This Week’s Finds: Aug. 19-Sept. 1 (Iron & Wine, plus 5 MP3s w/out reviews)

The Fingertips Home Office will be closed between August 19 and Sept. 3. To avoid leaving everyone empty-handed for two weeks, I’m offering you one reviewed MP3, plus a list of five others I’ve been listening to lately. Any one of these—or none of them—may yet end up as a TWF pick; see what you think if you have the time to check them out.

“Boy With a Coin” – Iron & Wine

As Sam Beam continues to flesh out his homespun sound, he sounds better and better, to me. The strong, sure acoustic-guitar rhythm propels “Boy With a Coin,” but the electric and percussive accents—including hypnotic handclaps—add so much texture and substance that this right away feels like far more than standard singer/songwriter fare. I particularly like the blurty punctuations the electric guitar begins to make at around 1:18, and how they subsequently lead to a marvelous instrumental break beginning around 1:32. The tightly harmonized female backing vocals are another background element that contributes centrally to the alluring vibe. I’m not sure what he’s singing about but the overall effect is mysterious to the point of being outright spiritual, a sense accentuated by the droning electric guitar that haunts the background during the second half of the song. “Boy With a Coin” will be found on The Shepherd’s Dog, Iron and Wine’s third full-length CD, which is due out in September on Sub Pop Records. The MP3 is via Better Propaganda.

Vacation Special: five MP3s, minus reviews:
“Nothing Burns Like Bridges” – Penny Century
“Setting Fire to Sleepy Towns” – the Sleeping Years
“For Science Fiction” – Maritime
“From a Tower” – Love Like Fire
“100 Days, 100 Nights” – Sharon Jones & the Dap Kings

As noted, you may yet read about one or more of these in an upcoming TWF update. In any case, all are worth hearing. “This Week’s Finds” will resume in its regular guise on Tuesday, September 4.


Reaction to “The future (or not) of the album”

A discerning few of you may have noticed over time that Fingertips does not offer “comments” sections in any way, shape, or form. To explain that particular quirk would probably take its own “Commentary” essay (and watch out, I’m thinking of writing it); suffice it to say that I am very interested in what people have to say, but I’m not interested in publishing quickie reactions from random visitors–which often turn into their own conversations–on an equal footing with carefully thought-out essays. Just because 99% of all web sites do this doesn’t mean it makes sense.

That said, as this essay (posted here originally on Aug. 2 and Aug. 3) has indeed prompted a number of thoughtful responses, I was moved to give some space to some of them, here–both on the web page with the original essay and here on the blog.

Mary Ann Farley, a talented singer/songwriter (and painter) in her own right, writes to mention an excellent point I completely overlooked:

One thing I loved about the vinyl disc was that it had two sides. When I made both of my CDs, neithier one cracking 40 minutes (My Life of Crime came in at 37), I felt like even that amount of time was too long a stretch for someone to sit and listen to. I worried that the songs further down the list wouldn’t get listened to as much, even though they were just as good and placed there for a reason. And it seems I was right.

Just from anecdotal conversations, people tend to talk about the earlier songs on my discs. One friend said he found the music so dense (in a good way) both lyrically and musically, that he could only listen to a few songs at a time in order to digest it.

When I used to listen to vinyl records, I felt like there were two tiny worlds, one on each side, and the splitting in half of the entire work helped me get to know an album intimately. That experience, as you say, is just gone now, never to return, and I miss it.

Visitor Courtney brings up another excellent point that I missed:

Speaking for myself only, I can tell you why the CD changed albums forever for me: Because they make it so easy to skip a song. Records and tapes made it (comparatively) labor intensive to change to the next track. So I sat in my car or my room and learned to appreciate a song that I might initially have disliked, because I was too lazy to skip past it. I was forced to listen to the album in its entirety and to give in to the flow the artist intended (so that even years later, I would always expect track 4 to follow track 3 even when hearing that song on the radio).

I can name only a handful of albums that I have listened to that way since the introduction of CDs. The siren call of that forward button makes it SO easy to disregard a song that doesn’t grab you immediately. A song you might learn to love if you gave it a chance.

Yes, absolutely, a crucial point. I didn’t think of it in part because I never developed the habit, somehow. To this day I rarely if ever use the “next track” button; I forget it’s even there, I feel rather sheepish in admitting.

Courtney notes that the iPod has aggravated the problem:

Now I don’t even pretend to listen to an album as a whole. It gets dumped into my library and I listen to it when it finally pops up in shuffle mode.

Talk about breaking the spell of the album! This reality didn’t occur to me either, so thanks to Courtney for bringing that up. I didn’t think of it because of another idiosyncrasy of mine–namely, I do not by default upload CDs automatically into iTunes; I pick and choose and only put songs in my library that I like. This does require a bit of familiarity with the album on the one hand, but on the other hand it obviously results in me dismantling the album and never really hearing it again either. So, different approach, same results.

Visitor Chris writes in to point out that my quick summary of the album’s rise in the mid-’60s overlooked the fact that jazz artists were most definitely recording albums as “cohesive musical statements” back in the ’50s. Absolutely true, and I might have made it clearer that I was grounding the entire argument in the pop world. Still, this makes me wonder why the likes of Brian Wilson or the Beatles or any other thoughtful pop musicians of the day hadn’t already looked to the jazz world for inspiration on the matter.

