March 2018 – Fingertips

Another thorn in my side (Eclectic Playlist Series 5.03 – March 2018)

Spring is here so of course it’s snowing like Narnia. It’s been that kind of year. But the more I dive into the music, the more I root around, pick up a little of this and a little of that, the more I figure out (usually by accident) that these two songs sound pretty good together, and then this next one too–well, the more I do this, the calmer I get. There’s hope buried in here somewhere. Obscure Northern Soul singles are good, and so are big Madonna hits (sometimes) and semi-forgotten Grateful Dead album tracks and extended drone-y 21st-century electronic tracks with indomitable melodies, and so is Joni with her special chords and so is the first track we ever heard from Fountains of Wayne and so is a dollop of yé-yé to finish us up this time. RIP France Gall, who died in January. The young grow old, the old pass on, the music remains, and maybe that’s where the hope is buried. Don’t let them tell you that guitars are through, don’t let the people who bend over backwards to find art in interchangeable pop radio fodder hypnotize you into overlooking the actual artistry of songwriters who sing and singers who write songs and melodies that nourish you even when it’s the first day of spring and there’s still this shoveling to do.

Full playlist below the widget.

“Information” – Dave Edmunds (Information, 1983)
“Hurt the One You Love” – David Ruffin (single, 1990)
“Bitchenostrophy” – Rickie Lee Jones (The Evening Of My Best Day, 2000)
“Dr. Jekyll & Mr. Hyde” – Ezra Furman (The Year of No Returning, 2012)
“Hope You’re Feeling Better” – Santana (Abraxas, 1970)
“Blue Rondo á la Turk” – The Dave Brubeck Quartet (Time Out, 1959)
“Live To Tell” – Madonna (True Blue, 1986)
“Only Shallow” – My Bloody Valentine (Loveless, 1991)
“Doctor Blind” – Emily Haines & The Soft Skeleton (Knives Don’t Have Your Back, 2006)
“Remember Russia” – Fischer-Z (Word Salad, 1979)
“Compared to What” – Roberta Flack (First Take, 1969)
“Carlo What Do You Dream” – James Irwin (Shabbytown, 2017)
“Victoria’s Secret” – Lisa Germano (Excerpts From a Love Circus, 1999)
“Skin Deep” – The Stranglers (Aural Sculpture, 1984)
“See You Sometime” – Joni Mitchell (For the Roses, 1972)
“One of Us Should Go” – Heidi Gluck (The Only Girl in the Room, 2014)
“Radiation Vibe” – Fountains of Wayne (Fountains of Wayne, 1996)
“Keep It Clean” – Camera Obscura (Underachievers Please Try Harder, 2003)
“Estimated Prophet” – Grateful Dead (Terrapin Station, 1977)
“Nous Ne Sommes Pas Des Anges” – France Gall (single, 1965)

Free and legal MP3: Firestations (fresh, well-crafted British rock)

Firestations is a London-based five-piece with a straightforward mission statement: “We write simple alt-pop songs and then mess them up.”

“Receiver” – Firestations

Lord knows I am not going to single-handedly upend the 21st century’s predilection for unabated idiocy, whether on the airwaves or in the White House, but as long as I can I will stand up here for music that is well-crafted, both catchy and interesting, and sonically fresh without pandering to mindless trends and/or soulless technology.

Which is I guess a somewhat grumpy way of saying I love this song. With its propulsive (but not head-banging) beat, “Receiver” launches off a riff that repeats itself from 0:04 through to when the verse starts at 0:32, yet feels regenerative via the off-kilter interval leaps and syncopated shuffle it makes in the second of its two measures. And while you almost don’t notice the wordless backing vocals that accompany the resolute riff they’re also what keeps the ear gratified as the song builds a subtle nervous energy.

Once the lyrics arrive, it’s never quite clear where we are, structure-wise. There’s something that seems like a verse at 0:32, which repeats musically at 0:47; the vocals here are multi-tracked and wonderfully processed (one layer sounds like a whisper, the other like a megaphone). We are led through this to a stand-alone lyric (“I won’t be fine”? hard to decipher), at which point the opening riff and wordless vocals return. The tension is even higher now, and it breaks, at least somewhat, at 1:16, with what feels like a chorus (“You are the receiver/You get the message”), even if, musically, it’s not too far from the opening verse. Note the staccato synth line that bops and boops in the background, adding texture and oomph; it’s around now that the song for me goes from good to great. The electronics later come to the foreground (1:58) to introduce and accompany a satisfying guitar solo, constructed out of chords rather than pyrotechnics. Still later (3:04), the electronics and guitar collide and disintegrate and then land in a coda that first revisits the introduction then dissolves on a radio-receiver-like flourish.

