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Free and legal MP3: Sharon Van Etten (forceful, introspective rock’n’roll)

A heavy beat offsets a desultory piano line, synthesizers at once ferocious and distant blaze around the edges, guitars eventually squonk onto the scene, all while Van Etten sings poetically of longing, nostalgia, and destiny.

“Seventeen” – Sharon Van Etten

Rock’n’roll evolves, shifts, mutates—and persists. Anyone who doubts this need only listen to “Seventeen,” which performs the magic trick of weaving a classic-sounding song out of strands and blocks of sounds and textures that never quite existed in music’s “classic rock” heyday. A heavy beat offsets a desultory piano line, synthesizers at once ferocious and distant blaze around the edges, guitars eventually squonk onto the scene, all while Van Etten sings poetically of longing, nostalgia, and destiny—lyrics at once concrete and slippery, a deft interweaving of adult and teen-aged introspection that as a listener you intuit more than comprehend. The song rumbles and, eventually, roars. A master of subtle melodic gestures, Van Etten along the way crafts a chorus that slays with muted glory.

Some commentators hear Bruce Springsteen in the anthemic energy of this song, and while I get the comparison, leaving it at that diminishes Van Etten’s accomplishment. She’s no knock-off. The entire album in fact strikes my ear as a brilliant example of how to be a 21st-century rock’n’roller—taking the bones of archetypal rock music (“Seventeen” has a backbeat; you can’t lose it) and then planting your own individual 2019 self, with all its accumulated know-how and influences, right into the heart of it. Since we last heard from SVE (2014’s Are We There), she has become an actor, a film composer, a mother, and a graduate student in psychology. Which is just to say that she has quite a formidable self to align with one type of creative expression or another. When it came time to record a new album, she opted for a producer, John Congleton, known for synth-pop stylings, and arrived at the studio inspired by the dark, reverberant music of Portishead and Nick Cave. Something arresting was bound to come of all of this, and it did in the form of the enigmatic but majestic Remind Me Tomorrow, which was released in January on Jagjaguwar Records. That’s where you’ll find “Seventeen.”

Van Etten feels like an old friend by now because of the Eclectic Playlist Series, but this is only the second time she’s had a download featured here; if you missed “Serpents” back in 2011, you’re in luck: the free and legal MP3 is still available. Meanwhile, you can listen to Remind Me Tomorrow, and then buy it, on Bandcamp, where it is available digitally, on CD, or on vinyl. And in case you missed it, another song from the album, the brilliant “No One’s Easy To Love,” closes out (and provides the title for) this past month’s playlist, here.

MP3 via KEXP.

Free and legal MP3: Papercuts (buoyant wistfulness)

“How To Quit Smoking” – Papercuts

Opening with a brisk, dynamic, and hummable instrumental riff, “How To Quit Smoking” advances quickly from there into a verse so confidently melodic as to recall some lovely, imaginative amalgam of Belle & Sebastian and The Smiths. Papercuts’ master mind Jason Quever sings with the barest hint of a British accent that he actually doesn’t have and a baked-in wistfulness augmented by vocals that are mixed down into the center of the rhythm section. He sounds to me like someone singing on a budding spring day about how he actually misses the autumn.

This one is propelled by a classic backbeat as well, but note what a different vibe we get compared to the Van Etten song which came before it this month. Despite Quever’s gentle presence the song bounds forward with a determination reinforced every time the opening riff cycles back through. There’s an extra songwriting trick in here that, to my ear, adds to the song’s pluck: the way that in most of the verses, the third lyrical line picks up without any rhythmic space from the second line—listen at 0:36 for an example (the second line ends with the words “on the ceiling,” the third begins with “Read a book,” directly on the next beat, in the same measure). This is a small gesture that you’re probably not intended to notice, but it’s a wonderful flow-enhancer in just the right place.

Quever has been recording as Papercuts since 2004, including one record for Sub Pop in 2011. Long based in San Francisco, he recently moved to Los Angeles. His latest album is Parallel Universe Blues, on which “How To Quit Smoking” is the third track. It was released on Slumberland Records in October 2018. You can listen to the whole thing on Bandcamp, and then buy it there in your preferred format (digital, CD, vinyl). Papercuts has been featured on Fingertips twice previously, in 2011 and 2014. The MP3 this time comes courtesy of The Current.