Chris also notes, rightly, that even as the album focus grew through the ’60s and into the ’70s and ’80s, there always remained a reasonably strong concurrent focus on songs and singles on the pop side of things. Finally, he observes that while things have changed over the last generation, he does not see the album dying out any time soon:

I think maybe the cd was an agent in the trend away from the great rock albums of the 70s, but a focus on albums is still quite common in many realms of music. I keep encountering great new albums in metal, jazz, country, and rock music. I’m actually surprised that the album form is still doing so well despite all the pressures against it. I think there is hope that artists will continue to want to put the effort into creating albums and that dedicated listeners will still want to hear them.

Lucas Jensen, on the other hand, notes that there are genres of music that might do better to abandon the album format entirely:

Wouldn’t a lot of R&B/rap artists be better if they didn’t have to make or be judged by albums? I love Beyonce for a song or two but not a record because I think her singles are tops.

Lucas, who promotes indie artists for the Athens, Ga.-based Team Clermont, then wonders if the shift to digital distribution isn’t damaging music in a way that goes deeper and further than merely killing off the idea of the record album:

Moving music away from the physical realm hasn’t been properly addressed philosophically yet in my eye, but I think something is being lost in terms of permanence–when music is easily tradeable and deleteable it will become disposable. Someone’s year of hard work goes down the drain because you didn’t like the way it sounded at the beginning and deleted it.

I agree with this idea that lacking a physical form renders music more disposable, to the harm of artist and listener alike, and definitely to the detriment of the pop music album such as it used to exist much more commonly. It’s worth noting that in our digital age you don’t even have to delete a song literally to delete it effectively–bringing us back to Courtney’s observations about how the “next track” button often leads her to ignore a track for good simply because it didn’t grab her quickly enough.

More responses that add to the conversation will be included here as they come in.

This Week’s Finds: August 12-18 (Portugal. The Man, Eulogies, Joe Henry)

“Shade” – Portugal. The Man

While I don’t think much of the band name–inexplicable punctuation is a pet peeve–I’m finding this slinky, vigorous, genre-resistant song has etched itself slowly but steadily into whatever part of my mind that’s responsible for making songs stick in it. There’s something prog-rock-y about it–the fairy-tale-like guitar riff that opens the piece, for instance–as well as something more Led Zeppelin-y in lead singer John Gourley’s Plant-like yowl and Page-like guitar heaviness. Those synthesized strings floating in from above, and the band’s gift for unexpected, rhythmic melody? That’s a bit of Radiohead, perhaps. At the same time, the drum sounds are so up front and organic that it puts me in the mind of some classic rock track or another even as the overall vibe is good old ’00s indie rock. All in all an attractive and successful stew of sounds and vibe from this young trio from the Northwest. Gourley and bassist Zach Carothers grew up together in Alaska, of all places; they are based now in Portland, Oregon, which is drummer Jason Sechrist’s hometown. “Shade” is from the band’s CD Church Mouth, which was released last month on Fearless Records. The MP3 is via Spinner, the AOL indie music blog.


“One Man” – Eulogies

Listen to how “One Man” plays with us pace-wise. The melody proceeds in an unhurried way, very much in the range of what is (too often) called a “midtempo rocker” (Google that phrase and it comes up 10,000 times; two of ’em right here, I must add, in the spirit of full disclosure). But the rhythm section chugs along in double time, creating a briskness and vibrancy the famous midtempo rocker often lacks. Eulogies is a trio featuring the singer/songwriter Peter Walker (previously featured here in April 2006); the band in fact came spontaneously into existence as Walker realized on his last tour how well he and the two musicians playing with him were jelling. I was impressed last year with Walker’s sure touch as both a singer and songwriter, and am again this time around. I like the subtle but evocative hooks he has going in the chorus–first, to me, just the marvelous way his falsetto bends a bit before settling on the word “I” (and what a great, yearning note that is, too); second, how the melody deftly centers itself between the beats, creating this wonderful, bittersweet sense of movement. A bonus: the lyrics display the same subtle power. Walker sings: “I learned something/In the nick of time/I’m only one man”–and while the song doesn’t reveal enough detail to know exactly what he learned and why it was just in time, the wistful atmosphere suggests a complex sort of heartache, and a good news/bad news type of education. “One Man” is from Eulogies’ self-titled debut CD, due out in September on Dangerbird Records. The MP3 is via the Dangerbird site. Thanks to Largehearted Boy for the lead.