Firestations is a London-based five-piece with a straightforward mission statement: “We write simple alt-pop songs and then mess them up.” That’s pretty much what took me two long paragraphs to say. “Receiver” is a track from their their second full-length album The Year Dot, coming out in April on Lost Map Records. Thanks to the band for the MP3.

Free and legal MP3: Hollie Cook (reggae-inspired goodness)

There’s something in the character of her voice, in the nature of the melody she’s singing, and in the texture of the mix that together lend a bewitching vibe to the dubby proceedings.

“Stay Alive” – Hollie Cook

The smooth-as-silk “Stay Alive,” from British singer/keyboardist Hollie Cook, undulates to a reggae beat, and manages at the same time to feel unshackled from genre conventions. There’s something in the character of her voice, in the nature of the melody she’s singing, and in the texture of the mix that together lend a bewitching vibe to the dubby proceedings.

So, look, it’s 2018, and reggae elements have obviously been roaming far and wide in the musical world for decades. Often it comes across as pastiche but so strong is the underlying premise that, to me, it works in just about any setting anyway. What I love here, though, is how fully committed to the sound Cook remains even while bringing genuine individuality to it. I’m not explaining this well but even as, to my ears, the song sounds fully ready to be filed under “reggae” (or “lovers rock,” for you sub-genre fans), there seems a contemporary charm and mystique infusing the music that transcends a pat label. I’m especially taken in by the melodies, which somehow combine a slinky nod to spy-movie music with a girl-group insouciance, while being supported by an acrobatic bass line (that would be Jah Wobble doing his thing), a haunted-house organ, and a creative, organic horn section (sax, trumpet, trombone, in the house).

Credit here to Youth, who produced (and who by the way is now 57), and to Cook herself, whose personal lineage has landed her among some notable musical friends and relations: she is the daughter of Paul Cook, drummer for the Sex Pistols, and Jeni Cook, who sang with Boy George in Culture Club. Here on “Stay Alive” we not only get Wobble, a one-time bandmate of John Lydon in Public Image Ltd, but Keith Levene on guitar, himself a founding member of both the Clash and PiL, as well as part of the semi-legendary band Cowboys International, and many other projects since then. Cook, meanwhile, cut her own musical teeth as part of Ari Up’s re-boot of the seminal British punk band The Slits from 2005 to 2010.

“Stay Alive” is the second track on Cook’s third album, Vessel of Love, released in January on Merge Records. You can listen to the whole thing and buy it via Bandcamp. MP3 from the tasteful folks at KEXP.

Free and legal MP3: Loma (beautiful, dirge-like)

“Black Willow” – Loma

With its deep, deliberate beat and hushed group vocals, “Black Willow” floats into my ears like a visitation from a different, unsettling, yet somehow more benevolent dimension.

Listen to how the almost uncomfortable slowness of the groove is soon counteracted by the solace of the humming voices that rise up at 0:14. When the words start, 10 or so seconds later, they engage us with one of the most tantalizing words with which to begin a song: “Because.” The opening verse, in fact, delivers a series of “Because…” statements, which deftly engage the ear for the mystery implicit in an answer delivered without a question.

And talk about implicit mystery!: listen to what the sound of voices singing the same note brings up for you. It may take a while for this to register but there are no harmonies here, just a group of voices (two, maybe three) singing directly on the melody, all the way through. To me, this feels counter-intuitively enigmatic. Another moment of satisfying elusiveness is the soupçon of time-signature shifting that happens a couple of times (first at 1:20), which registers as a subtle hiccup, a passing “what was that?” moment in a song otherwise measured and resolute.

The song is grounded musically by the bass and the drums, with well-placed keyboard fills offering some counter-balancing brightness. A windswept synth sound is added at a lyrically opportune time (“I make a home inside the wind”; 2:28). And then check out how the voices themselves transmute into something wind-like at around 3:13. This leads us to the song’s delayed, haunting chorus, featuring the title repeated over and over, while the voices, at the end of each repetition, morph increasingly into the echoey, windy soundscape.

Loma is a band that seems to have begun inadvertently, when Shearwater front man Jonathan Meiburg was so taken with the music made by the Texas duo Cross Record (Emily Cross and Dan Duszynski), opening for Shearwater on a tour, that the three of them began playing together. Adding to the depth of the experience: Cross and Duszynski’s marriage was disintegrating when the three of them were writing and recording the music that would become Loma’s self-titled debut album. “Black Willow” is the tenth and last track on the record, which was released last month on Sub Pop. MP3 again via KEXP.