Wax Stories #3: David Bazan – Curse Your Branches

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Sophomore year of college seems to be the “existential crisis” year for most people I know. Freshman year is all about meeting new people, having new experiences, and having the misplaced sense of independence (“I’m an adult now. I don’t live at home. I live in a dorm that my parents pay for and use a meal plan that my parents also pay for”). After the hype of college life dies down, it’s time to process all these new ideas and worldviews that have been stewing over the past year. If anything, I found this to be true for me.

I get a bit nervous writing about faith and thoughts on religion on my blog; I fear what impression it may give people and put everything into some weird, pigeonholed context. However, I feel this album is a good outlet to talk about it. If anything Curse Your Branches has helped me move on from closed mindedness and in to something else that I’m still trying to figure out.

At the end of freshman year, David Bazan – still newly solo after the break-up of Pedro The Lion – played on my campus in association with our campus radio station KSPU. I’d been listening to Bazan and Pedro The Lion since high school per suggestion of my friend Nate. This wasn’t the first time I’d heard Bazan play, but I was intrigued at the idea of him playing on a Christian college campus. Pedro the Lion was often mislabeled as a Christian band, but at this point it was becoming prevalent that Bazan was no longer a believer. I remember feeling secretly guilty singing along to  “Cold Beer & Cigarettes” from his solo EP Fewer Moving Parts in high school, which featured the Bazan husky voice belting “what a cruel God we got” and references to vaginas and sexual deviancy. I was surprised Seattle Pacific University would even allow something like that presented under their banner.

Bazan stood on the stage with only a guitar and a light projection of broken glass behind him. He opened with a song that at the time was titled “Graduation Day.” Opening with a new song is a bit unusual, but I studied the lyrics as he sang. Primarily it questioned the biblical creation narrative, but it was the last verse that felt painfully relevant to the room:

So I swung my tassel
To the left side of my cap
Knowing after graduation
There would be no going back

And no congratulations
From my faithful family
Some of whom are already fasting
To intercede for me

It felt a bit heavy handed to me in the moment, but it was the first time listening to Bazan that I got the impression he had a statement he wanted people to know. If that were true, he definitely got my hooked.

That summer, in 2009, I went to Alaska with my buddies Zach and John to work at a helicopter tour company. After spending a year in the dorms feigning self-sufficiency, I got what it really meant to grind out 50 hour work-weeks and have most of your paycheck go to rent and bills. Being away from most people I know gave me time to think and absorb challenges I had to my worldview in the last year, among other things (future Wax Stories referencing Alaska are sure to come). At night when I would read on the couch, I’d put Pedro the Lion’s discography on shuffle through my laptop speakers. I’m pretty sure Zach and John were pretty sick of hearing it all the time, but it gave me a chance to really listen to what Bazan was saying on those Pedro the Lion albums and try and use them to decipher my experience hearing him at SPU.

Bazan released an acoustic version of “Please Baby Please” earlier that year that I listened to obsessively. But when I found “Hard to Be” (formerly titled “Graduation Day”) streaming on Last.FM when I got back from Alaska, I knew this album was going to take things further than he had with Pedro the Lion. I knew it was something I needed to hear.

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And now it’s hard to be
Hard to be
Hard to be a decent human being

Curse Your Branches is the first album I can recall ever pre-ordering. I had it shipped to my new dorm, which I was living in alone for a few weeks before school started. My stereo was damaged during move-in, so it would be a while before I could actually listen to the vinyl, but I immediately pulled out the download code from the packaging and listened through my laptop.

I’d been going to Christian schools since I was 13. That doesn’t make me a theologian by any means, but gave me a decidedly evangelical perspective on things. I don’t want to completely disown my education – I feel like I did learn a lot of valuable philosophies and concepts, but I was really only seeing one side of a controversial and often upsetting story. Of course I had questions and issues with things that came up in the Bible, but everyone I was surrounded by was so sure that all of it was true and said they could cite exact scientific and moral reasons why. Everything could be explained through tactful apologetics. So any doubts I had, I repressed. Not specifically because anyone told me not to question, but because I personally felt it was inappropriate. So when “Hard to Be” opens Curse Your Branches, Bazan is bringing out all these questions I’d been denying myself all these years. It was heartbreaking, but at the same time intoxicating. It made me sad for him while feeling relief that I wasn’t the only one who felt this way.