“Time is a Lion” – Joe Henry

Joe Henry has one of those really familiar-sounding voices for a guy who doesn’t get a whole lot of exposure in the scheme of things. Part of the lack of widespread exposure has to do with the fact that he’s spent a fair amount of time singing songs with that voice that have been purposefully arcane, oddly cluttered, and more than a little, shall we say, difficult. He has been quoted as calling his 2003 release Tiny Voices “intentionally chaotic,” saying that it was “like a Bunuel film shown on the side of a building during a rain storm.” This time around, lo and behold, he has decided to aim for clarity and if this song is any indication, he’s at least part of the way there. “Time is a Lion” has the sort of barroom swing the likes of which labelmate Tom Waits might concoct, but where Waits tends to deconstruct and croak, and Henry previously might have piled on sounds and squeezed away the melody, he this time opts for a surface-level smoothness, even as the percussion beats out a distinctive pulse and the piano alternates between music hall chords and jazzy washes. Lyrically Henry is full of resonant pronouncements and abstract narrative of the sort Bob Dylan has specialized in since the late ’90s. Good stuff. “Time is a Lion” is from Henry’s forthcoming Civilians CD, to be released next month on Anti Records. MP3 via the Anti web site.

THIS WEEK’S FINDS
Aug. 5-11

“Crown Victoria” – Robbers on High Street
An unmistakeable Kinks-iness animates this boppy little nugget–the opening clearly echoes “A Well Respected Man”–but that’s just the beginning of “Crown Victoria”‘s charms. Working with noted Italian film composer Daniele Luppi, who had previously never worked as a producer on a rock album, the NYC-based trio Robbers on High Street have found their British Invasion-y ’60s sound enhanced with a Spaghetti Western-y ’60s sound, and damn if it doesn’t work rather well, if only because in retrospect all those sounds kind of blend together historically anyway. So, the slowly-strummed chord that starts the song happens not on an acoustic guitar (as per the Kinks) but on a twangy, throbbing guitar straight out of Ennio Morricone. (An acoustic guitar soon joins in, however.) The piercing organ that chimes in around 0:38? Spaghetti time again. All this insider homage-ing will get us only so far, however. To me, the song takes off when we get to the chorus, which has a swingy, winning melody, deftly enhanced when the organ begins to add some swoopy, ascending lines below. Keep an ear open for the bass next, which plays some acrobatic lines itself when the second verse comes along. And stay tuned for the wacky (but still somehow retro-y) duck-like sounds (maybe they’re just vocals? hard to say) in the instrumental coda. “Crown Victoria” is from the CD Grand Animals, released in July on New Line Records. The MP3 is courtesy of New Line.

“Throwin’ Shapes” – Minus the Bear
Bright, brisk, and determined, this song is in the mix this week not just because I like it but because it sounds exactly right between its two TWF-mates. And I can’t say why that is, at all. I do know that I particularly enjoy the interplay between Jake Snider’s yearning vocal style and the painterly guitar licks brushed around him by the gifted David Knudson. I am also captivated by the comfortable but unplaceable soundscape here–although the opening recalls Haircut One Hundred (I kid you not), there’s something in the blend of beat and arrangement that sounds neither like typical ’00s indie rock nor like the music of any particular past era. It’s easy enough to do that if you’re just trying to be weird, but this Seattle quintet manages to sound at once fresh and familiar. “Throwin’ Shapes” is a song off the band’s Planet of Ice CD, scheduled for release later this month on Suicide Squeeze Records. The MP3 is via Suicide Squeeze.

“Escape City Scrapers” – Mono in VCF
Another quintet from Washington State; very different music. The sublime mystery of this song is how something that threatens at first to be syrupy and too retro for its own good ends up, rather quickly, sounding so pure and vibrant. Clearly a lot of credit here belongs to singer Kim Miller (such a substantive and alluring voice!), but let’s pay attention as well to the grand aural structure that supports her reverb-laced vocals, which is nothing less than a creamy orchestral souffle that knowingly marries Phil Spector-ish majesty with darker James Bond-ian swank. Either way, yes, we’re back in the ’60s, inspiration-wise. At the same time, this is no slavish tribute. Mono in VCF understands its influences (the band’s name is a nod towards Spector, who recorded in mono; VCF stands for voltage-controlled filter, which is a Moog synthesizer gizmo) but transcends them through a willingness to be creative on its own terms as well. Although the echoey strings and occasional drum bashes help build a sort of “wall of sound” (Spector’s famous production effect), the band here steers clear of both the “Phil Spector beat” (think “Be My Baby”) and any girl-group-style pop tune; what we get instead is a snakey, spy-movie melody, some wonderful piano interjections, and grand washes of synthesizers that sound maybe like something Portishead might have done if someone took their sampler away. All in all, a sweeping and memorable bit of work from this unsigned (but probably not for long) Tacoma band with but one four-song EP to its name so far. (The debut album is expected either late this year or early next.) The MP3 is via the band’s site; thanks again to the 3hive gang for the head’s up.


The future (or not) of the album
a Fingertips commentary
part 2 (see 8/2 for part 1)

The CD broke the spell of the record album.

Interestingly how we all kind of intuited this before long, even if it was nothing we thought to articulate. The use of the word “album” diminished as the CD era progressed. Instead of saying, “Did you get the new Radiohead album?” you maybe, more often, said, “Did you get the new Radiohead CD?”

Bonus tracks were but the first step. Once music fans had pretty much abandoned the vinyl LP, by the early ’90s, the industry found itself released once and for all from the time restriction of the vinyl LP. After which point albums, sure enough, became longer. Quite a bit longer.