(Note that MP3s from The Current are available in files that are 128kbps, which is below the iTunes standard of 192kbps, not to mention the higher-def standard of 320kbps. I personally don’t hear much difference on standard-quality equipment but if you are into high-end sound you’ll probably notice something. In any case I always encourage you to download the MP3 for the purposes of getting to know a song via a few listens; if you like it I still urge you to buy the music. It’s the right thing to do.)

Free and legal MP3: Talkboy

Sparkly, melodic indie rock

“Someone Else For You” – Talkboy

With its sparkly veneer and heavy undercurrent, “Someone Else For You” is two minutes and twenty-eight seconds of uprushing melody and impressive craft. Time is saved from the get-go: the song launches with no introduction, which feels like walking into a movie that’s already started. Momentum continues via a verse that essentially fakes right and goes left—the way the first line ends, with the words “into the city” (0:02), leads the ear to expect a similar pause at the end of the next line (0:05-:06). But, instead, the melody flows through an unexpected chord change, on the words “things to say” (0:08), before resolving back in a place that satisfies musically even as the lyrics suggest conflict, referring to words that “always came out wrong” (0:11). Best of all, look where we are now: just 12 seconds in, already treated to an eight-measure verse melody and lyrical intrigue before most songs have emerged from their opening vamps.

And why not? When you have a lead singer with Katie Heap’s rich tones and easy assurance, there’s no point in delaying her entry. The second verse runs through the same territory but now with a wash of wordless backing vocals layered below. The chorus arrives with an extra bashing of drums at 0:25; with its repeating, descending conclusion, it’s more concise melodically than the verse. This provides a clearing for the guitars to emerge from the background, surging first below the lyrics (0:32) and then out into the open at 0:38. The song now carries a heaviness one might not have anticipated from the head-bobbing opening.

Deft touches dot the rest of the song, from the head-clearing acoustic blip at 0:52, to the quiet iteration of the chorus the second time through (1:07), the feedback-y bridge (1:25), and, maybe best of all, Heap’s effortless octave leap at 1:47, after which she finishes the song in her impressive upper register.

Talkboy is a six-person band from Leeds. “Someone Else For You” is their third single, released earlier this month. You can download this one, as usual, from the above link, and then check the other songs out over on SoundCloud.

Just say you tried (Eclectic Playlist Series 6.02 – Feb. 2019)

Did you like me associate “Wild is the Wind” with the late, great Mr. Bowie? He does astonish, with his version on Station to Station. But it was my friend George, from over at Between Two Islands, who alerted me a few years ago to the fact that the song is an old one–from a 1957 movie of the same name–and was originally sung by none other than Johnny Mathis. I should have known this but then again one can’t know everything when it comes to music (unless you’re George). The song, which was nominated for an Oscar in 1958, was composed by the Russian-born composer Dmitri Tiomkin, who specialized in scores for American Westerns. The lyricist was Ned Washington, perhaps best known for penning the words to “When You Wish Upon a Star” and–who knew?–“Town Without Pity.” (The rabbit hole of forgotten songwriters and their work is deep and compelling.) Bowie by the way was inspired by Nina Simone’s version, which she recorded live in 1959, and then on a studio album in 1966. It isn’t necessarily the easiest thing to mix Johnny Mathis into a playlist that also includes Björk, Taj Mahal, and Warren Zevon but that’s my job–easing out into Jane Siberry’s majestic “The Valley” certainly gave it a smooth landing.

Random bits:

* The Tourists were a British band, most notable these years later for being the band in which Annie Lennox and Dave Stewart first met and played together. They were active from 1976 through late 1980. Eurythmics emerged in the Tourists’ aftermath, and released their debut album in 1981.

* I am not notably either a blues aficionado nor a Billie Holiday devotee, but Cassandra Wilson’s album of jazz standards associated with Holiday, 2015’s Coming Forth By Day, strikes my ear as monumentally good. Working with producer Nick Launay (known for his work with Nick Cave in particular but with dozens of impressive credits), Wilson imbues these old songs with smoky atmosphere at once quirky and incisive.

* Warren Zevon is celebrated mostly for his early (’70s) and later (’00s) work but the stuff in the middle, in retrospect, isn’t too shabby either. I have particular fondness for the title track to this 1991 album, as full of humor, chaos, and melody as any of his most memorable material.

* Sharon Van Etten’s new album, Remind Me Tomorrow, is pretty great, in part because she’s just pretty great in general. Did you read about how she’s studying to be a psychologist? In addition to her being a singer/songwriter, an actress, and a mom? I was already very impressed by her and now all the more so.