The album then goes into a borderline parody of the Parable of the Weeds from the Book of Matthew on “Bless This Mess”, then a parable of Bazan’s own with “Please Baby Please,” and then to the title track “Curse Your Branches.” This is the one of all the tracks that will stick with me the most.

Red and orange, or red and yellow
In which of these do you believe?
If you’re not sure right now,
Please take a moment
I need your signature before you leave

How are we supposed to be so sure on what is the right religion or mode of thought when we have so little to go off and so little (relative) time to decide?

All falling leaves should curse their branches
For not letting them decide where they should fall
And not letting them refuse to fall at all

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These lyrics completely wrecked me. Every paper for a theology class that required some sort of faith statement would from then on have a burned copy of Curse Your Branches attached to them. The questions on this album sparked conversations with friends who were feeling the same things and with artists I’d interview for the paper. It prompted me to debate with my professors in class and call out things I thought were bullshit. To my surprise, sometimes they’d even agree with me. I’d spend late nights, when I should’ve been studying, reading lengthy interviews with Bazan talking about his lose of faith and reading the Bible with his daughter. There was so much I wanted to talk about with him. I wanted to hear it from him. I did this for years, and still sort of do today. I’ve realized he’s not the only one asking these questions, but he has become a figurehead to me for all the doubters.

Through all this though, I never have forsake my beliefs totally. I’ve really tried to rationalize myself out of it, but I can’t. There’s still something there. I can’t explain it and that’s really frustrating. I know I sound really ignorant and I don’t really know what to say to people who call me out on it. But this album changed how I view Christianity. It’s not as black and white for me anymore. It’s not something I can shout out some facts I read on an online form and claim I won. I’m not so much interested in debating anymore. I’m more interested in respecting people for who they are and accepting the same respect in return. I’m not going to stop looking for answers and questioning the weird things that are bound to come up.


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When I finally got the chance to interview Bazan a few month ago, I didn’t prepare the questions I would have in 2009. Just as I began to realize I am more than whatever views I’m struggling with right now, so is he. The subject was touched upon a bit, but mainly to help tell his story. When I spin Curse Your Branches today, the questions he brings up are still unanswered. I don’t know if they ever will be, but I feel like I’m in a better place for it. Bazan and I haven’t had the same realization exactly. I don’t think two people ever will. I just hope we can learn to accept that without taking offense.

And why are some hellbent upon there being an answer
While some are quite content to answer I don’t know?

Next week: Grand Ole Party – Humanimals

Previous Wax Story: Elliott Smith – Either/Or

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Wax Stories #2: Elliott Smith – “Either/Or”

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I know in my last post I said I was going to write about David Bazan’s “Curse Your Branches” next week, but this is still technically the same week and I promise I’ll get Bazan ready in the coming days. Given certain events in Seattle today, I thought this one would be a bit more appropriate and timely.

Discovering Elliott Smith always seems like a poignant moment for most people I’ve talked to who listen to him. For me, it felt like finally discovering that unknown artist you’d always wanted to find. In my fantasy it was usually finding an old tape or CD that had fallen off the rack and was covered with dust – long forgotten to anyone else. That’d be pretty romantic, huh? Instead, I found Elliott on MSN Messenger.

My buddy Nate and I started sharing music with each other when I was 15 and he was 14. I’m sure he’s going to come up a lot in this blog series; he helped shape a lot of stuff I listen to today. At the time, most of our friends weren’t listening to the same music as us. We were what would become the annoying hipster “you probably haven’t heard of it” cliche. We weren’t trying to be cool. We just liked different music than our peers. Pretty much every night after school we were on MSN Messenger talking about music, classes, or whatever else was going on. Periodically we would send each other MP3s of new music we were listening to. There used to be a feature on chat where you could see what the other person was listening to.