While there are certainly individual exceptions to the rule, as a whole, the music industry never makes decisions based on quality, and I never expect it to. To wonder whether longer albums were better albums, qualitatively, was besides the point: longer albums were better quantitatively so longer albums by and large became the rule of thumb. I mean, aren’t 16 songs better than 10? Eighteen better than 16? Etcetera.

Price was part of it. I do not doubt for a minute that industry honchos figured they could push $17, $18, and $19 CDs onto the music-buying public more easily if the CDs came with 16 or 18 or 20 songs and lasted more than an hour than they could if artists had only 10 or 12 songs and only 40 minutes of music.

It’s one thing to add songs to make an album last 60 minutes instead of 40 minutes. It’s a whole other thing to make those 20 minutes really good, not to mention fit in with the other 40. I don’t know about you, but my CD collection is chock full of discs that would be truly outstanding if they were 35 or 40 minutes, but seem kind of average at 65 minutes. (Of course, what do we do with these CDs, with our iPods? We upload only the good 35 or 40 minutes, don’t we.)

I’m not here to argue with the industry philosophically. These were business people making business decisions. I am here to point out, however, that a combination of technological capacity and business acumen (or not) fostered an age of 60-plus-minute albums that absolutely and positively led to the demise of the very thing that was being marketed. (Ironic, ain’t it?)

Thing is, albums really do have an appropriate length. With the benefit, again, of historical hindsight, it’s clear that a vinyl LP-length album tends to work as a listening experience in a way that a CD-length album does not.

There is nothing magical about this; it’s kind of just ergonomics, in a way: how long it feels comfortable to sit and focus on one somewhat connected piece of music. And the fact that the vinyl LP works for this and the CD doesn’t is rather accidental, since neither the CD nor the vinyl LP were developed with pop albums particularly in mind.

Originally used for classical recordings, long-playing records, when they finally made their way to the market in a pop music setting, were nothing more than the latest collection of a performer’s songs, with no particular rhyme or reason to look and feel, or even sequencing. It took some 10 to 15 years between the widespread emergence of the 33 1/3 LP in the early to mid-1950s and the arrival of record albums in the artistic sense of the word–that is, the album as some sort of coherent (though not necessarily thematic) work of art

Circumstances by then had arisen that prompted recording artists to look at the LP as a larger-scale canvas on which to paint their musical ideas. It’s well-known that the Beach Boys’ Brian Wilson was inspired by the Beatles 1965 album Rubber Soul to produce Pet Sounds, released in 1966, which in turn inspired 1967’s Sgt. Pepper, after which the floodgates opened.

For the next couple of decades, cultural and technological circumstances combined to keep the vinyl album at the center of the pop music market, during which a great majority of pop music’s classic albums were produced.

But in the latter half of the album’s heyday, along came the CD, which took its own 10 to 15 years to change how music was being conveyed to music buyers. And here’s me in 2007 finally realizing that however many great songs there are out there these days there are oddly few great albums.

Leading me to realize that it is the CD, and not the internet, that steered the music industry back to its earlier, pre-Pet Sounds position: record albums in themselves have no artistic integrity as a coherent whole, they’re just a collection of songs for people to buy. Record companies, artists, and music buyers alike have been slowly and steadily over the last 10 to 15 years adjusting their sense of what releasing music is about to the reality of the CD rather than the vinyl LP.

And then the internet came in for the kill.

Because if CDs are just collections of songs for people to buy, and it turns out here in the 21st century that people can, online, buy all the songs they want–or steal them–without buying albums at all, then this is a logical outgrowth of how the music industry began to treat albums on CDs versus albums on vinyl records.

Furthermore, with CDs having stretched albums beyond agreeable length and/or having “bonused” them beyond recognition, it only makes sense that people feel no particular affinity for the collections of songs they’re being sold on CDs now that they can make their own collections of songs–playlists, as they are often called in this online setting.

Re-examining my opening circumstance in light of all this, what does it really mean that I’ve been unable by and large to find albums that I really like? Clearly, as noted at the top, there are no shortage of CDs being released. But with everyone fully adjusted to the CD experience, with the vinyl album experience a quaint relic of the past, I say it’s no coincidence that albums with the spark of that experience in their laser-etched grooves are so hard to come by.

And I have to own up to the fact that my feeling that there aren’t many really good albums these days is no doubt due in part to my own diminished interest in this sort of album, as fostered by the environment I’ve been describing. It’s an odd admission for someone who always thought so highly of albums, or always thought I thought highly of them.

But I’ve been pretty happy with my iTunes library, and shuffling through my odd but engaging assortment of songs on my iPod. Lots and lots of great new songs I’m listening to, I have to tell you. And, yes, of course, the occasional great album. I do not mean to imply by all this that no one is releasing good albums at all.

I hope, still, to post reviews to the Album Bin. Occasionally. And I pledge to myself no longer to worry about not posting.

That said, I have a suspicion that we haven’t heard the last of the album. And if this turns out to be the case, the album’s survival and re-emergence will be grounded in a recognition that the “record album” as often, now, romanticized was a phenomenon born of a time and place and technology and culture that just isn’t coming back. If the album is to have a renaissance someday, it will have to be reinvented–and reinvented in a way that is as inconceivable to us in 2007 as Pet Sounds would have been to Pat Boone fans in 1959. The person or people who accomplish this wondrous task will have themselves grown up listening to CDs. Ironic, ain’t it?

