MP3s – Page 31 – Fingertips

Free and legal MP3 Daisy Victoria (glistening, inspiring)

“Nobody Dies” – Daisy Victoria

And here we have, at the tail end of 2014, a song that somehow shocks me into here-and-now Okayness. Nearly (but not quite) as glistening as the kind of brain-free indie pop that makes my teeth grind, “Nobody Dies” is instead a song shot through with humanity and depth that leaves me laughing and winded, like emerging, twirling, from the salty, numbing North Atlantic on a warm summer day. Partly it’s the sweet subtle resonance of Daisy Victoria’s voice, and partly it’s the heroic melody, and the way it continually brings that voice upward in gratifying, unforeseen ways, but mostly it’s just how big and sweeping and genuine this feels, in an almost Kate Bushian way (minus, it should be noted, Kate’s all-out strangeness).

Hints that this is no mere dance-beat trifle come quickly (a beat-free intro juxtaposing water drips and echoey guitars) and often (even as the beat sets in, the mix is full of nuance and texture, devoid of ear-squashing processing). Some (most?) of the aural effects sound refreshingly guitar-based, in fact, while the drumming is sticks and skins as far as I can tell. And please understand that I am not now and never have been against electronics and beats and anything else that can be employed to make great music. But great music only and always originates in the human heart and soul. Something isn’t genuine just because it’s acoustic any more than something is automatically soulless just because it’s electronic. My particular glee regarding “Nobody Dies” has to do with how Victoria here has managed, in a sheep-in-wolf’s-clothing kind of switcheroo, to take an aural language too often employed to create soulless product and find within it the glow of life. I love this in uncountable and unaccountable ways.

Daisy Victoria is a singer/songwriter based in Norwich (UK). “Nobody Dies” is the title track to her second EP, released last month. You can listen via her SoundCloud page, and also there download this song in higher-quality .wav format, if that makes you happy.

Thanks to Lauren Laverne at BBC Radio 6 for the head’s up, and thanks to Daisy for the MP3.

Free and legal MP3: Hollands (thoughtful art pop, w/ extra oomph)

Even when it isn’t quite like anything else you’ve heard it always manages to be at least a little like something else you’ve heard. This is fun and as it should be.

“Great White Shark” – Hollands

With confident cockeyed momentum, “Great White Shark” is a fun-house blend of thoughtful art pop and something bashier and more direct. A dignified violin break collides with a chugging, minimal rhythm section; articulate guitar lines locate clearings between earnest chunks of elusive lyrics; a basic verse melody repeats, with reappearing variations, while something resembling a chorus slips in once or twice; the song, while pushing five minutes, passes in something of a fever dream. Welcome to what has become of rock’n’roll in the mid-’10s, devolving and evolving simultaneously into whatever two people in Brooklyn (it’s almost always two people in Brooklyn) feeling like recording. Even when it isn’t quite like anything else you’ve heard it always manages to be at least a little like something else you’ve heard. This is fun and as it should be.

Anyway, I have listened to this song like a thousand times and I am left with two conflicting impressions: 1) its various complexities (in structure, nuance, texture, rhyme) continue to elude me; 2) its sturdy simplicity is grounded in the relentless recurrence of a basic three-note, ascending melody. And I am guessing that if I can train my brain to hold these two antithetical notions simultaneously, I may achieve some new level of enlightenment. Or, at least, would be better able to explicate a song named “Great White Shark” only, it seems, because the phrase slides quickly by in a lyric two-thirds of the way through the song.

Hollands is the married couple of John-Paul and Jannina Norpoth. John-Paul is the multi-instrumentalist, Jannina, classically trained, plays violin. Both are children of professional musicians. Among their favorite artists, according to the band’s Facebook page, are Igor Stravinsky, Frank Zappa, and Randy Newman—a mighty trio if ever there was. “Great White Shark” is a song from Restless Youth, their full-length debut, which was released last month. You can listen to the whole thing and buy it (vinyl is an option!) via Bandcamp. MP3 courtesy of Magnet Magazine.

Free and legal MP3: Ward White (art-y & stylish but very approachable)

“Sabbath” is as arch and distinctive as a rock song can hope to be in the year 2014 without sounding fey or contrived.