One summer evening when I was 16 I remember seeing it say Nate was listening to a song by Elliott Smith. I’d heard the name before. For a school project a couple years prior, I interviewed one of my all time favorite artists (Cinjun Tate of the band Remy Zero) and in one of the questions I asked him what his favorite album of all time was – he said “When I think of perfect albums, Elliott Smith’s ‘Either/Or’ comes to mind.” For whatever reason, I didn’t immediately go and pick up the record…idiot.

I was on a big singer-songwriter kick when I saw Nate’s music status and I got the impression Elliott Smith was probably along those lines. I asked Nate how Elliott is. He responded pretty ecstatically, singing Elliott’s praises. He sent me over a couple of tracks. The first one I can remember hearing was “Rose Parade.”

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The lightly strummed guitar chords with a simple three note lead played over it felt elating. Then Elliott comes in with his hush voice, telling a story about a trivial parade that slowly becomes more and more bitter as it goes along. It was unlike any songwriting I had been exposed to before. Something about being at such a happy event like a parade and critiquing it for all it’s fake pageantry felt so desperate and lonely to me – I’d later have many of these same feelings listening to the majority of his work.

I had Nate send me over the rest of “Either/Or.” I listened to it all night at the computer. I’m pretty sure, but not certain, that I intentionally listened to “2:45 A.M.” at 2:45 A.M. The album became a secret obsession. I’d spend down time fumbling through “Between The Bars” on guitar, smirk every time at the opening line to “Say Yes” (“I’m in love with the world, through the eyes of a girl who’s still around the morning after”), and burn copies of the album for friends who I thought might appreciate it. As I looked at my small record collection, I thought about how “Either/Or” would probably be the best sounding vinyl out there. I had my first “holy grail” record and I was pretty sure I wasn’t going to find it in a junk bin at Great Prospects.

That spring Nate and I decided to go hang out in Seattle on a Saturday. We walked on a ferry over and checked out the Experience Music Project – spending most of our time messing around in the fake recording studio. They had a feature that would let you record for 10 minutes and then you could buy a CD copy to take home. We messed around with the guitars and played a partial version of “Rose Parade” (which I refuse to go back and listen to) and some silly songs I’d written.

Afterward we walked over to Easy Street Records in Lower Queen Anne. We dug through the crates, marveling at their impressive selection. In Kitsap County the closest thing to a music store that I was aware of was the electronics department of Fred Meyer. Being able to walk through these aisles and see stuff that I only thought existed on the Internet was amazing. I had been to both Easy Street locations before, but not since I had expanded my taste out of exclusively alternative rock radio.

Then I saw it. “Either/Or.” I could not believe it was actually there. I thought no one knew about him, let alone would take the time to stock his stuff in a record store. Shouldn’t this be covered with dust in a corner? It was amazing to final see the cover art as it was meant to be seen, and the stark back cover with the blurry, swaying chandelier.

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Nate and I marveled at it and kept repeating how good it was going to sound. I didn’t hesitate to buy it; I didn’t know if I’d ever get another chance. I took it home in my black plastic bag with the Easy Street logo and carried it with pride. I listened to the record repeatedly for months. I even held up the sleeve as a model as I tried to recreate the cover art in my sketchbook (which included the “fuck you” graffiti behind Elliott in the picture, because I was a total rebel).

Seven years later and this is still one of my favorite albums and vinyl records. I live in Seattle now and literally can walk down a few blocks to Sonic Boom where there’s always at least a few Elliott Smith albums in the bins and other bands I’m continuing to discover. It’s a convenience I love to exploit (my wallet is not so fond of it though). I’ve continued to fill my collection with records from Easy Street Records too. Sometimes I forget that it wasn’t that long ago when finding these records was a big deal for me.

Now today Easy Street Records in Queen Anne is closing its doors for good to be replaced by a Chase Bank. It may seem trivial to be saddened by the lose of a business, but to me and a lot of other music fans this a huge loss. I can’t find a treasure like “Either/Or” at a bank. I won’t have that same feeling of discovery and excitement when I go to cash a check or make a withdrawal. Every time I put “Either/Or” on my turntable now, I’m going to think about Easy Street and how it inadvertently encouraged my interest in music and brought me closer with artists like Elliott Smith. We’re really lucky here in Seattle. I hope we don’t take for granted that we have so much access to culture and art that helps us express ourselves; I hope we don’t ever favor chain stores and condos over priceless things like these.