In the interest, at long last, of doing a bit more with this blog beyond posting the three weekly song picks, I’m going occasionally to post some other things here that have gone up on the web site. Commentary pieces make a logical–if lengthy–addition to this blog, so given that I’ve just written a new one, that’s what I’m going to post today. Or, actually, I’m going to post the first half of it here today, and then the second half of it in another few days. So it’s not too much to read at once, basically. If you really can’t wait, there will be a link at the bottom to click to join up with the rest of it on the Fingertips (non-blog) web site. Also, so you know, the full version of the essay has a number of footnotes to click on that I am not bothering to code in here. The essay still works without them.

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The future (or not) of the album
a Fingertips Commentary

A year and a half after unleashing Fingertips onto an unsuspecting public (that was way back in May ’03), I got it in my head that I wanted to augment the MP3 reviews I was doing weekly with an album review section. The Album Bin, accordingly, was born, at the end of 2004.

A page of paragraph-long CD reviews, the Album Bin has sputtered along ever since, with me intermittently pledging to post reviews more regularly, and then that never really happening.

I know that I limited myself by deciding that I would only review albums that I really liked. But I didn’t, at the outset, recognize what a mighty limitation this would become. Because what turns out to have kept me from writing a lot of reviews has been, rather simply, my inability to find many albums that I liked enough to want to write about.

So here’s me, week after week finding song after song that I really love, but month after month hearing a negligible number of albums that get me equally excited. For the longest time I didn’t think about this too carefully, and used this information merely to feel badly that I wasn’t updating the Album Bin very often.

But I finally realized there’s something bigger going on here.

Lots of songs I love, few albums that I love: this sounds in a nutshell like the problem the entire music industry is grappling with. People are buying songs, not albums. And of course there are many who are not buying at all but simply downloading without paying–and not all of these people, alas, are visiting Fingertips and downloading legally.

As a music fan, you may have read an article or two (or five) declaring the album to be more or less dead, if not now then very soon. (Never mind, for the moment, the fact that there are still tons of CDs being released every week.) For proof, everyone points to the latest generation of music fans, who have little to no interest in buying albums in the way that anyone older than 25 or 30 remembers doing, and maybe still does.

So, yes, folks, it’s the internet that has killed the album. Might as well blame Al Gore and be done with it.

Or maybe not. First, there’s the simple point that the album may not, after all, die. The main reason I can find in support of the album’s survival is, to be honest, the fact that so many techno-zealots believe it’s a goner. And techno-zealots are perhaps our single most unreliable prognosticators.

But there’s a second and more complicated point to the story because in many ways, despite the ongoing onslaught of weekly releases, the album is already in serious hibernation. I do not, however, see this as the internet’s fault. With the benefit of hindsight, I can see that the record album was gravely injured by something we all thought at the time was giving it new life–the CD itself.

Maybe we should define our terms here. When people speak of the death of the album, they may be talking about one of two distinct things: the disappearance of physical CDs entirely, replaced by downloadable songs only; or, somewhat more subtly, the end of an era in which pop musicians release songs that are grouped together in some sort of cohesive way, in which the entire work is thought out as a whole and feels, as a listening experience, to be a unit of some sort.

I am not, here, concerned that much with the fate of the physical CD, and I don’t think that’s what most true music fans fret about when talking about the death of the album. They worry, instead, about a musical world in which we are denied the pleasures of pop music presented in a larger format than a single song–a musical world without good albums, basically. Many seem to believe that a lack of a physical product would hasten this day, which is why the two distinct ideas–no CDs on the one hand, no albums on the other–are so intertwined.

To me, however, the ongoing existence, or not, of the physical CD is actually besides the point, because its indisputable existence for the last 25 years has slowly but steadily eroded the idea of the record album as anything that many people care about.

Go back to the basic problem: lots of good songs out there, not a lot of good albums. How did this come about? Not because of iTunes. Because of the CD. Because the CD was actually unsuited to the task of being a record album. To be more precise, the CD as developed and promoted by the music industry became unsuited to the task of being a record album.

Where this story really begins, then, is with the number 74. As developed by Sony, the compact disc had the (weirdly random) capacity of 74 minutes. Vinyl LPs, by contrast, seemed to max out at around 52 minutes.

The CD’s extra-large capacity is something we heard about but might not have noticed much at first. Because when the CD was introduced in 1982, CDs and vinyl LPs had to coexist. Obviously not everyone purchased a CD player right away, meaning that albums had to be produced that fit onto vinyl LPs, despite the CD’s 40 percent greater capacity. The decade would end before the CD established itself as the preemiment medium for recorded music.

In the meantime, however, one of the principal ways the music industry sought to convince music fans to start buying CDs instead of LPs was by re-releasing popular albums with extra songs of one sort of another. These would typically be songs that were recorded at the same time but not ultimately included on the album, or alternate takes and/or live versions of album tracks.

