pseudo-Sondheim vocals.  The quick tempo changes at the beginning work well because the quick snare drum rolls drive from the gently strummed introduction into the piano vamp.  Bejar’s choice to use MIDI sequencing liberally across the Your Blues album gives this song a dream-like quality.  The synth-strings that come in sound slightly metallic yet not obscenely synthetic; instead, it makes the song sound slightly off-kilter and other-worldly.  Even the blatantly canned effects, such as the weird horn arpeggios right at the end of the track, somehow make sense – even if it sounds like iTunes telling me that my CD finished ripping, it somehow fits into Bejar’s arrangement. All of these musical factors – the shifts in tempo, the MIDI accompaniments, and the slightly over-the-top performance – make Bejar’s song unique and yes, strange as well.  Like all of his best songs, “New Ways of Living” sounds like pop from a parallel cartoon-like universe – one where pop songs bend and warp slightly, twisting into something entirely new by the time it’s done playing.

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

TAGGED UNDER: destroyer | dan bejar | the new pornographers | 2004 | 2000s | merge | track analysis | musical theatre played by cartoon characters |
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