MP3s – Page 41 – Fingertips

Free and legal MP3: Marie Lalá (polished, perky pop w/ big chorus)

Right away, I like the extra beats that complicate the verse, and the staccato, neo-new wave ambiance. But everything, I soon discover, is a set-up for the chorus.

“Without You” – Marie Lalá

Polished and perky, “Without You” is also sneaky memorable. Right away, I like the extra beats that complicate the verse, and the staccato, neo-new wave ambiance. But everything, I soon discover, is a set-up for the chorus, which is bright and bangly and familiar-seeming in a good way. And yet it’s not even the sing-along part that nails it for me as much as what happens at 0:45, when the momentum slows, on the words “I don’t seem to get the point.” I feel restored here to an unknown moment in the distant past, either because the melody is reminding me of a song I can’t quite remember or maybe it’s just the classic power of returning to the major after a sidestep to the minor (“the minor fall, the major lift”). But that’s where I fall in love with this song and, just about, the singer too.

And what’s not to love about the mysterious Marie Lalá? When I first featured her here, last February, I openly questioned the veracity of the Swedish singer/songwriter’s quirky, unforthcoming biography, which talked of her background as an aerialist in the circus and her current job climbing ropes on an offshore oil rig. One must be wary in this hoax-friendly day and age, mustn’t one? As her debut album, Surrender My Soul, is released this week, a bit more background has been revealed, and the story is, I now believe, the actual truth. She no longer works on the oil rig, however, as she used the job to finance her album. “Without You” is the first available track.

Note that Lalá’s given last name is Nilsson; note too that she appears to have taken her stage name from the aerialist immortalized by Edward Degas in the painting “Miss La La at the Cirque Fernando,” a reference I missed last time around. You can download the MP3 via the song title above, or visit SoundCloud for a higher-quality .wav file.

Free and legal MP3: Tideup (lo-fi electronica w/ lovely vocals)

Singer Noelle Indovino’s voice floats with airy grace above the swells and clatters of the electronic backbeat.

“Walk” – Tideup

Despite the volume of lifeless electronica and/or electro-pop that has flooded the internet over the last 10 or so years, let us not ever give up on the basic sound, which in the proper hands can still deliver fresh and delightful music. File “Walk” under fresh and delightful, thanks in large part to the clear sweetness of front woman Noelle Indovino’s voice. Draped in a bit of reverb, she still sounds present and crisp, a tone rarely heard in the overcrowded world of DIY electronic duos. And apparently this is no accident. Tideup mastermind/producer/multi-instrumentalist Ben Guzman spent two years searching, via Craigslist, for the right female vocalist to buoy his electronics-oriented landscapes, inspired by music he admired from the Dirty Projectors. Indovino answered his ad in December 2011, as well as his musical prayers. Her voice lends a seductive humanity to Guzman’s adept textures, floating with airy grace above the swells and clatters of the electronic backbeat.

But Tideup isn’t just about a pretty voice. “Walk” is a sturdy song, with lovely, rubbery melodies and thoughtful touches like that vivid three-note melisma in the chorus at 1:53 (melisma: one syllable held through a succession of notes), the thoughtfully sparse instrumental break at 2:20, and what sounds like the ongoing addition of organic drumming on top of the electronic beat. Listen closely and you might also notice how the verse melody is different the second time through, always a sign of a thoughtful composition. And one of the most appealing extras in “Walk” stems again from Indovino’s singing—that lovely wordless vocal she offers us ahead of the verse, which is an unusual and enticing moment. Let this one wash over you a few times and you might start glowing.

“Walk” is a song from Tideup’s debut EP, In Curses You Came, which was released digitally at the beginning of the year. You can listen to the whole thing, and buy it, via Bandcamp. Guzman and Indovino are based in Orlando, Florida.

Free and legal MP3: Time Travelers (clean, invigorating rock, w/ time tricks)

In little more than three minutes, “Stormalong” propels us through a clean, invigorating piece of accessible but complex pop.

“Stormalong” – Time Travelers

A minor hobby of mine as a listener is deciphering unorthodox time signatures. Of course, the more unorthodox they are, the less I can usually figure them out. “Stormalong” is one of those songs that seemed to resist precise mapping; outside of my suspecting that the rhythmic engagement of the introduction is based on alternating 6/4 and 7/4 measures, this one eluded me.