Thanks Elliott. Thanks Easy Street. You’ve both given me and others some truly great music.

Here’s a video of Elliott Smith playing on a pilot for The Jon Brion show, directed by Paul Thomas Anderson (“There Will Be Blood,” “The Master”):

Next week: David Bazan – Curse Your Branches (for REAL this time)

Previous Wax Story: U2 – War / INXS – Shabooh Shoobah

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Wax Stories #1: U2 – “War” / INXS – “Shabooh Shoobah”

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It’s hard to pinpoint what exactly drew me to vinyl records. The whole vinyl resurgence hadn’t really become a “thing” yet in 2005, at least not in Kitsap. Vaguely I recall my friend Amanda mentioning in passing that music sounds better on vinyl. I think there was just something cool and fascinating about vinyl. At the time I was really heavy into P2P Sharing platforms (ahem…pirating) like Kazaa and Limewire but still found way more satisfaction opening up a CD case and going through all the album artwork and notes. I was just beginning to fall in love with music at 15; buying records was the first step to a “full on relationship.”

My family has always loved going to junk shops and antique stores (Sorry Macklemore, I’m OG). I can recall going through furniture aisles with my mom, clothes and fabric sections with my grandmother, and sifting through every junk bin in the building with my grandfather. The fact that I found my first record player at a vintage mall wasn’t fate, it was just a matter of time. At Great Prospects in Port Orchard I spotted my future Technics SL-1900 a few weeks before purchasing it. I had seen a few record players around before that, but this was the first one that grabbed me. It was sleek – all black, modern looking. I assumed it was incredibly high quality just by its appearance. I worked out a deal with my mom that summer to exchange a few days of yard work for the turntable. After I did my part, she drove me over to Great Prospects. I worried it’d already be sold and we were too late, but I was in luck.

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I picked up the turntable and a pair of cheap $10 speakers (I only remember the price because I kept the highlighter pink tag on them for years) and headed toward the counter. Right near the register was a display of records. I figured it wouldn’t make much sense to have a player with nothing to play on it. I sifted through the bins, going through a lot of Christmas albums and Barbara Streisand Compilations, and looked for anything that I thought would sound good.

First I spotted U2’s War. How To Dismantle An Atomic Bomb had just came out in 2004 and was constantly in my CD player. I had just begun listening to their back catalog after some recommendations and history lessons about the band from my dad. I took out War and inspected the track list. Side A, Song 1: “Sunday Bloody Sunday.” Sold. I loved that song and that was enough for me to justify buying it without knowing any of the other songs on the album.

I thought this was a solid enough purchase and almost called it quits on my first digging expedition until I saw INXS’ Shabooh Shoobah. It’s a bit embarrassing, but I was only familiar because my family was really into the “American Idol” rock-rip-off reality show “Rockstar: INXS.” The show featured the remaining members of the band seeking a new lead vocalist to replace the deceased Michael Hutchence. I thought this was the coolest show to ever be on t.v. Every week I could hear people sing not just INXS songs, but also other real rock songs with songs by real rock bands like Queen, Nirvana, and Creed (my tastes were still being developed – see my dissection of Chad Kroeger). Regardless, I had just started going through INXS’ discography as well and idolized them as “one of the few, great 80s groups.” I wasn’t really familiar with the songs on Shabooh Shoobah (I was mostly hoping to find “Kick”) but as the season finale was coming up in a few weeks, it only felt appropriate to pick this one up too.

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After making my decisions, we paid for my new gear at the register and headed home. It was summer and our house always would get blistering hot due to our lack of shade. My godfather Tony (who’ll likely come up a few times in this blog series) was living with us at the time as he tried to overcome his alcoholism. We set up my record player in the living room so I could learn how to use it. Tony got me paranoid about the records warping because of the heat and instructed me to keep them out of sunlight. I took note. I plugged in the record player, connected the speakers, and set War Side A on the mat and lifted the needle. I was ready to hear music in a way I never had before. Instead, I heard nothing. My mom and Tony laughed – we had forgotten that we needed a pre-amp for this to work. I put my ear close to the needle on the wax and faintly I could here the snare lead in of “Sunday Bloody Sunday.” It was quiet, but it was there.