This seemed like a win-win: the record company sells the same album, essentially, twice, while filling up some of the “empty space” on the CD (which by the way maybe helped justify the higher price), and the consumer gets a new version without vinyl pops and scratches and hey with a few extra songs. These so-called “bonus tracks” were many music buyers’ first encounter with the CD’s larger capacity.

Bonus tracks were also the first stake in the heart of the record album as we know it.

A seemingly small issue, adding bonus tracks to an existing album that had been thought through and laid out without them? Definitely, to music buyers newly enamored of the silvery, futuristic CD in those sleek, hard-shell cases. To talk about spoiling artistic integrity seemed, maybe, quaint.

But this became a slippery slope. Bonus tracks were first a kind of clever add-on (sort of). But eventually they led to an important shift. The album was no longer the same as the thing you had in your hand, it was something contained on the thing you had in your hand. The vinyl LP was the album; the CD was just a storage medium containing the album, and maybe other stuff as well.

Packaging furthered the disconnect. A stack of vinyl LPs looks like an array of different items; a stack of CDs looks like a pile of more or less identical things. Storage media. Those of you old enough to remember pre-CD vinyl record albums will remember that some music fans sorely complained about how the digital format, so much smaller than a vinyl LP, took away the sensory and sensual experience of the album as something to hold and read and study. By and large this was seen as an aesthetic issue. But it was more than that, ultimately.

The CD broke the spell of the record album.

* * * * * * *

to be continued……
or, click here to finish reading at the Fingertips web site

This Week’s Finds: July 29-August 4 (Ryan Ferguson, Owen Duff, Super Furry Animals)

“Remission” – Ryan Ferguson

Comfortably incisive from beginning to end, “Remission” is one of those blessed songs with a perfectly balanced feeling between the verse and the chorus. You know how a song can have a great chorus, but the verse is like treading water to get there; or conversely, some songs have a really interesting verse but then the chorus is flavorless. Here the verse is interesting and commanding, and yet leads to—rather than overpowers–the chorus, the brilliance of which is just subtle enough, in turn, not to overshadow the verse. The hidden trick behind all of this here, I think, is the strong working relationship between the words and the music. After that emphatic opening chord sequence—nicely textured with an added xylophone—listen carefully to the lyrics and note not merely the dramatic story line (this does not appear to be another tale of relationship woes, although it might work that way metaphorically) but how uncannily well the words scan with the music–that is, how the rhythm of the music allows the words to be sung exactly how they’re spoken, without putting any stress on odd syllables. All too many pop songwriters write without much sensitivity to how the words will scan; whether accidentally or purposefully, Ferguson—previously in the locally popular San Diego quartet No Knife—emerges in this song as a master. “Remission” is from his first full-length solo CD, Only Trying to Help, set for release next month on Better Looking Records. The MP3 is via the Better Looking site. Thanks to the guys at 3hive for the lead.

“Act of War” – Owen Duff

Electric instruments are not required for a musician to create a sense of drive and urgency, as proven ably by this unsigned Briton, who prefers in fact whenever possible to play an actual piano rather than a keyboard. Although basically an unadorned piano and guitar piece (enhanced with thoughtful sound-touches along the way, however), “Act of War” shimmers with both rhythmic and melodic exuberance, underscored by a refreshing dollop of finesse. It’s common for solo performers on the acoustic guitar to go explosive rhythmically, pounding more than strumming in an effort to prove their—I don’t know: sincerity, musical prowess, emotional depth, who knows. Duff gives us rhythmic depth without pounding, and greatly enhances his offering here with a fetching, pliable melody line, using his delicate, Sufjan-like tenor with unexpected dexterity and gusto. “Act of War” is the opening track from Duff’s seven-song debut EP, called A Tunnel, Closing In, which he released last year. The MP3 is available via his web site.

“Run-Away” – Super Furry Animals

The nutty Welshmen are back, singing in English this time, and kinda sorta just in time to provide hungry American pop fans with what is surely one of the summer of ’07’s spiffiest–albeit nuttiest–summer songs. The fuzzy background sound and Beach Boys-esque melody rockets us straight back to 1965 or so, with a side trip through the Twilight Zone, and our job is to hang on and enjoy the ride. Two keys to this song, to my ears: the two distinct drum patterns (modified Phil Spector beat in the verse; smoother, cymbally pulse in the chorus); and that swoony chorus melody with its wild dips and rises (I love the two notes you hear from about 0:41 to 0:43 in particular–a startling but perfect, Brill Building-y interval). I can’t make out the lyrics too well but the moral of the story is crystal clear: “Those who cry and run away/Live to cry another day.” The Super Furries have been making their loopy, psychedelic-ish pop since 1993. “Run-Away” is a song from Hey Venus!, their eighth CD, which is due out digitally and on vinyl near the end of August on Rough Trade Records. (The album will not be released in the U.S. on CD until 2008, apparently to coincide with the band’s U.S. tour.) Thanks to Gorilla vs. Bear for the head’s up. The MP3 is via Beggars Group, which just last week acquired Rough Trade.