Turns out it was a trick of the ear. Vocalist Edward Sturtevant assures me that outside of the introduction, the rest of the song actually is in 4/4 time after all. What they did was place a lot of the accents on the off-beats—“to keep things interesting,” he says. It sounds so unassuming that way, but it’s worth noting that obscuring a song’s time signature has become an all but dying art in an age of digitized beats and laptop composition. “Keeping things interesting” is a modest way of acknowledging that one has enough craft and mastery to conceive of fiddling with rhythmic structure in the first place, never mind the talent to write and perform the end result. In little more than three minutes, “Stormalong” propels us through a clean, invigorating piece of accessible but complex pop. In addition to the rhythmic uncertainty, the song offers an eccentric two-part verse, a chorus that is unusually succinct and melodic (typically a chorus may be one or the other, or neither), and then an extended bridge section that is the only part that presents itself clearly in 4/4 time. Often either difficult to discern or difficult to interpret, the lyrics glide by without etching a firm picture in the mind’s eye, but the chorus’s central, allusive observation about the fine line between hope and despair is, combined with the musical bounty, strong enough to keep me eager to tease more meaning from the rest of the words as I continue to listen.

Time Travelers are a four-man band based in Brooklyn. As reported last time they were here, in August 2012, they got together in 2008 as sophomores at Bates College in Maine. “Stormalong” is the title track from the band’s soon-to-be-released EP, which will be their third to date.

Free and legal MP3: Night Panther (synth pop confection, and yet w/ substance)

A giddy, glittery synth-pop trifle with yet a deeper purpose and conviction.

“All For Love” – Night Panther

One of music’s many great mysteries is how, sometimes, under the right (mysterious) circumstances, a seemingly light-as-air pop confection can acquire the weight and power of something more significant, simply by doing what it does. And while I know that not everyone listening will hear it the same way, one of my founding principles hat Fingertips is that quality is not necessarily as subjective as is commonly assumed; continual effort has been made here, against all apparent odds, to explore how this might be.

So where exactly within this giddy, glittery synth-pop trifle am I sensing a deeper purpose and conviction? Let’s start with the introduction, which aligns with any number of classic grooves by shrewdly adding elements as it develops; I especially like the wooden-block-like sound that joins in at 0:16 and the psychedelic-organ-like tone that blossoms at 0:24. And then, the song’s backbone: a 15-note descending run that starts for the first time at 0:48. Listen with half an ear and it’s a standard-seeming downward melody; pay closer attention and it traces a marvelous, run-on, deviant scale. Likewise front man Farzad Houshiarnejad can be heard as an airy tenor belting out a bubble-gummy tune or, upon closer inspection, a canny and creative singer. And then maybe best of all, check out the metamorphosis that begins at 2:56, when the vocals fade into a stuttering, minimalist-style loop, which leads to a bass-and-drum interchange around 3:10, which (anyone see this coming?) opens into a kick-ass, old-fashioned guitar solo. As the vocals rejoin, it feels as if genre and time-frame have evaporated, and maybe that’s it, maybe it’s how this innocent-seeming song morphs from the particular to the nearly universal that allows it to pack its unexpected punch. I like it, in any case.

Night Panther is a trio based in Doylestown, Pennsylvania. “All For Love” is single the band released a bit earlier this month via SoundCloud. You can download it the usual way, via the song’s title above, or at the SoundCloud page, where you can also talk directly to the band, if you are so moved. This appears to be the band’s fourth single; no longer releases have yet been issued.

photo credit: Kelly Kurteson

Free and legal MP3: Aly Tadros and Ben Balmer (sweet, effective singer/songwriter duet)

A singer/songwriter duet that’s as sturdy, genuine, and endearing a song as can be.

“Whim” – Aly Tadros and Ben Balmer

An easy-going singer/songwriter duet, “Whim” has all the makings of the kind of thing they will play too often on your local adult-alternative station (if you happen to have a local adult-alternative station), and therefore, alas, all the makings of a song I will not like very much: the acoustic guitars, the male-female vocals, the folk-based melody. Not that I have anything against any of those things per se, at all; I’ve just been negatively trained in recent years to expect only the most tiresome and ersatz material of this ilk based on what tends to get pushed for concentrated radio play. And yet “Whim” turns out to be as sturdy, genuine, and endearing a song as can be. Go figure.

