Fingertips

Free and legal MP3: Swaying Wires

Finnish Americana

“Nowhere” – Swaying Wires

Melancholy yet upbeat folk rock, “Nowhere” is buoyed by graceful melodies and an even more graceful vocalist, in front woman Tina Karkinen. It is in fact the combination of the rough-edged electric guitar work and Karkinen’s easeful vocal tone that gives me such a good feeling as this song unfolds, and accentuates the impression that there is not any one thing that makes “Nowhere” stand out but rather its nuanced elements working together.

And while there is something of the archetypal lonely West in the air, there’s also something unsettled about this song, something that doesn’t want to be entirely constrained within the strummy conventions of so-called Americana. Swaying Wires is from Finland, for one thing, so their take on this kind of music is legitimately unconventional. If you listen closely you’ll see that the song builds mutably—there are wordless breaks between verses and then the verses themselves change musically with each iteration. One of the song’s most intriguing vagaries happens in the chorus, which on the one hand is rooted in a melody that circles with a gratifying momentum, but on the other hand goes harmonically off the rails in two different places—first in a subtle way (at 2:04; listen to the underlying chord around “made to last”) and then more unsettlingly (at 2:20, in and around the phrase “in a silent movie”). The juxtaposition of Karkinen’s cozy voice and these moments of quiet but willful dissonance is mysterious and persuasive, underscored by that hammering electric guitar. The song compels (and rewards) repeated listens.

Swaying Wires is a quartet from Turku, on the southwest coast, Finland’s oldest city and former capital. You’ll find “Nowhere” on I Left a House Burning, the band’s second album, which was released in January on the Brighton, UK-based indie label Battle Worldwide. MP3 via Insomnia Radio.

Free and legal MP3: Shiv Hurrah (gentle, stately DIY)

Shiv Hurrah mastermind David Bechle has a hint of songwriting genius about him, as far as I can tell.

“Girl in the Snow” – Shiv Hurrah

So this one is gentle in a grounded way that most quiet lo-fi songs don’t tend to be; too often gentle in lo-fi land tends towards the inordinately twee. And not that there’s anything wrong with that, but I am super impressed with the poise and sense of purpose on display here. And most of all with the melodic wallop. Shiv Hurrah mastermind David Bechle has a hint of songwriting genius about him, as far as I can tell. (His song “Oh Oh Oh,” featured here in 2010, was a brilliant diamond in the rough, offering up one of the best melodies I’ve yet encountered here on Fingertips.)

“Girl in the Snow”‘s simple, palpable power is reinforced by the odd but decisive choice to bring a clarinet into the mix. Even more oddly, it’s an instrument that Bechle himself had never played but in this case borrowed an instrument, learned the part, and played it himself anyway. I am far more in awe of that than I will ever be by a beat someone makes, but that’s just me being old-school again.

When last we left the Rochester, NY-based Shiv Hurrah in 2010 they were kind-of/sort-of a band, but in the years since the project has become Bechle’s baby, even as his former band mates remain good friends and are intermittently available for ideas and input. The new Shiv Hurrah album is Bechle’s second; it’s called Antiquarios and is available to listen to and purchase via Bandcamp. And, if you must know, because I needed to, the project name is a play on the renowned Bollywood songwriting tandem of Shivkumar Sharma and Hariprasad Chaurasia, who are known as Shiv-Hari.

Thanks to the band (i.e., David) for the MP3.

Free and legal MP3: Cotton Mather (lost-lost Texas power pop band returns)

Here’s Cotton Mather’s front man Robert Harrison asking the musical question: is it still power pop when the hooks are this subtle and/or convoluted?

“The Book of Too Late Changes” – Cotton Mather

As regular readers of Fingertips know, I have an eternal musical soft spot for the elusive genre of power pop. My devotion is rooted in the genre’s unabashed melodicism, drive, and, for lack of a better word, song-iness—which is to say power pop doesn’t strain against the conventions of songwriting, it embraces them. As such, power pop has long offered me a safe space from which to observe forces at work on our musical culture that are far beyond any one person’s control. As I see it, music’s long-term destiny as a mass medium has involved a concurrent movement towards compositional simplification on the one hand (think Brahms to Beatles to Bieber) and movement away from beauty on the other (think of classical music’s embrace of atonality, and rock’n’roll’s evolution into beat-driven performance—which can of course be wonderful and compelling but does not usually care about or aim for the value of loveliness). Power pop, of all genres, seems to me to say: “This may not be complicated but it’s still gorgeous.” Oh and you can often dance to it.