We went back to Great Prospects and picked up a cheap pre-amp and I got myself set up in my room. Late that night, when I would usually be on the computer chatting with my friends or writing back and forth with my Internet friends on message boards, I stayed in my room and played each record back-to-back till 3 a.m. I played it quietly because my parents were sleeping in their room and Tony’s room was right next to mine. Even though one of the speakers kept cutting out and the volume was so low that there was probably not discernible difference from my mp3s, I swore it sounded so much better than anything I’d ever heard before.

I favored “Seconds” and “New Year’s Day” on War most of the night, as I followed the lyrics over and over again in the gate fold. The burn marks and bent edges of the cover made me wonder who had it before me and if they had been a big U2 fan like I was. I’d eventually quote “Sunday Bloody Sunday” in a fake presidential speech for class the next school year, only to have a senior guy remind me it was an Irish protest song and not about American policies (that was the day I decided to never go into politics). “Don’t Change” on Shabooh Shoobah slowly became one of my favorite songs of all time (especially after my favorite contestant on “Rockstar: INXS” sang it, but later I appreciated it more for its composition and mantra). I still spin these records every now and again, though much more rarely as my collection has expanded. As far as beginnings go, these two were a wonderful start to something that would carry on with me for longer than I expected.

Next Week: David Bazan – Curse Your Branches

Wondering what “Wax Stories” is all about? Read my introduction post.

 

Follow me on Twitter: @DustyEffinHenry

Wax Stories: Introduction

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For the past couple years I’ve tried to come up with some way to do a vinyl review blog, but I could never really settle on an idea that made sense or would be interesting enough. So what you’re reading is a step into a personal experiment. Instead of writing formal reviews of vinyl records, I’m going to tell the stories I recognize within my collection.

The other day I was looking at my record shelf and realized I could remember when and where I purchased each record. Likewise, I could remember who gave me each album and the circumstances they were gifted. I think each record has some sort of story to it. Whether it be a strong memory tied to when I got it or just the music pressed to the vinyl, there’s at least something more going on there. So with this ongoing series I plan on picking an album (or multiple albums) from my shelf and writing about what is attached to it. Instead of having old war stories, I have old wax stories.

Sometimes I’ll write about memories, sometimes I’ll write about the bands, and maybe sometimes I’ll write more formal reviews. Some posts will be long and some posts will be short. I plan on keeping it pretty varied. Maybe as I go things will get more focused, but until then I’m happy to use this endeavor to experiment. Thanks for bearing with me. I’d love to hear your feedback as I go.

I’ll post Wax Stories #1 soon (hopefully in the next couple days). I find it’s best starting from the beginning, so I’ll by writing about the first two records I purchased: U2’s “War” and INXS’ “Shabooh Shoobah.”

Also, I hope I don’t too much sound like John Cusack as I go through this process. I’m not nearly bitter enough to pull that off.

My Effin Lists: Top 10 Songs of 2012

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It was hard enough narrowing down the top albums of the year, but picking out the best songs is even worse. Since I got a bit wordy with my top albums posts (part 1 and part 2) I’m going to keep each review down to one sentence. Let’s see how this goes.

10. Kanye West & R. Kelly – To The World

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Yeezy describes this one best: “R. Kelly and the god of rap, shittin’ on ya HOLY CRAP.”

9. Jason Molina – Sad Hard Change

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Jason Molina uses home, lo-fi recording and the creakiness that comes with it to its full capacity of reflecting heartbreak.

8. Sharon Van Etten – Give Out

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“Give Out” is the painful gulp you take before leaving something (or someone) you know is bad for you but with uncertainty if it’s the right thing to do.

7. The Men – Open Your Heart

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Sweaty basement thrashing takes a surprisingly melodic direction.