The voices are good, to begin with. Not showy, but with impressive character. Balmer, an Austin-based musician, opens the piece, and right away I am charmed by his plainspoken tone. I often enjoy singers who sing with such clarity and ease that it sounds almost as if they are still talking; it’s a characteristic I find more often with women singers than men so here it’s especially engaging. Tadros, on the other hand, sings with unaffected richness; her first solo words here are “I was singing my song/When a man came along/Said he liked the sound of my voice,” and because as a listener I was coming to that same conclusion just as she sang it, the effect is powerful. I am won over. The stories each singer sings—simplified, but with well-chosen words—are parallel but dissimilar tales of asymmetrical relationships: in his case, the woman was in for a brief kick, then left; in her case, the man keeps her as a trophy, with no heart connection. Both of them take turns singing the same chorus: “I’m a whim, I’m a whim/Just a passing thought/In the mind of the girl (man) I love.” Note when Tadros takes the lead, the chorus’s melody slips into the space between their harmonies, a move perhaps too subtle for heavy-rotation radio play. The chorus ends with a lyric both unassuming and brilliant: “I ain’t much/When push comes to shove”—spot-on both as character self-commentary and as lyrics that scan with impeccable grace.

Tadros is an American singer/songwriter with an unusual interest in international music, prompted in part by her father’s Egyptian heritage. She was born in Laredo, got started as a musician in Austin, and now lives in Brooklyn. She released her second album, The Fits, in January. Balmer was born in Michigan and lives in Austin; his debut album, Dug In, came out in October 2012. They wrote the song together in a couple of sessions while at music festivals they were each playing.

Free and legal MP3: Magic Arm (string-enhanced pop from Manchester)

Singer/songwriter Marc Rigelsford plays all the instruments, and while our 21st-century ears are fine with that in a setting of layered electronics and guitars, a one-person project is somehow the last thing one suspects when hearing two stringed instruments playing together.

“Put Your Collar Up” – Magic Arm

As a violin and cello play a mournful duet for 30 seconds, we are lifted out of time and context: what type of music this may be and when in the last 120 years or so it was written both seem up for grabs. This is pretty charming in and of itself; here’s a musician willing either to trust that listeners can hang in there for a half-minute of uncertainty or to be uninterested in those who can’t—a friend of mine in either case. The other nifty thing this pre-introduction string duet does is deflect attention away from the reality that Magic Arm is a one-man band. Singer/songwriter Marc Rigelsford plays all the instruments, and while our 21st-century ears are fine with that in a setting of layered electronics and guitars, a one-person project is somehow the last thing one suspects when hearing two stringed instruments playing together.

Following the string pre-introduction, the song acquires a nostalgic pulse when the piano and percussion join in at 0:30 (you may hear some “Eleanor Rigby” in this, and maybe some “Alone Again Or”), and achieves liftoff with the arrival of the bass at 0:51 (a textbook example of how significant the bottom that the bass provides can be in a rock song). Rigelsford sings the verse with a thin, slightly processed voice, somewhere in that gray area pop singers have staked out between tenor and baritone. The melody moves at half the song’s rate and feels snippetty as it tracks generally downward. With the chorus (1:17), things change subtly but resolutely—the melody doubles its pace and Rigelsford’s voice, at a slightly higher register, seems rounder and warmer (as he sings “Is this the right way now?”). I can’t really describe it or explain it, can’t put my finger exactly on the hook, but it’s definitely in here; this is where the song fully sells itself to me. Listen to how the strings nuzzle their way back into the mix at this point; listen too to the synthesizer loops and see if you can figure out exactly how Rigelsford has so deftly combined acoustic and electronic sounds here. Hat tip also to the Herb Alpert-y trumpet lines (1:49), which take a turn towards the Bacharachian when they reemerge in the instrumental coda (4:00).

“Put Your Collar Up” originally came out on an EP Magic Arm released in August, but is making the rounds as a free and legal download now in advance of the album Images Rolling, Magic Arm’s second full-length release, due out in June. You can download it here, or go to the SoundCloud page and spare me a wee bit of bandwidth.

Free and legal MP3: Mincer Ray (multinational trio, crunchy neo-alt-rock)

The sound is rough and dirty, with that air of tumbled-together crunchiness and ramshackle singing that we often get in this particular sonic arena.