But now here’s Cotton Mather’s front man Robert Harrison asking the musical question: is it still power pop when the hooks are this subtle and/or convoluted? Normally power pop is a brisk swatch of ear candy, buoyed by an ineffable sense of depth and yearning. “The Book of Too Late Changes” appears at first to be all angles and incompletions; follow the drumming alone and your head may spin a bit. You will in any case be hard-pressed to sing along. But, I say power pop nonetheless. In fact, I believe “The Book of Too Late Changes” represents an attentive reinvigoration of the genre, with as much punch and drive and melody as your grandfather’s power pop, and yet now with all sorts of tangential twists and turns, with glorious moments and motifs replacing sing-along choruses, all the while embracing the general jangly vibe the genre almost always celebrates. See if you hear what I hear.

Cotton Mather is a Texas band with a semi-legendary history; their 1997 album Kontiki was called “the best album the Beatles never recorded” by The Guardian, in the UK. But the band called it quits without fuss in 2003 (and were featured here on Fingertips that same year). Harrison re-emerged in 2007 at the head of a project called Future Clouds and Radar (likewise featured on Fingertips, in 2008). Prompted by a Kickstarter-funded deluxe re-issue of Kontiki in 2011, Cotton Mather re-formed and played some live gigs, first to support the album then just because. Eventually, Harrison was struck with the improbable idea of recording a 64-song cycle based on the I Ching. “The Book of Too Late Changes” is the first song to emerge from what is envisioned as a multi-record vinyl recording. For the time being, the songs will be released individually as they are recorded.

MP3 via Magnet Magazine.

The heart that sings before it breaks

Eclectic Playlist Series, 3.01 – Jan. 2016

The Eclectic Playlist Series resets again with the new year: all previously played artists are now fair game for the playlists here again. And good thing too, because even though I played David Bowie just last month, I really needed to hear him this month, in the aftermath of our losing this profoundly inspirational artist, and all-around Good Guy. And I wanted in particular to make musical, curational sense of the complex, moving, and generally astounding title track to his final recording, which you will find along the path of this month’s offering, aptly titled “The heart that sings before it breaks.” And this month I will let the music speak for itself, which is about the best thing music does.

“Church of the Poison Mind” – Culture Club (Colour By Numbers, 1983)
“Do I Love You (Indeed I Do)” – Frank Wilson (single, 1965)
“You Know It’s You” – Kirsty MacColl (Titanic Days, 1993)
“Tightrope” – Fanfarlo (Rooms Filled With Light, 2012)
“You Can’t Have Sunshine Everyday” – The Rattles (single, 1971)
“Breathe” – Maria McKee (Maria McKee, 1989)
“Blackstar” – David Bowie (Blackstar, 2016)
“Total Control” – The Motels (The Motels, 1979)
“#807” – Pieta Brown (In the Cool, 2005)
“Tender” – Blur (13, 1999)
“Soldier of Love (Lay Down Your Arms)” – Arthur Alexander (single, 1962)
“Toutes les Belles Inconnues” – Dawn Landes (Mal Habillée, 2012)
“The Goodbye Look” – Donald Fagen (The Nightfly, 1982)
“See Fernando” – Jenny Lewis (Acid Tongue, 2008)
“We Belong to the Night” – Ellen Foley (Nightout, 1979)
“Your Saving Grace” – Steve Miller Band (Your Saving Grace, 1969)
“It Could Be Sweet” – Portishead (Dummy, 1994)
“New York Morning” – Elbow (The Take Off and Landing of Everything, 2014)
“I Surrender, Dear” – Thelonious Monk (Brilliant Corners, 1957)
“Highway Song” – Aztec Two-Step (Aztec Two-Step, 1972)

Free and legal MP3: TW Walsh (fuzzy, well-crafted rocker)

“Young Rebels” – TW Walsh

I needed to hear little more than the distorted drumbeat of the song’s opening seconds to suspect impending goodness; by the time a chimey synth line is added on top (0:04) and a fuzzy bass underneath (0:12), I am all on board. On the one hand yes the intro is just 20 instrumental seconds, the song hasn’t really even started yet; on the other hand, sometimes, damn it all, you can judge the book by the cover. No one who puts together this effortlessly terrific an introduction is going to attach it to a mediocre song. It would unbalance the universe.