This Week’s Finds: July 22-28 (Maps, The Archibalds, Bat For Lashes)

“Elouise” – Maps

Buzzy, expansive, and richly melodic, “Elouise” is the work of shoegaze-inspired one-man band James Chapman, doing business from his Northampton (UK) home as Maps. But get this: unlike most if not all 21st-century bedroom rockers, Chapman developed his music entirely on a 16-track recorder in his apartment. Meaning he doesn’t use computers. That knowledge will change how you hear this one, as the drones and beats and keyboards which drive the evocative, anthemic “Elouise” were all laid down the old-fashioned way, not manipulated by a laptop. (Note that the strings were added later; the album ended up being produced in Iceland by Valgeir Sigurdsson, who has worked extensively with Sigur Rós and Björk.) I’m loving the chorus in particular, with its simple but memorable descending melody line, and then–I’m a sucker for this move–the addition of those two extra beats in the measure beginning at 1:18 (the lyric when he first mentions “Elouise”). Listen too to how the guitars drop out in the chorus, adding to the lushness of the sound there. Chapman churns out humming, atmospheric music that forces everyone who writes about him to mention My Bloody Valentine, but to my ears this song has a lighter and more accessible feel than, by and large, the music that seminal band produced in its day. “Elouise” is from the CD We Can Create, which was released in the U.S. in June on Mute Records. (In the U.K., the CD came out in May and was last week one of 12 albums placed on the short list for this year’s Mercury Prize.) The MP3 is available via Insound.


“Sinking Ships” – the Archibalds

Friendly, strumming acoustic guitars lead us into a good-natured, back-country rave-up with an unmistakable zydeco flavor, minus the accordion. And lookee here, as unlike as this one is from the Maps song above, the zydeco feel is responsible for one distinct similarity: the measure with the two extra beats, which you can hear here as soon as singer Joey Thompson opens his mouth (at 0:23, as he sings “Hey there, Mister Boll Weevil”). And once Thompson opens his mouth, extra beats or no, I’m hooked–as a singer, he’s got one of those round, personality-laced voices that brings Ray Davies to mind, and as a songwriter he’s got a casual, John Fogerty-like knack for neighborly, classic-sounding melodies. A quartet from Austin, the Archibalds play with the real-time gusto of a band that records live (whether they do or not); “Sinking Ships” is a song from the band’s debut CD, O Camellia, which was released in March, jointly, by Breakfast Mascot Records and Austin’s Superpop Records. The MP3 is courtesy of Breakfast Mascot.


“Horse and I” – Bat For Lashes

And it has inadvertently turned into Mercury Prize week, as Bat For Lashes, like Maps above, is one of the 12 finalists for the U.K.’s Mercury Prize for album of the year, as announced last Tuesday. As with Maps, Bat For Lashes also sounds like the name of a band but is one person–in this case, 27-year-old Natasha Khan. Building off an unadorned, almost awkwardly plain keyboard riff, “Horse and I” unfolds in an unhurried manner. Khan enters, singing, after half a minute; a ghostly synthesizer joins in shortly thereafter; and then, intriguingly, about halfway through, a military drumbeat takes on the rhythm of the keyboard riff, which now makes further sense in retrospect. Khan by the way has a marvelous voice–breathy and vulnerable in the lower register, achy-urgent in the upper register. The song has a fairy-tale vibe (horses, woods, destiny, etc.) that might be a bit precious were it not for the formidability of the music and arrangement. I’m especially taken by the juxtaposition of the other-worldly synthesizer and the martial beat–it’s a combination I can’t recall hearing simultaneously before (the short duet between the two sounds at 1:24 is an oddball highlight here). “Horse and I” is the lead track from the debut Bat For Lashes CD Fur and Gold, which was released last September in the U.K. on Echo Records; its U.S. release is scheduled for next week, on Caroline Records.

This Week’s Finds: July 8-14 (Chris Letcher, Múm, Fourth of July)

“Deep Frieze” – Chris Letcher

Smartly put together and sharply produced, “Deep Frieze” offers a gratifying union of acoustic, electric, and electronic sounds, linked beneath rich, almost choral-like vocalizing. A crisply strummed acoustic guitar lies at the heart of this midtempo rocker, but other rewarding guitar sounds come to fore as well, along with a battery of good-natured knob-twiddly noises. I like how this song feels so ornate without actually wasting a whole lot of aural space: it sounds very layered and yet you can easily, at any point, pick out and label everything you’re hearing—which isn’t often the case when bands aim in this sort of baroque direction. Chris Letcher is a South African musician now based in London, and studying composition at the Royal College of Music, no less. In South Africa, he was part of a successful ’90s band called Urban Creep. “Deep Frieze” is a track from Letcher’s CD Frieze, which was released in March on the Sheer/2 Feet label. (In South Africa, it was out in November 2006, while in Europe, release is slated for September; globalization in music is sometimes very complicated.)