“Franki Jo” – Mincer Ray

One of the coolest things the original “alternative rock” movement of the middle ’80s did was link the DIY ethics and lo-fi sound of garage rock with hi-fi artistic pretensions introduced to rock’n’roll by the Beatles, the Beach Boys, and (let’s not leave them out, as too many do) the Kinks. It’s a tricky balancing act—music of this nature can become too precious and/or too muddy for its own good—but an engaging enough aspiration to remain alive lo these 30 years later. At its best, this lineage has given birth to bands with an impressive, maybe even unprecedented breadth to their sound (think Yo La Tengo, perhaps the proto-band of whatever you actually want to call this stuff), because the foundational idea was never about one particular kind of song in the first place, and the attachment to sonic basics never actually required shoddy recording standards.

Enter “Franki Jo,” from the trio Mincer Ray, whose very name clues us in to the band’s ancestry (“Mincer Ray” is a song from Guided By Voices’ alt-rock classic Bee Thousand). The sound is rough and dirty, with that air of tumbled-together crunchiness and ramshackle singing that we often get in this particular sonic arena. But the song is hardly as slapdash as the vibe suggests. This is in truth a well-crafted song, with touches that are engaging and, often, slyly humorous—from the the heard-only-once pre-chorus (0:45) to the shifting verse melody (i.e., the second verse is not precisely the same as the first) to the extended “oo”-ing in the background in the second verse to the satisfying, two-part coda (2:48, 3:11). The song’s underlying riff (what we hear first at 0:04) is at once primal and slightly complicated, with its rushed, four-note descent, climaxing off the main beat; and after it asserts itself, it doesn’t overstay its welcome, if only because there is so much more going on from start to finish. (Think how different those old garage-rock songs were, which were often all riff, and little song.) Don’t miss as well the appearance of some spiffy chords and unexpected chord changes along the way.

Mincer Ray is a Berlin-based band of expats, comprised of Americans Graham McCarthy and Sean Anderson and Brazilian Acácio Do Conto, known as Cate (pronounced Ka-Chee). Ray Mincer, the debut full-length, came out last year. “Franki Jo” is the lead track on the EP A Magnate’s Reach, officially coming out at the end of May. You can listen and purchase via Bandcamp. Note also that if you download the song via SoundCloud, you can have the song as a .wav file, if you like higher-quality downloads.

Free and legal MP3: Graham MacRae (ambling ballad w/ bygone air)

The atmosphere of the song implies pronouncement, but the words themselves offer mostly bewilderment.

“Wait” – Graham MacRae

An ambling ballad, seemingly from another era, with something simultaneously assertive and vulnerable about it. The Los Angeles-based MacRae has a resonant if trembly baritone; singing about a breakdown of communication, his lyrics sound more like things that are spoken than are sung, an impression amplified by the erratic way the lines sometimes scan with the melody. The accompaniment is simple, almost homely, but forceful—a strummed acoustic guitar, a bottom-heavy drum kit, a finger-picked electric guitar. The message here is: I am a plainspoken man, singing a plainspoken song.

Well, if only. Listen carefully and see how the words unfold with the faulty momentum of a heat-of-the-moment exchange. The atmosphere of the song implies pronouncement, but the words themselves offer mostly bewilderment. First, it’s: “Wait/I’m coming this way/With one thing left to say to you”; soon, it’s: “Wait/You can’t leave on that note/Why must you speak in constant code?”; in conclusion it’s “Hey/I don’t know/These are age-old questions.” Those three lines together are so much the crux of the song that rest of the words are basically false trails, communicating foundering without focus. Any spurned lover impelled to use the word “egregious” in a sentence—never mind a song!—has his head spun around too much to be convincing.

Dundrearies is MacRae’s second full-length album, following up his 2008 self-titled debut. The word dundrearies, you might not know, refers to a style of long, bushy sideburns or muttonchop whiskers and is taken from the character Lord Dundreary in a 19th-century play called Our American Cousin, best known to history as the play Abraham Lincoln was watching when assassinated in 1865.

Free and legal MP3: Björk (for those who overlooked Biophilia)

A slightly unruly swell of female voices provides the ether in which this song expands, while the lyrics offer an endearing sequence of creation stories, the Big Bang merely one among them.