* The Cornelius Brothers & Sister Rose: two fantastic hit songs, and then a bunch of forgettable filler. How did this happen? Who knows. But now I’ve given you both of the good ones here, so their days populating the Eclectic Playlist Series are officially over.

* Speaking, earlier, of forgotten songwriters, or partially forgotten, or in any case under-appreciated, I give you Jules Shear, who has had a preternatural knack for pop-rock melodies. The Bangles made this one a hit a year after his version. Yup it’s very ’80s. And completely wonderful.

* Lastly: if you have somehow managed never to have seen the “Bachelorette” video, a classic directed by Michel Gondry, do yourself a favor and go here: https://www.youtube.com/watch?v=XJnhaXwK86M. And this advice coming from a guy who never usually sees the video. What a sensational song this is, still.

Full playlist below the widget.

“O Lucky Man!” – Alan Price (“O Lucky Man!”: The Original Sountrack, 1973)
“So Good To Be Back Home Again” – The Tourists (Reality Effect, 1980)
“I Love You So Bad” – Ezra Furman (Transangelic Exodus, 2018)
“Treat Her Like a Lady” – Cornelius Brothers & Sister Rose (single, 1971)
“How Soon” – Martha Wainwright (Bloody Mother Fucking Asshole EP, 2005)
“Billie’s Blues” – Cassandra Wilson (Coming Forth By Day, 2015)
“Bachelorette” – Björk (Homogenic, 1997)
“She Loves to Be In Love” – Charlie (Lines, 1978)
“Horse and I” – Bat For Lashes (Fur and Gold, 2007)
“If She Knew What She Wants” – Jules Shear (The Eternal Return, 1983)
“Kiss of Life” – Sade (Love Deluxe, 1992)
“I Scare Myself” – Dan Hicks & His Hot Licks (Dan Hicks & His Hot Licks, 1969)
“The Mountain” – Dave Carter & Tracy Grammar (Tanglewood Tree, 2000)
“Mr. Bad Example” – Warren Zevon (Mr. Bad Example, 1991)
“Part Time Love” – Ann Peebles (Part Time Love, 1971)
“Last Wave” – They Might Be Giants (I Like Fun, 2018)
“Wild is the Wind” – Johnny Mathis (A Certain Smile, 1957)
“The Valley” – Jane Siberry (Bound By The Beauty, 1989)
“Take a Giant Step” – Taj Mahal (Giant Step, 1969)
“No One’s Easy to Love” – Sharon Van Etten (Remind Me Tomorrow, 2019)

Free and legal MP3: Bob Mould (hard-driving yet friendly)

Bob Mould arrives in 2019 like a sudden gust of wind rearranging the porch furniture.

“Sunshine Rock” – Bob Mould

Pop culture is a cruel mistress; the one uniting and unavoidable fact of life, that we all grow old, is precisely what our culture will not accept, forever worshipping the latest crop of young and pretty people at the expense of those previously worshipped, never mind those artists creating works of lasting quality. The internet has aggravated this already aggravating tendency, creating new categories of veneration (YouTuber, influencer, et al.) in which the generative talent seems mostly to do with an ability to capture attention in an age rife with attention deficits, and to do so most often in a way that older people can’t fathom and/or don’t care about. In a way it may be fitting that in this virtual age of ours the demand for an actual creative product is brushed aside for the pleasure of simply focusing on one evanescent screen moment for some uninterrupted amount of minutes (or seconds); in any case, youth worship is firmly reiterated in the process.

Bob Mould arrives on such a scene like a sudden gust of wind rearranging the porch furniture. The Hüsker Dü founder, now 58, has wandered his way through a varied career, intermittently touching base with the kind of blistering rock’n’roll for which his first band was known, other times venturing into more electronic enterprises. Here, with “Sunshine Rock,” guitars crash and ring, suspended chords suspend, a firm, stuttering beat establishes itself, and Mould comes at us with that yearning but muffled voice of his, a voice that forever sounds like it’s singing in an empty room with maybe one folding chair in it. The melody is clipped and snappy, with cascading resolutions in the verses and one or two spiffy chord changes in the chorus. It’s both hard-driving and friendly.

Now then, the title and the energetic pace suggest something optimistic, as do the strings that materialize most notably in an affirmative flourish at the end of the song. But the Bob Mould vibe is never entirely sunshine-y—even when he, by all accounts, thinks he’s being sunny (“I’m trying to keep things brighter these days as a way to stay alive,” Mould says in an accompanying press release, not the sunniest of sunny statements if you think about it). To my ears, however, to the extent that the lyrics are decipherable, “Sunshine Rock” presents as an “enjoy what you have while you have it because nothing lasts very long” kind of song, Mould singing more with fortitude than delight. In 2019, that passes for sunny.