“Sabbath” – Ward White

With sly hints of the old Hot Chocolate nugget “Every 1’s a Winner,” “Sabbath” chugs off the launch pad with delicious authority, featuring the splendid songwriting trick of beginning your lyric with the word “And.” I’m kind of a sucker for that one. And Ward White’s rounded, art-y tenor, a less adenoidal version of someone like David Byrne, it turns out I’m kind of a sucker for that too.

“Sabbath” is as arch and distinctive as a rock song can hope to be in the year 2014 without sounding fey or contrived. The verses feel like we’re already in the middle of the song, and lead us into a section (0:47) that bridges us without hurry to the chorus, accumulating lyrical lines while not quite coalescing musically; and the chorus, when it arrives (1:02), turns out to be less a chorus than a single sentence, rendered memorable by a vivid chord change in the middle (on the words “in front of my face,” at 1:08). The lyrics, meanwhile, feel rich and involving without easily forming a narrative. But any song that can include these lines—

And what of all these women?
They come and go but mostly go
And when they come believe me I’m the last to know

—is surely doing something right. And then, as word-oriented as White appears to be, he unexpectedly closes the song out with an increasingly scintillating minute-and-a-half of droning guitars and bashing drums. Fun!

The Brooklyn-based White has been releasing stylish, accomplished recordings since the late ’90s, floating around the edges of the NYC music scene without quite breaking through, even to the blogosphere. Which may also mean the man is doing something right. “Sabbath” is a song from his eighth solo album, Ward White is the Matador, released earlier this month. MP3 via Magnet Magazine.

Free and legal MP3: Julius (indie pop, w/ graceful nuance)

“Oh Baby” – Julius

I have many issues with what passes for pop music in the year 2014: the brazen artifice of it, the lack of lyrical and melodic imagination typically on display, and the shrunken aural context (pop music in the ’10s more or less refuses to mix well with anything but other pop music from the ’10s), to name a few pet peeves. On top of this, I remain gobsmacked by the unironic embrace of pop sheen and flow by a significant segment of ’10s hipsters. Perhaps this is the ultimate consequence of shifting from ownership to (mostly) free access: the audience is so little invested in the end product that the impetus for listening becomes merely to locate something familiar and diverting, for just those three or four minutes, rather than something to stake the depth of your identity on.

Well, there’s no settling any of this while we’re still in the middle of our grand digital transition. But, in the meantime, here: “Oh Baby” is unabashed pop. It even, I think, features, albeit briefly, some Auto-Tune. And yet there is something in here, musically, that I don’t think you hear in standard-issue 2014 pop music. On the one hand it’s a texture thing—the way the musician who calls himself Julius lets his song unspool with a rich sense of space and time. Rather than the flat, compressed sound of music that’s been processed and layered within inches of its life, “Oh Baby” offers up something that appears, aurally, to straddle the digital and analog worlds. The unhurried drumbeats that provide the song’s backbone may be electronic, may be organic, may be a mix of both, but in any case they feel musical rather than logistical, with a sense of three-dimensional space rather than manipulated puzzle pieces. Likewise the backing vocals that press into the mix at 1:40: regardless of how manipulated, or not, they feel fueled by breath, they too seem to be taking up organic space.

But the thing that really won me over are the chords. However many times I listen I am in thrall to the grace of the flowing chord pattern that Julius introduces when the song first moves beyond the percussive accompaniment (beginning at 0:44). These are not showy, anthemic chords, but the elusive progression from 0:44 to 0:47 to 0:49 moves with a quiet grandeur one might usefully describe as orchestral. And here is where it merits mention that Julius is himself a refugee from the classical academy, a self-professed “weirdo classical prodigy” who only recently began listening to pop music. Once upon a time, pop stars veered into classical music to give their careers cultural heft; nowadays we may be seeing the opposite. Yes, Julius now chooses to operate in the seemingly constrained world of fluffy pop (could there be a title with any less contextual weight than “Oh Baby”?), but the song seems also, somehow, to be straining at a new way of mining depth in the musical language many if not most coming-of-age adults prefer to be speaking right now. Even lyrically the song may be presenting a bit more than it lets on; the recurring line “I’d give the world/To believe what I thought I felt” is no mere throwaway, as one example.

Released last month, “Oh Baby” is the second song Julius has recorded; it was produced by Benny Cassette, who has worked with Kanye West. You can download above, as usual, or visit his SoundCloud page, where you can also hear his first song, along with a more recently posted remix/mashup.