“Dancing Behind My Eyelids” – Múm

So this one takes a little while to get going: one minute of slow and quiet noodling, 20 seconds of a bit more activity, then a good half minute of engaging rhythm and instrumental melody, leading surely into…well, oops, there’s another 20 seconds of quiet noodling. The singing starts at 2:30, which is bizarrely late, especially in song that’s just about four minutes long. All in all a recipe for the kind of thing I don’t have patience for, and yet in this case, I find myself rather charmed. Why? I’ll tell you: I’m not sure. Maybe it’s the happy tone of the noodly notes—those are very friendly-sounding synthesizers offering that reverie of a duet: the staccato pulse of a bass-like sound below and a chimey companion playing a smeerier sort of pulse up above. A drum at 1:00 breaks the trance and sets up a full-out breakthrough at 1:21, a wonderfully engaging bit of driving but melodic electronics, enlivened by starbursts of synthesizer glissandos. At this point it sounds like everyone’s having so much fun—Múm is seven members strong—that the singers perhaps have forgotten their cues. There is a reprise of the noodly part with a friendly animal sort of noise added to the mix. Then the singing, and it’s a strong ascending melody line we get from two singers who are not in fact the baby-voiced Kristín Valtýsdóttir, who has left the band. The melody line repeats four times, with—still!—instrumental breaks and we’re through. Is this even a song? Not sure. But it will be on the Icelandic band’s mysterious new CD, Go Go Smear the Poison Ivy, scheduled for release in September on Fat Cat Records. MP3 via Pitchfork.

“She’s In Love” – Fourth of July

From semi-avant-garde not-quite-song-writing we go to pure easygoing indie pop. What makes this a killer track, however, is that underneath the goofy-peppy sound is a genuinely poignant tale of love gone awry. So yes we’re in the land of “happy sound, sad lyrics” that is one of pop music’s special gifts to the world. The endearing, vaguely sloppy vibe here belies the precision of the song, from the well-placed, more interesting than you might realize “ba ba ba” background vocals to the short-story-like quality of the lyrics. Singer/songwriter Brendan Hangauer utilizes the slick trick of opening and closing the song with the same lines: “She’s in love with a photograph/And the idea things could last/Goddamn, I never thought of that”; and when you hear it the second time your heart kind of breaks. Fourth of July is a six-piece band from Lawrence, Kansas that came to life in 2001 as Hangauer’s solo project. “She’s In Love” is from the CD Fourth of July On the Plains, released in June on Range Life Records. The MP3 can be found on Lawrence.com.

This Week’s Finds: July 1-7 (Jesca Hoop, John Vanderslice, The Sheds)

“Intelligentactile 101” – Jesca Hoop

There’s a Björk-like friskiness enlivening this song, from its invented-word title to Hoop’s somewhat pixie-ish delivery. At the same time, this Northern California-born, LA-based singer/songwriter exudes a laid-back cool that’s far more akin to a young Rickie Lee Jones than to the Icelandic wonder (Björk may be a lot of things but laid back isn’t really one of them). “Intelligentactile 101” springs along with a finger-tapping boppiness, and in the boppy course of things Hoop rather casually gives us a generous array of melodies (there seem to be four distinct sections: verse, bridge, chorus, and something else) to capture her trippy lyrics, along with a winsome assortment of percussive accents, from clacky to tinkly to whirry. The opening melody has a particularly lovely lilt to it, but she slyly withholds its full effect until the song is more than half over: listen to how the same melody that opens the song (0:10-0:16) sounds later on, fleshed out ever so slightly with an elastic bass and spacey keyboard, enough to open our ears to the chord progression that lay latent beneath the tune. “Intelligentactile 101” is a song from Hoop’s forthcoming debut CD, Kismet, scheduled for a September release on 3Entertainment/Red Ink, a Columbia imprint.

“White Dove” – John Vanderslice

Another slice of harsh reality served up with passion, precision, and beauty by one of his generation’s leading, if under-publicized, singer/songwriters. Driven by fuzzed-out guitars, “White Dove” nevertheless leaves a lot of aural space in and around its attack; there are quiet sections, the acoustic guitar remains central throughout, and there are moments where the silence in between instruments is used as its own sort of beat. This approach strikes me as the musical equivalent of a movie that terrifies more for what it doesn’t show than for what it does. Here, a horrible story from the past is retold, along with its lingering effect on the present, suggesting the pointlessness of expecting anything resembling peace here in the human realm and yet also, I think, the necessity of holding on to that dream. Or maybe that’s just my personal addition. “White Dove” is a song from his new CD, Emerald City, due out later this month on Barsuk Records. (Emerald City by the way is his caustic way of referring to the Green Zone in Baghdad; no, we’re not in Kansas anymore.) MP3 via the Barsuk site.

“Rootwings” – the Sheds

Popular music’s internet age has given birth to a whole heck of a lot of indie-rock duos—the duo being the most DIY-ish way of being a band, I suppose (less equipment, fewer people to pay, etc.). What they tend to possess in spirit and productivity, however, duos seem commonly to lack in songwriting acumen—a fact which makes Burlington, Kentucky’s premier contribution to the field of indie-rock duos so unexpectedly wonderful. The Sheds feature a croony but homespuny vocalist, simple but personable arrangements, and truly rewarding music and lyrics. Also, female backing vocals when you least expect it. “Rootwings” is both short and truly sweet, and one of a number of nice songs from the band’s latest CD You’ve Got a Light, which was self-released this spring and available, in its entirety, via free and legal download on the band’s web site.