6. Father John Misty – Hollywood Forever Cemetery Sings

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Funeral crashing is done better with crooner dance moves and electrifying reverb.

5. Kendrick Lamar – Bitch, Don’t Kill My Vibe

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If ever there was a “motto” or mantra to describe how most of us want to live, Kendrick has coined it in this song.

4. Cloud Nothings – Wasted Days

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Epic thrashers don’t have to pointlessly meander to the point of boring; Cloud Nothings have revived the instrumental build-up.

3. Frank Ocean – Bad Religion

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Taxi cab confessions aren’t new, but Ocean’s insights on spirituality and love bring new school cool with old school sensibilities.

2. Japandroids – The House That Heaven Built

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LETS DRINK BEER AND CARPE DIEM BECAUSE WE ARE YOUNG AND THIS IS THE NEW ANTHEM FOR ALL OF US WHO DON’T KNOW WHAT WE’RE DOING.

1. Dum Dum Girls – Lord Knows

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It’s easy to play the victim, but instead Dum Dum Girls take the perspective of the harmer and do so with a timeless melody and wistful instrumentals.

To see my whole list of top songs (not in order, organized to flow together the best) check out my Spotify playlist:

My Effin Lists: Top Albums of 2012 (Numbers 25 – 11)

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I know it sounds a bit over enthusiastic, but 2012 is one of the better years of music I can recall in recent memory. It felt like all the different genres and sub-genres were on the top of their game.

I don’t want to ramble too long now, but I would like to put out the disclaimer that I have not listened to every single album that came out this year. In the past, I’ve written my top albums lists for more formal publications which meant trying to create a list that was centered on importance of the albums in the scheme of the larger music community. However, since this is my personal blog, I’ve decided to order these just be my own interest and liking.

So without further ado, here are my top 25 albums of 2012.

25. Metz – [self-titled]

2012 felt like the second coming of “the year that punk broke.” Instead of describing Metz’s self-titled debut album, I might as well just describe a bulldozer or a wrecking ball. It’s thunderous, destructive, erupting, and pummels buildings into dust (well, almost). Of the raucous garage/punk albums to come out this year, Metz’ did it the loudest and maybe the harshest – citation: “Wasted.”

24. Grizzly Bear – Shields

Grizzly Bear is probably one of the most intricate and skilled groups in music right now. All too often I’ve seen group with talented members produce incredibly lackluster music because “hey lets throw in 5 time signatures and I’ll come up with some disorienting counterpoint melodies” just doesn’t usually sound very good. On “Shields,” Grizzly Bear is able to harness their abilities into a richly textured piece with inviting melodies. The lead single “Yet Again” exemplifies their tactics of throwing in unusual and galloping harmonies to produce a singular accessible track.

23. Flying Lotus – Until The Quiet Comes


Any artist who gets the Thom Yorke stamp of approval must have something going for them. “Until The Quiet Comes” has Flying Lotus prove yet again that beats don’t just have to be “cool and interesting,” they can also be moving and wraith-like. Tracks like “Getting There” find FlyLo treading ground laid down by the like of Nujabes years before. At any moment on “Until The Quiet Comes” the songs can go from fragile to an infectious groove.

22. Tame Impala – Lonerism

Tame Impala is definitely headphone music. Every listen to “Lonerism” is a new chance to discover some new guitar effect or overdub you didn’t notice before. Psychedelic-garage rock, through Tame Impala, is making a come back from the label of “high school Pink Floyd tribute band” to beautiful, intricate pop outfit. Whirring amp feedback on “Gotta Be Above” and flange accents on “Why Won’t They Talk To Me?” are wonderfully weird Easter eggs for a powerfully infection record.

21. Benjamin Gibbard – Former Lives


For those who have followed Death Cab For Cutie from the early records till now, the past few years have been confusing, awkward, and sometimes even upsetting (“IF HE DOESN’T WRITE ANOTHER SAD SONG, I’M GOING TO BURN DOWN BEN GIBBARD’S HOUSE AND SPREAD THE ASHES ALL OVER THE SET OF ‘NEW GIRL!'”).  While I wasn’t a big fan of “Codes and Keys” and struggled with half of “Narrow Stairs,” Ben Gibbard’s solo effort “Former Lives” seems to accomplish the direction those two albums were heading in.  The storytelling of “Teardrop Windows” and the self-realization of “Oh, Woe” give glimpses of ghosts of Gibbard’s past while the instrumentation shows where he’s at now.