Ok so the introduction also lays the table for the first of the song’s two principle compositional enticements, which is the melody’s ongoing de-emphasis of the downbeat (i.e., the first beat of the measure). Check it out: the chimey synth starts up a half beat in front of the first beat, while the verse melody starts a half beat after the first beat, and later lines pick up a half beat before the measure’s last beat. And never mind whether any of this registers as a thing to you as a word description, the larger point is that all this shiftiness around the beat makes for a compelling listen, and renders the chorus (which at last begins right on the first beat; e.g., 0:56) all the more satisfying.

The second enticement is the melody’s relentless downward motion. After the melody at the beginning of the verse repeats once, to catch your attention, all melodic movement in the verse is downward from there. The chorus, likewise, is a descending melody, repeated once. This has a kind of primal appeal, much the same as the satisfaction of watching a ball you toss up in the air return back to your waiting hands.

TW Walsh is a musician and audio engineer who was last featured on Fingertips in 2011; you can read that entry for more biographical background. But know too that since then he suffered for a year and a half with a debilitating disease that was diagnosed inconclusively as chronic fatigue syndrome. Then, when he began to feel somewhat better, he broke his elbow. His 2011 album had been called Songs of Pain and Leisure. “Young Rebels” is the third track on his new album Fruitless Research, which arrives next month via Graveface Records, and was produced in collaboration with the Shins’ Yuuki Matthews (who has worked previously with Sufjan Stevens, Stereolab’s Laetitia Sadier, and David Bazan, among others).

Free and legal MP3: Death in the Afternoon (crisp economical Swedish funk)

If “We Don’t Have to Go Out Tonight” doesn’t single-handedly rescue the electric guitar in our knob-twiddling age, then we may just have to give the thing up for dead once and for all.

“We Don’t Have to Go Out Tonight” – Death in the Afternoon

If “We Don’t Have to Go Out Tonight” doesn’t single-handedly rescue the electric guitar in our knob-twiddling age, then we may just have to give the thing up for dead once and for all. There are the well-placed, slightly wobbly chords of the introduction; the crisp, economical riff accompanying the verse; and then, watch out!: the intertwining of the lead and rhythm guitar lines (1:04), a veritable ballet of funky precision. I’m just about hypnotized by all this. What was your question again?

And okay I’m not expecting miracles here. This is the kind of song that stirs up a tiny bit of dust in a couple of quick weeks (when blogs that need to be first with everything spit their PR-filled words onto the internet), then pretty much disappears (because those same blogs rush on to the next thing, and the next). (Don’t get me started on this, please.) So yes “We Don’t Have to Go Out Tonight” has been out for a few months. Sometimes (maybe all the time) it pays to reflect. I first heard this and it seemed pleasant but I wasn’t sure. Maybe I wasn’t in a good mood that day, who knows. So it sat around and I kept listening. One day it hit me that this song was really good. Those kind of muted lead vocals in the verse, that initially made me wonder what was happening? Turns out they are smartly redeemed by the clarity of the vocals in the chorus, when Christian joins Linda—and note how he sings backing vocals on the same note as the lead vocal for the first two lines, then offers one line of harmony, then a final line back on the same note. It’s a lovely, unassuming construction.

Much as Death in the Afternoon seems to be a lovely, unassuming duo (the aforementioned Linda and Christian, surnames missing in action). They are based in Halmstad, Sweden and take their name, for unknown reasons, from Ernest Hemingway’s treatise on the glory of bullfighting. Their self-titled debut album came out in October on the Stockholm-based Sommarhjärta label.

Free and legal MP3: Find the Others (powerful electronic-acoustic amalgam)

“We Stared at the World” begins as a gentle song oscillating mysteriously between the electronic and acoustic.

“We Stared at the World” – Find the Others

“We Stared at the World” begins as a gentle song oscillating mysteriously between the electronic and acoustic. Front man Andy Sheppard fills our head with his conversational tenor. Listen attentively and you may begin to hear a variety of openings in the muted landscape, soft sounds implying larger worlds. Urgency arrives un-urgently: halfway through the song all sorts of things start happening, and the layers of instrumentation become more overtly fascinating and gratifying–guitar sounds, string sounds, a determined parade of clicking-clopping percussion sounds.