Free and legal MP3: Alvvays (sweet, jangly, off-kilter)

“Archie, Marry Me” has a sweet, sweeping relentlessness about it, and if the whole thing is partially buried in mud and fuzz, this somehow makes its insistence all the more poignant

“Archie, Marry Me” – Alvvays

“Archie, Marry Me” has a sweet, sweeping relentlessness about it, and if the whole thing is partially buried in mud and fuzz, this somehow makes its insistence all the more poignant, makes its gorgeousness all the more down to earth. This is a song that rhymes “matrimony” and “alimony,” not to mention “Atlantic” and “panic,” “papers” and “makers.” This is a song with a woman singing to a character named Archie. This is a band called Always that spells their name Alvvays. The off-kilter appears to be their territory.

At the seeming center of this eddy of off-center goodness is front woman Molly Rankin, who sings with an enticing blend of composed abandon. Her voice veers now too close, now too far. As the band pounds and jangles along, Rankin sounds like someone at once assured and bewildered; her repeated “Hey hey”s resonate off imaginary canyons of hope and despair. But at the true center of the proceedings is the song itself, which etches melodic glory from the simplest of components, and burrows into a listener’s warmest places through the timeless, heartfelt force of guitars and drums. If you don’t concentrate you’ll miss the guitars’ wild, second-verse excursion, buried nearly beyond earshot, but all the wilder for its lack of neediness. In much the way the singer’s simple plea seems almost necessarily concealing some thornier reality, so too does the music’s apparent plainness appear to couch some more complicated sentiment. Remember, they could merely have spelled their name the way it sounds.

Alvvays is a quintet based in Toronto. Molly Rankin is the daughter of the late John Morris Rankin, of the popular and (in Canada) well-known Celtic/folk group The Rankin Family. Among band members is guitarist Alec O’Hanley, formerly of the Charlottetown-based band Two Hours Traffic, who were featured here back in 2010. “Archie, Marry Me” is from the debut, self-titled Alvvays album, released on Polyvinyl Records back in July. The song has been floating around the internet even longer than that, but only last month emerged in free and legal MP3 form over on the long-standing free and legal MP3 blog 3hive. So thanks, very much, to the 3hivers for this one. And note that you can listen to the album and buy it in various formats via the Polyvinyl web site. I encourage it.

Free and legal MP3: The Rebel Light (astute, catchy, and assured)

“Strangers” opens with a burst of happy wordless vocals (choosing the especially giddy “ba-ba-ba” over the more noncommittal “la-la-la”), right away informing us of its good-natured intentions.

“Strangers” – The Rebel Light

Year by 21st-century year I am increasingly discouraged by our collective inability to discern good-catchy (based on effective/surprising melody) from bad-catchy (based on annoying, often shout-y repetition)—and, I suppose the greater affliction, our apparent preference for the bad-catchy. I do understand that bad-catchy is far easier to concoct and that today’s pop-oriented songwriters and producers, perceiving that virality is unrelated to quality, find bad-catchy better suited to their purposes.

Well, boo to all of them, but hooray for the astutely good-catchy “Strangers,” from the Los Angeles-based trio The Rebel Light. While sounding entirely of the 2014 moment, “Strangers” thrums with warmth and joy in a way that far too much of today’s indie pop has abandoned in favor of technology and analytics. As such, I’ll wager that this song will sound as fresh to future ears as most of 2014’s YouTube fodder will sound stale and uninteresting not that many years from now.

With a thumpy, head-bobbing core, “Strangers” opens with a burst of happy wordless vocals (choosing the especially giddy “ba-ba-ba” over the more noncommittal “la-la-la”), right away informing us of its good-natured intentions. While displaying moments of near-minimal accompaniment, the song works almost surreptitiously to add layers of aural interest as things unfold—squally electronics, hand-claps, an undercover disco beat, cowbell, acoustic guitar, a capella break, we get a little bit of everything stitched ably together into a pop-perfect 3:25 length. And at the heart of this catchy song is (of course) a super catchy chorus, featuring one of those great, inevitable-sounding melodies that good-catchy songs so often have. While easy to learn and sing along with, the chorus’s melody delivers extra oomph via the way it slides seamlessly off and on the beat. Specifically, note how each line in the chorus starts off the beat (i.e., the words “you,” “standing,” “waving,” etc.) aligns onto the beat for the middle of the line, then slips back between the beat for its three emphatic closing syllables (for instance, on the words “live this way” beginning at 0:46). I especially like when seemingly straightforward songs give us subtle little treats like that along the way.