20. Kendrick Lamar – good kid, m.A.A.d. city

A hip-hop album detailing life growing up in Compton is not necessarily original on a surface level, but Kendrick Lamar is an artist who knows the importance of perspective. “good kid, m.a.a.d. city” gives Lamar’s insights on the self-destructive tendencies of his beloved hometown with spiritual and pensive overtones throughout but mostly deals with his own personal struggles. The stand out track “Bitch Don’t Kill My Vibe,” finds Lamar lifting up his music as the one thing that he wants to keep untainted, a sort of emotional core to the record.

“I am a sinner whose probably gonna sin again. Please forgive me, things I don’t understand. Sometimes I want to be alone. Bitch don’t kill my vibe.”

In just one line (on a record full of equally as brilliant one liners) Lamar weaves in art, loneliness, and faith into his own mission statement. So while Yeezy and Hova are debating whether or not their jackets are Margiela, Lamar will be out here relating to everyone else who can’t afford a yacht.

19. Alt-J – An Awesome Wave

My Effin Lists: Top Albums of 2012 (Numbers 25 - 11)

Since when did The Tallest Man On Earth start going electronic?

Vocalist Joe Newman (whom I’m still not convinced isn’t Kristian Matsson, The Tallest Man, himself) brings grit and imperfection to a genre dominated by the pristine production of experimental-electronic-rock. The songs feel like fables, drawing inspiration from elementary sources like “Where the Wild Things Are” (“Breezeblocks”) or even shapes (“Tesselate”). Alt-J isn’t the next Radiohead, they’re the next Alt-J.

18. Ty Segall Band – Slaughterhouse

The dooming, slow bass lead into “Wave Goodbye” followed by the flood of guitar distortion and a 60s pop vocal melody epitomizes Ty Segall. “Slaughterhouse” was one of three records Segall put out this year. Each one was great for their own reasons, but” Slaughterhouse” found Segall in his best stride. Beneath the layers of fuzz distortion are exceptionally melodic guitar lines. It’s as if The Beatles decided after they wrote “Helter Skelter” that they should go further and darker in that direction.

17. Dirty Projectors – Swing Lo Majellan

I must confess, I’ve never really been a big fan of Dirty Projectors. Most of their previous work has come off to me as pretentious and inaccessible. Coming in to “Swing Lo Majellan” I was expecting to feel the same, but wanted to give them one last shot – that was a good idea. This record finds the band toning back a bit on the overly complex song-structure and harmonic intricacies while retaining what makes them unique. “Gun Has No Trigger” and “About To Die” lean toward the grandiose spectrum of Dirty Projectors where songs like the title track and “Impregnable Question.” The fact that “Unto Caesar” features the band laughing as they try to figure out when to bring in the harmonies gives the feeling that the band is learning to let loose a bit.

16. The Tallest Man On Earth – There’s No Leaving Now

Kristian Matsson (The Tallest Man On Earth) has developed a definitive style, one that is hard to deviate from much. Instead of changing his songwriting approach on “There’s No Leaving Now,” Matsson mixes things up with the production. His past two albums have felt like creaky, old solo recordings. The new record feels like a relic from a dusty record bin. The inclusion of faintly mixed electric guitar on the tracks gives a warmth to the album. “Revelation Blues” could be a b-side to an unknown Sun Records artist and “1904” sounds like a long lost A.M. radio gem.

15. Tanlines – Mixed Emotions

“Mixed Emotions” must have escaped from a break in the space-time continuum (or maybe a Hot Tub Time Machine). Tanlines could be quiet at home with 1980s contemporaries like Tears For Fears and Simple Minds. “Mixed Emotions” is full of synth-based anthems contemplating a possible mid-life crisis. Opener “Brothers” is deliberate with execution with a swaying beat. Eric Emm’s voice sounds like it could break out into “Melt With You” at any moment. Guitars shimmer, electronic drums give their unearthly thumps, and there are even some tropical overtones. If the 80s had been more like this, maybe it wouldn’t have gotten such a bad rap.