“Cosmogony” – Björk

I’ll admit, I overlooked Biophilia too, when initially released. I didn’t have an iPad at the time (2011), and have always been so wary of “mix it yourself” scenarios (I pay to hear the artist’s work, not my own) that I let myself forget that underneath this grand interactive/multimedia project was still a new Björk album. Finally, I went and listened to it late last year, and, well…wow. Not easy listening, but incredible listening—although as a full album experience, probably not for everyone (example: three of the songs are in 17/8 time). To my ears, she has bridged the worlds of “composition” and “pop” with singular mastery, unifying the worlds of the electronic and the organic in the process. So unique, creative, and determined an artist is Björk she even oversaw the invention of new instruments for the album.

While hardly a standard pop song, “Cosmogony” is one of the lovelier, more immediately welcoming pieces on the album. A slightly unruly swell of female voices provides the ether in which this song expands, while the lyrics offer an endearing sequence of creation stories, the Big Bang merely one among them. Through some alchemical combination of music and voice and lyric and sound, Björk manages to draw a large enough circle of life with this song to contain even the apparent polarities of science and magic, giving simultaneous context both to the limits of our knowledge and to the beauty of our spirits. The song moves me so deeply I feel unequipped to tease it apart, but for three tiny instructions/clarifications. First, what she’s saying at the beginning of each verse (and there is no chorus) is: “Heaven, heaven’s bodies/Whirl around me/Make me wonder.” When listening, I could not discern the word “bodies” in there; I finally looked up the lyrics. Second, listen to how she pronounces the word “egg” at 1:46. Lastly, I love her voice so much I even love how she breathes (see 1:05, after “cunning mate”). When Björk is on her game, as here, her song/compositions are so ripe with vitality that they burst with pleasure both vertically (listening to how, at any given moment, the layers interact and communicate to us) and horizontally—listening to how any one of these layers is itself a rich experience (as, for instance, are the aforementioned backing vocals; likewise the evocative, nearly miraculous bass playing).

“Cosmogony” is one of many viscerally artful and luminous songs on the underrated Biophilia. I eventually did get an iPad, and the Biophilia app, but nothing I could do while interacting with it introduced me to the glory of the music better than simply sitting and listening to it. Which, stupidly, I didn’t do for a long time. I mean to take nothing away from Björk’s impressive vision—the original Biophilia project encompassed not just the song/apps, but also a web site, a documentary, and a series of live performances, including educational workshops for kids. But I kind of recommend just listening to the thing. I’m not exactly sure when this “Cosmogony” free and legal MP3 went online at Epitonic, but I only recently discovered it there, and so, better late than never, here you are.

Free and legal MP3: Young Hunting (moody & dramatic, w/ potent drumming)

Minor-key gravitas and powerfully succinct drumming drive us all the way home.

“Baby’s First Steps” – Young Hunting

Pretty great introduction to this one, yes? Some songs just wrap you up in them right away. Bonus points here for brevity: we get the tightly coordinated, rhythmic interplay between lower-register, minor-key guitar arpeggios and a pulse-like tom tom for all of about 10 seconds; then come the vocals. All too many songs hang onto notably less interesting instrumental motifs for a lot longer before deciding to get started.

“Baby’s First Steps” is a nicely dramatic song in general, with its minor-key gravitas and apparently chorus-free structure—we get a wordless vocal section in between each verse until, after the third verse, we are finally delivered the chorus. (Delayed gratification is an under-utilized pop music tool.) But what lies at the heart of the song’s drama is the drumming, which is minimal, atmospheric, and potent. Launched on the juxtaposition of a steady yet stuttering rhythm, the song somehow seems to move faster than its own beat, if that makes any sense (it might not). This central sonic paradox feeds a number of related contradictions: the song feels at once smooth and itchy, calm and ominous, moody and defiant. The drumming is incredibly succinct; most of the drum kit remains unused for most of the song—we get one cymbal bash at 1:02, another at 1:13, but then we’re back to the tom, now with a purposeful shaker of some sort anchoring the relentless beat. Cymbals don’t enter regularly until the two-minute mark, when the drummer finally opens up a bit, but we still don’t get anything that feels like “normal” rock’n’roll drumming until two-thirds of the way through the song. This is also when the guitars move at last towards the front of the mix, but we have to wait even longer, until the last 30 seconds, for the (very effective) guitar solo. That’s discipline, baby.

Young Hunting is a five-piece band from Los Angeles. “Baby’s First Steps” is a song from the band’s debut full-length album, Hazel, slated for a June release on Oakland-based Gold Robot Records. The band previously put out a seven-inch single in 2010. Thanks to Gold Robot for the MP3.