“Strangers” is a single released by the band last month. You can download as usual via the title above, or directly from the band via SoundCloud. The band has previously released one three-song EP and one other single, both in 2013.

Free and legal MP3: The Woodlands (gentle, but brisk and involved)

“Bronze” introduces a surprising amount of instrumental variety into a song that begins as unassumingly as possible.

“Bronze” – The Woodlands

Not unlike “Strangers,” above, “Bronze” introduces a surprising amount of instrumental variety into, in this case, a song that begins as unassumingly as possible: voice only for 16 seconds, then a strummed acoustic guitar for another little while. A bass joins in, and some backing vocals, and a bit of well-placed percussion. The overall feeling is gentle and uncluttered, even as the texture gradually expands to encompass horns, a violin, hand-claps, and some seriously interesting vocal harmony intervals. While this might not always be my preference, I like how the wife and husband duo of Hannah and Samuel Robertson here manage to use sounds almost more as individual tools than aggregatable components. (You wouldn’t, after all, use both a hammer and a screwdriver at the same time.) The chorus’s recurring lyric is “Don’t quite know where we will go,” and the feel of the song backs that up in the way instruments wander in and out, each with their own little offerings, creating a subtle sense of surprise even as the song moves through its grounding verse and chorus structure.

The way “Bronze” seems almost serially built may be why it can come to a near standstill two-thirds of the way through (2:35) and the halt feels organic and engaging; this interlude of voice and violin is not an interruption, it is simply what happens next. And then what happens next is Hannah singing, “We we we we proceed,” and they do.

Another important part of this song’s charm is in fact Hannah’s voice, which has a Laura Veirs-like mixture of groundedness and breathlessness to it—a child-like adultness, if you will. And her engaging capacity for backing vocals of various timbres and unexpected harmonic positions is an ongoing source of pleasure; her voice, truly, becomes another instrument in The Woodlands’ idiosyncratic but heartwarming toolbox. (Although, for the record, it should be noted that the “oo-oos” in the verses are actually Samuel’s falsetto vocals.)

“Bronze” is the opening track on the album Gems and Bones, which was released last month. You can listen to the whole thing and buy it via Bandcamp. The Woodlands released one previous album back in 2009, also available via Bandcamp. The Robertsons are based in San Luis Obispo, California.

Free and legal MP3: Centimeter (soaring power pop)

“Push Me Over” is a particular kind of power pop, which might be usefully labeled power power pop for its husky edge and determined drive

“Push Me Over” – Centimeter

A magical pseudo-genre that has never quite arrived nor disappeared, power pop exists through sheer force of will. At least since the Records assured us that the writ has hit the fan, if not before, there have been musicians who want to write songs that do this, whatever “this” exactly is. I’ve opined intermittently on the elusive charm of power pop (see in particular the post accompanying the Power Pop, Vol. 1 playlist), but every time a band rouses itself into full power pop mode, even now, at this disconcertingly late date, I feel energized and ready to wave the happy flag yet again. I mean, it was one thing for bands to offer up neo-power pop in the ’90s and early ’00s, but now that rock’n’roll has (who saw this coming?) been tickled to death by the cotton-ball assault of indie pop, bands that have the chutzpah to write melodic through-lines and play instruments (not to mention percussion) in three-dimensional space should be protected by the World Wildlife Fund.

Anyway: “Push Me Over” is a particular kind of power pop, which might be usefully labeled power power pop for its husky edge and determined drive; classic power pop often presents with a more obvious layer of sweetness. Yet sweetness is in the mix here too—in the background “oo-oos,” in the determined if not poignant piano line, in a chorus melody as plaintive as it is rousing, and perhaps most centrally (albeit also intangibly), in that lyrical lagniappe at the end of the verse, featuring the recurring phrase “if only for a while.” Through it all, singer Johan Landin proves once and for all that power pop is not merely an exercise for honey-toned tenors, as his expressive but controlled baritone delivers with its own kind of “what is the world coming to?” ache.