And, actual drum sounds. It took me a while for it to register but this halfway point is where we begin to hear what sound like real drums being smacked with real sticks. It’s a sound that I think gives the song such a satisfying climax, during the final iteration of the chorus, beginning around 2:47. There’s something about the various juxtapositions on display right here (the organic vs. the electronic, the gentle vocal vs. the percussive accompaniment, the melodic vs. the beat-driven) that together strike me as both powerful and poignant, but also fleeting: in 12 or 13 seconds everything’s gone, replaced by 30-plus seconds of ambient tinkling and droning, a kind of sonic after-image, rendering everything previously heard abruptly dreamlike. I like that a song ostensibly about staring turns out to be so indirect, even inscrutable.

Given the band’s name, Find The Others is an ironically elusive project. It appears to be a one-man operation (the album credits Sheppard as the only performer), even as the press photo features two people (and a blank third). Web resources identify Sheppard’s location alternately as either Toronto or British Columbia, so let’s at least assume he’s Canadian—even as he shipped himself off to Iceland to work with Valgeir Sigurðsson (Sigur Rós, Björk, Feist, Nico Muhly, and then some). The end result was the album Empire of Time, on which you’ll find this song. The album was released back in April 2015; I heard it much later in the year via Insomnia Radio.

Close your eyes and hear the call

Eclectic Playlist Series 2.09 – Dec. 2015

I picked up the song “How or Why” from Jennifer Castle after hearing it for the first time via the Said the Gramophone year-end best-of list in 2014. It’s already a year later, that venerable and eclectic blog has just posted its latest year-end best-of list, and in and around the bracing mix of obscurities and pop smashes I will no doubt find a few more gems that float the Fingertips boat, as it were. Not everyone’s idea of eclectic listening is the same, to be sure; I don’t usually love all 100 songs on the list but I do love being given the opportunity to hear them. And most of all I love the care and attention given both to music and ideas there; if I were more whimsical and/or poetic, more of my posts would read like more of Said the Gramophone’s.

But I digress. We have come to the last EPS mix of 2015, which means that the artist list will re-set again next month and you will in 2016 begin to hear some of the same artists you may have heard either in 2014 or 2015 (or, in the case of particular favorites, both). And still there are plenty of as-yet unheard bands and musicians, both current and of past eras, who will show up on playlists here in the new year. Because that’s what I do. As for this particular mix, first of all, how on earth was that Marvin Gaye song unreleased? And if I must listen to 16-year-olds, give me 16-year-old Rachel Sweet in 1978, please. And yes, Genesis made some excellent music back in the day, extending at least all the way to 1981’s Abacab, which in retrospect straddled an admirable line between the complex, proggy stuff of their youth and the top-40 fodder they were getting ready to make. “No Reply At All”—featuring the Earth, Wind & Fire horns, no less—flummoxed older fans and yet with the benefit of years seems an almost unprecedented blend of the catchy (it reached the top 30 in the U.S.) and the intricate; the bass line alone is worth the price of admission.

“How or Why” – Jennifer Castle (Pink City, 2014)
“Gone With the Wind is My Love” – Rita & the Tiaras (single, 1967)
“New Killer Star” – David Bowie (Reality, 2003)
“Everything’s Coming Our Way” – Santana (Santana III, 1971)
“White Knuckles” – Boh Doran (Boh Doran EP, 2015)
“No Reply At All” – Genesis (Abacab, 1981)
“Barracuda” – Miho Hatori (Ecdysis, 2005)
“In My Command” – Crowded House (Together Alone, 1993)
“Keep Your Head to the Sky” – Earth, Wind & Fire (Head to the Sky, 1973)
“Casablanca Nights” – Johan Agebjörn (Casablanca Nights, 2011)
“Via Con Me” – Paolo Conte (Paris Milonga, 1981)
“Who Does Lisa Like?” – Rachel Sweet (Fool Around, 1978)
“Milk of Human Kindness” – Procol Harum (A Salty Dog, 1969)
“Raising the Skate” – Speedy Ortiz (Foil Deer, 2015)
“Tell Me To My Face” – Dan Fogelberg & Tim Weisberg (Twin Sons of Different Mothers, 1978)
“Carried” – Ebba Forsberg (Been There, 1998)
“This Love Starved Heart of Mine (It’s Killing Me)” – Marvin Gaye (unreleased single, 1965; available via Love Starved Heart compilation, 1994)
“When Things Go Wrong” – Robin Lane & the Chartbusters (Robin Lane & The Chartbuster, 1980)
“Black Heart Today” – Amy Ray (Stag, 2001)
“Sweet Soul Dream” – World Party (Goodbye Jumbo, 1990)