“Sunshine Rock” is the title track from Mould’s forthcoming album, to be released next month on Merge Records. MP3 via the good folks at KEXP. This is the third time Mould has been featured here, but the first time since 2009; neither of his previous tracks are still available as free and legal downloads.

Free and legal MP3: Dear Euphoria (delicate musing on love and loss)

Over a peaceful, arpeggiated bed of boops and bips, “Our Time” unfolds as a graceful, melancholy ballad, celebrating love in the face of loss.

“Our Time” – Dear Euphoria

Over a peaceful, arpeggiated bed of boops and bips, “Our Time” unfolds as a graceful and melancholy ballad, celebrating love in the face of loss. Singer Elina Johannsen processes her voice in a way that strikes the ear as both slippery and central, with the elusiveness of the effect mirroring the ambivalent emotional circumstance the song presents.

And yes, for the record, I do not reject all vocal processing, by any means; what I’ve always objected to was the combination of faddishness and thoughtlessness propelling the technique (epitomized by Auto-Tune) for so many years. What should be obvious but, it seems, hasn’t been, is this: be human, be compassionate, be inventive, and all manner of musical and technological expression is open to you. Someone like Björk has known this for years. Prop up shallow idiocies with formulaic songwriting and production methods in pursuit of big streaming numbers and okay, have fun, but I’m not interested.

Meanwhile, Johannsen is tackling the big subject here, with a directness leavened by the sweetness of her tone, the delicacy of her declarations, and the soothing melody. I am assuming the loss she is singing about is a loss occasioned by death, and she seems to be singing from the perspective of the dying person; but, it works if the subject is a less permanent loss as well. She employs simple, mostly one-syllable words throughout, which has the subtle effect of amplifying both the gravity and the sublimity of the situation. The vibe is at once uncomplicated and stimulating, with a number of engaging touches along the way, from the life-support electronic pulse that accompanies two-thirds of the song (listen to how it decamps at 1:52), to the brief but wonderful guitar or guitar-like distortion at 1:03, to the all-out false ending at 2:29. And, a trait not to be underestimated, the song doesn’t overstay its welcome, wrapping up in a concise 3:06, easily inviting repeat listens.

Johannsen is based in Stockholm. Dear Euphoria was previously featured on Fingertips all the way back in 2007; the MP3 to that track, “Falling Behind,” is no longer available. “Our Time” is the second single released to date from an album due out in the spring. Thanks to Johannsen for the MP3.

Free and legal MP3: Amanda Palmer (theatrical cry for justice)

While piano-based, the song’s musical palette expands in all directions, with textures both rough and intimate, accompanying a lyrical bombardment that feels all too real and up-to-the-minute, painting a picture of a culture on the brink of physical and emotional self-destruction.

“Drowning in the Sound” – Amanda Palmer

As an artist, Amanda Palmer is such an deft navigator of our brave not-so-new social media world that it’s easy to lose sight of the fact that she is a dynamic and gifted musician. The relentless energy with which she shares herself online in multi-faceted ways—creating one of the only robust and truly successful (both emotionally and financially) artist-fan communities of the 21st-century to date in the process—is as admirable as it is, to me, if I’m honest, exhausting-sounding. I can’t imagine how she manages a life that includes paying heed to 12,000 active online patrons, and would be skeptical if not outright cynical about her efforts were it not for that previously stated reality: she is a top-notch singer/songwriter/musician, and somehow (somehow) doesn’t let the potentially immolating realities of an artistic life lived on social media derail or cheapen her creative output.

Here’s her latest: a song, called “Drowning in the Sound,” that is as raw and scintillating as her best music can be, with an added wrinkle: the song was initially crowd-sourced, with the lyrical ideas and inspiration coming from 600 of her Patreon supporters. Oh, and she wrote it as part of a two-day songwriting exercise in August 2017. While piano-based, the song’s musical palette expands in all directions, with textures both rough and intimate, accompanying a lyrical bombardment that feels all too real and up-to-the-minute, painting a picture of a culture on the brink of physical and emotional self-destruction. It’s not fun, no; but the music, with its sophisticated, stop-start dynamics and Bush-ian theatricality, engages the spirit. Palmer’s voice, an agile alto with a spoken-word quality, is more than up to the wide-ranging performance, which includes portions rendered in falsetto, as if things weren’t dramatic enough. I guess if I’m going to hear about the end of the world, I’d rather it come from a song than from cable news: there’s something in the singing and the craft of it that manages yet to inspire hope, which is a crucial element in any effort any of us can take to rescue humanity from prospects that here in 2019 look on the dim side.