And maybe that’s the as-yet-undiscussed key to the mystery that power pop remains—that, at their best, power pop songs consistently exhibit this “I can’t go on, I’ll go on” pluck that, if not fully Beckettian, still pushes them deeper into the psyche than one might initially suspect they would go.

Centimeter, from Stockholm, were a quartet when first featured here on Fingertips in 2012, for the song “Motorhead”. They are now a trio. “Push Me Over” is a single that was released this summer, and it is the band’s first recording since their 2013 album 70.

Free and legal MP3: The Tins(quirky and anthemic)

Whatever musical amalgam this is, whatever sub-sub-genre today’s musical classifiers want to slot this into, I like rock’n’roll that sounds like this and am grateful there are still bands out there doing whatever this happens to be.

“Let It Go” – The Tins

An offbeat blend of the quirky and the anthemic, “Let It Go” has a stop-starty vibe that fidgets against its 4/4 time signature in an appealing way. Add some tasty suspended chords into the framework, augment with synth sounds hijacked from the ’80s, and finish off with an impossible-to-resist shouty group-singing chorus and the song sends me into a very happy place. Whatever musical amalgam this is, whatever sub-sub-genre it falls into, I like rock’n’roll that sounds like this and am grateful there are still bands out there doing whatever this happens to be.

Above and beyond the general coolness of the song, allow me to draw your attention to the instrumental break that begins at 2:02. On top of a chugging bass line we first hear a rather homely synthesizer sketching out a pleasant, alternative melody over a minimized background in a one-finger-plunking kind of way. The way the interval-happy melody perseveres through eight measures, and nearly 20 seconds, is almost notable by itself but check out what happens next: the melody repeats with a fuller, more driven accompaniment and with the synth line fleshed out with two hands. The melody is transformed from pleasant to essential, and the song is given an unexpected, interstitial-based climax. Leading into one more chorus, this moment is then bookended by another unforeseen move as the song withdraws in size and volume, fading out with a delightful lesson in the value of less over more.

“Let It Go” is from Young Blame, an EP the Tins released in July. The Buffalo-based trio has one full-length and another EP previously to their name. You can listen to and purchase the EP
via Bandcamp. MP3 via Magnet Magazine.

Free and legal MP3: Dive Index (gentle-assertive electro-acoustic composition)

“Pattern Pieces” – Dive Index

Music that combines the acoustic and the electronic offers a lot of potential enticements (as well as some potential pitfalls) but one of the nice things it can do is create a sonic environment at once gentle and assertive. Which is hard for either the purely acoustic or the purely electronic to do on their own, and which is pretty much what “Pattern Pieces” has going here, aided handsomely by singer Simone White’s intimate whisper of a voice and some breezy finger picking.

But the big “acoustic” secret here—acoustic in quotes because I may not even be right about this—is the central role played by percussion that sounds very organic and natural. Lord knows that technology has long since transcended my capacity to tease apart electronic from three-dimensional beats, but the larger point is the nature of the sound achieved. Central to the percussive heartbeat in “Pattern Pieces” are sounds that feel very close to the ear and belly in the way that drumming in actual physical space feels.

The other thing this song does is cycle us adroitly through a series of shifting electronic sounds. Towards the beginning, with the organic (maybe) drumming and natural vocals, the electronics we hear are generally subtle background gestures, the type of which come a bit more to the fore in the instrumental break at 1:00. Note how these are quickly followed by the entrance of a pure acoustic guitar, to keep the electro-acoustic balance flowing. A similar break at 1:50, meanwhile, leads to a more diffuse vocal section than previously which in turn migrates us to a new sonic palette (beginning at 2:30) featuring heavier electronic sounds and processed vocals. This heavier section registers as both a definitive shift and a natural-seeming progression, especially given how easily, a minute later, we are delivered back to the earlier vibe.

The Los Angeles-based Dive Index is less a band than a self-described “collaborative project”; the mastermind is songwriter/producer Will Thomas, who earlier in the millennium was recording electronic music as Plumbline. The first Dive Index album emerged in 2007. “Pattern Pieces” is from Lost in the Pressure, the third Dive Index release, out this week on Neutral Music.

(If you go to the SoundCloud page you can download this file in higher-quality .wav format.)