Free and legal MP3: Winter (dream pop for the soul)

If the concept/sub-genre of dream pop didn’t already exist, you would invent it right now to describe “All the Things You Do.”

“All the Things You Do” – Winter

If the concept/sub-genre of dream pop didn’t already exist, you would invent it right now to describe “All the Things You Do,” by the Boston-born, Los Angeles-based band Winter. Front woman Samira Winter floats her cloudless voice over a languid, semi-blurry soundscape and it’s kind of immediately hard not to love this. The buoyant verse is infused with ever-appealing suspended chords; the chorus—forward and forceful—fills the ear with satisfying, wall-of-sound resolution, complete with an unexpected and extra-satisfying minor-chord detour.

And speaking of extra-satisfying detours, don’t miss the instrumental break-cum-coda, starting at 2:30, with its dreamy jazz-guitar-ish accents and splendid bass guitar lead, which kind of makes you go wow, what happened to bass guitar players anyway? And then the whole thing kind of makes you go wow, don’t we just want to be doing this, enhancing our lives with heartwarming sound, feeling the magic and power of this at once distant and intimate connection? It’s the opposite of living in fear, brutalized by not only the existence of barbaric death-mongers but by the fear-mongers who scurry around in their wake. And I don’t mean to pollute the beauty of our modest enterprise here with too much talk of tragedy but I do so to remind you that beauty is not negated by darkness, but becomes further concentrated. And important.

“All the Things You Do” is a single released this month on Burger Records. Support the band by buying it here, and if you want a reason to spend 99 cents versus having it for free, note that the hi-res, lossless version is also just 99 cents.

photo credit: Mariana Borau

Free and legal MP3: Cashavelly Morrison

Graceful, commanding gothic tale

“Long-Haired Mare” – Cashavelly Morrison

I am never quite sure when and how musical simplicity transmutes into timeless musical power. It is certainly true that most simple songs are neither timeless nor powerful and likewise true that many powerful songs are not especially simple. But Cashavelly Morrison’s graceful and commanding “Long-Haired Mare” not only serves as evidence of the eternal potential of folk-like music but functions as an aural balm for any ears that might be feeling overstuffed with 21st-century musical commotion just about now.

The particular beauty I hear in this song is grounded in the acoustic guitar, in particular the supple notes slipped in after the first four iterations of the traditional strumming pattern on which the song is based. At once fluid and discrete, this understated motif (first heard in the introduction starting at 0:11), recurs throughout the song, between verses, and each time it comes around it sounds like a would-be confidant, a repeatedly viewed stranger with kind eyes, and if it is partial illusion to sense that the song’s poised unfolding and subtle accumulation of textures (heartbreaking drums, outcast steel guitar) is built entirely on the foundation of this humble motif, it is also partial non-illusion. The ear knows what it knows. Add to the aural amalgam Morrison’s country-air voice and instinctive, subtly syncopated phrasing and from humble roots—gothic tale, guitars, percussion—I sense a growing majesty and am myself humbled before it.

And the payoff for waiting patiently for each return of the sad and deft guitar motif? A full-fledged guitar solo, beginning at 3:26, as gripping as a resolutely self-effacing acoustic solo can possibly be.

Cashavelly Morrison is both the stage name taken on by the singer/songwriter Melissa MacLeod and the name of the musical project co-created and -peformed with her husband Ryan MacLeod; he is the masterly guitarist we’ve been hearing here. Cashavelly and Morrison are family names from Melissa’s side, lost in marriage. “Long-Haired Mare” is from the debut Cashavelly Morrison album, The Kingdom Belongs to a Child, self-released at the end of October. You can listen to the album via SoundCloud, and buy the album at the CM web site.