“Drowning in the Sound” was originally released in September 2017 as a fund-raiser for victims of Hurricane Harvey. The song has resurfaced recently as a lead single for Palmer’s first album in six years, There Will Be No Intermission, which will be released on March 8, 2019, which is International Women’s Day. MP3 via KEXP.

Useless, like fists

Eclectic Playlist Series 6.01 – Jan. 2019

There’s no such thing as the “greatest song of all time,” right? I mean, you can’t possibly narrow it down to one song. But if you could (which you can’t), I might just elect “Don’t Worry Baby.” I’m always surprised to remember that this song came out in 1964; it seems to come from another universe of inspiration than, say, the lead track on the Shut Down Volume 2 album, which was the faddy, frilly “Fun, Fun, Fun.” Certainly it hinted strongly at the richness of Brian Wilson’s creative imagination, and greatness to come.

Favorite song of the year is at least a little easier to select, and for my money, I’m going with “Mistake,” from the Australian trio Middle Kids. This entire album, Lost Friends, is the kind of thing everyone would have been listening to and talking about in an age when people paid more attention to albums and had fewer cultural artifacts bombarding their senses by the hour. If you’re inclined to listen to an actual album in real time, go check it out (Bandcamp link, for your convenience: https://middlekids.bandcamp.com/album/lost-friends). There isn’t a weak song in the bunch.

A few more notes of note:

* Michael Penn doesn’t get enough credit. That is all.

* I had entirely forgotten about this Ultravox song until I heard it during a long stretch of 1980s programming on WXPN back in November. How had I let this one slip away? Lament was the last top-notch Ultravox album in their New Romantic, Midge Ure era, and it holds up pretty well.

* Todd Rundgren doesn’t get enough credit either, and by the way, for those who care about such things, belongs in the Rock’n’Roll Hall of Fame already, I mean sheesh.

* I’m pretty sure no one’s ever segued October Project into the Buzzcocks before, and maybe no one will again. RIP Pete Shelley.

* And how about that Laws family? You may possibly know about brothers Hubert (flutist) and Ronnie (sax); but there were also sisters Eloise and Debra, who both have had careers as vocalists.

Oh, and an overall logistical reminder: I operate under the self-imposed limit of not featuring any one individual artist on an Eclectic Playlist Series mix more than once in a calendar year. January wipes the slate clean; all artists are available. And yet, even so, 14 of the 20 artists on this month’s playlist were not before featured even once this past five years. Nature loves diversity; why shouldn’t we?

Full playlist below the widget.

“In Little Ways” – Let’s Active (Big Plans For Everybody, 1986)
“Mistake” – Middle Kids (Lost Friends, 2018)
“Love Factory” – Eloise Laws (single, 1973)
“A Violent Yet Flammable World” – Au Revoir Simone (The Bird of Music, 2007)
“Don’t Worry Baby” – The Beach Boys (Shut Down Volume 2, 1964)
“One of Our Girls Has Gone Missing” – A.C. Marias (One of Our Girls (Has Gone Missing), 1989)
“Some Birds” – Jeff Tweedy (Warm, 2018)
“Strange Season” – Michael Penn (Free-For-All, 1992)
“Smack Dab in the Middle” – Ray Charles (Have a Smile With Me, 1964)
“To The East” – Electrelane (No Shouts, No Calls, 2006)
“Love of the Common Man” – Todd Rundgren (Faithful, 1976)
“Love is to Die” – Warpaint (Warpaint, 2014)
“One Small Day” – Ultravox (Lament, 1984)
“From Out of Nowhere” – George Wydell (b-side, 1966)
“Gotta Get Back” – Shelby Lynne (I Am Shelby Lynne, 2000)
“Sunday Morning Yellow Sky” – October Project (Falling Farther In, 1995)
“What Do I Get?” – Buzzcocks (Singles Going Steady, 1979)
“Turbo” – Kenny Dorham (The Arrival of Kenny Dorham, 1960)
“You Tell Me” – Paul McCartney (Memory Almost Full, 2007)
“Titanic Days” – Kirsty MacColl (Titanic Days, 1993)

Free and legal MP3: San Mei

Hazy, guitar-laced

“Wonder” – San Mei

Stately, hazy, guitar-laced, and ear-worm-y (in a good way), “Wonder” nods at some of contemporary pop’s aural trimmings while delivering songcraft and instrumentation unlike what our 2010s popsters tend to busy themselves with. San Mei—the stage name for Australian singer/songwriter/guitarist Emily Hamilton—is committed unabashedly to the guitar, so that’s an ear-opening contrast to today’s music scene right there. And yet, with its somewhat processed, clipped ambiance, this doesn’t sound like anyone’s father’s rock’n’roll either.

And, I have to say, one of the song’s ongoing pleasures is hearing Hamilton’s light and agile voice—which one can with no difficulty imagine layered over an electronic beat, with an easily conjured battery of back-up dancers—fronting a song that drapes its pop-inflected fabric over a sturdy body of guitar squonks and sirens. The opening testifies to what we’re in for: first, a hint of shimmery electronics, but, no, what’s really happening is the guitars are warming up (listen for the subtle scratch of electric guitar strings at 0:05). “Wonder” proceeds to launch off an honest-to-goodness guitar riff, and is driven throughout via a creative variety of electric guitar tones and etchings, including something of a psychedelic freakout at 2:23.

But there is more than guitar worship going on here. “Wonder” is structurally impressive, with its double-time tag in the verse, balanced by a pre-chorus slowdown, all leading to a chorus so solidly chorded that I’m tempted to call it anthemic were it not also so effortlessly presented—a kind of “Who, me?” approach to anthemic rock’n’roll.

San Mei was born as a laptop-based bedroom pop project, but Hamilton soon aimed her sights on a larger instrumental palette than a MIDI keyboard offered—by which of course I mean guitars: fuzzy, intersecting, drony guitars. After a debut EP in 2017. San Mei returned this year with the four-song Heaven EP, released in September. You can hear the whole thing over on SoundCloud.

Free and legal MP3: Laura Gibson

Song as languorous dream

“Tenderness” – Laura Gibson

Framed on top of a sparse but expressive rhythm section—buoyant bass riff meets stark tom-tom beat—“Tenderness” unfolds without haste, as a languorous dream. Gibson sings in a warm, rounded tone, augmented by an almost Holiday-esque ache, suggesting someone at once too shy to speak and yet brave enough to sing. “Don’t wake a swarm of bees beneath me,” she coos, not as fragile as she might sound.

The song supports her both musically and symbolically, employing sturdy sonic structures as almost aural sleight of hand—you don’t notice the droning guitars we get hints of in the background, but you feel them. And the strings: yes, you hear the strings, but really listen to them and feel what they’re doing, too—as for instance the intuited pathos of their downward-sliding notes (1:25 presents an example). In Gibson’s hands, even the straightforward idea of backing vocals feels freighted, unnerving; she asks, in the chorus, “Do you want tenderness?” and the lack of certainty over whether she’s still singing to the man she’d been initially addressing or now singing to herself is intensified by answering background voices so in sync with her idiosyncrasies (it’s all her, after all) that they register as the personification of voices in her own head, manifesting the depth of her interpersonal turmoil. (She proceeds, in the first chorus, from “Kiss your mouth for tenderness” to, in later iterations, “Curse your name for tenderness,” and then, “Break your leg for tenderness”; ouch.)

With its simple sway, “Tenderness” doesn’t break a sweat as much as glue you to your seat. More is revealed with repeated listening. I suggest not losing yourself too much in Gibson’s vocal tone to forget to listen to her phrasing, which can stun. Hear, for instance, how she sings the words “model of” in the lyric “You’re a model of reason,” at 0:47: I can’t quite absorb what she’s doing there or how she’s doing it. Or, listen to the upward swerve she effects in both the second and third verses, at the same moment in the fourth line of each—on the word “men” at 1:46, and “face” at 3:15. These are not moments you are necessarily supposed to notice, which makes noticing them all the more potent. And not all moments here are vocal. Maybe my favorite is the abrupt shutdown of the strings at 1:44, a muted reinforcement of the fierce words that have preceded it:

I’ve been taught, I should wait to be chosen
That I haven’t known love
Until I’ve been destroyed by love

“Tenderness” is a track from Goners, Gibson’s fifth album, which was released on Barsuk Records in October. Gibson’s song “La Grande” was featured on Fingertips in November 2011, and her song “Harmless” made its way into a playlist in May 2016. MP3 via Barsuk, where you can also buy the album, in vinyl, CD, FLAC, or MP3 format. Or go to Bandcamp, where you can listen in full before you buy the digital version.

photo: Timothy O’Connell/Fader