14. Dan Deacon – America

How this album did not make a bigger impact in 2012 is beyond me. Dan Deacon’s “America” brought together electronic production with live orchestral instrumentation to create a poignant, self-aware album about, well, America. Deacon has described it in some ways as a protest record – specifically the masterful four movement USA suite at the end of the record. Songs like “Lots” are blown out in the vain of a Steve Albini record. “True Thrush” has a dream-pop vibes with rushing drums. The inclusion of real, acoustic drums gives this album punch. This album reminds us that Deacon is not just a musician, he is a composer.

13. Grimes – Visions

I wasn’t sure what to make of Grimes when “Visions” came out. Then I spent more time with it. This album captures feelings of meekness and desperation with massive production, which seems a bit contradicting at first. At the center of every track is a soft, wavering melody – everything else is just a gorgeous garnish building off of that core. “Genesis” is the perfect example of this. Beneath all of the swirling piano lines, bass thumps, and sporadic beats is the small framed Grimes saying “Oh heart, and then it falls, and then I fall, and then I know.” It’s simple, but meaningful.

12. Godspeed You! Black Emperor – Allelujah! Don’t Bend! Ascend!

The field recordings of chatter at the beginning of “Mladic,” the first track on “Allelujah! Don’t Bend! Ascend,” set an ominous tone for this bleak and tumultuous record. Soon after a violin rises in and bending guitar notes pop in and out as the song rises to its breaking point that won’t let up for the rest of the 20 minute track. Godspeed You! Black Emperor quietly released shrieking record while on tour, keeping up with their mentality of “this isn’t business, this is art and a statement.” Many bands have popped up trying the instrumental prog-chamber rock style since GY!BE’s last recorded 10 years ago. GY!BE unintentionally prove they still do it best, but that doesn’t seem to be their primary concern. Moreover, they’re proving that the same issues we lamented 10 years ago are still relevant today and there’s no excuse.

11. Mount Eerie – Clear Moon

“Clear Moon” is an ethereal look at nature, monotony, and living through Phil Elverum’s (Mount Eerie) Walden-esque insight. At one moment Elverum might be channeling Nick Drake – picking out a delicate melody while quietly reminiscing (“Through The Trees Pt. 2”). The next thing you know, he’s turned into Kevin Shields of My Bloody Valentine – drowning his thoughts beneath a flood of looming guitar distortion (“Over Dark Water”). It is hard to pinpoint exactly how to classify this album with its variety noise and sounds. His narrative strings it all together – simple pondering and speculating of the world around him. It is simultaneously a call against unnatural living and doubt if that’s even possible. Elverum paints vivid pictures with his lyrics and uses the music only to texture them.

Won’t Let Go

Photo by Dorothy Hyunh (http://www.dorothyhuynh.com/)

This post was written on August 14, around midnight, and published August 16.

I’ve avoided writing a blog about marriage or “life as an engaged person” post for a while. Most of the reason lies behind thinking that a lot of the posts I read like this are cheesy and (perhaps ashamedly) Kristin and I have both laughed at how strange some of them are (just kidding, no shame – they’re hilarious). So maybe I’ll end up in that “strangely comical lubby dubby blogger” realm if just for this post.

Right now I’m sitting alone in the apartment Kristin and I will share as our first home as a family. The living room is completely empty. I have two plates, two glasses, a bowl, and one of each type of silverware. My belongings, mostly clothes and records, are all collected in the bedroom. I haven’t really organized anything; I’m waiting until Kristin moves in so we can set things up together and make it our place.

It’s a surreal feeling, living like this. It’s peaceful and yet jarring. Everything feels like the calm before a storm, but instead of a storm it’s a whole new life waiting on the other side. When I can’t quite comprehend what I’m feeling and struggle to keep my thoughts straight I typically turn to music that I think captures it better than I think I’m able to.

I first heard “Won’t Let Go” when David Bazan played a snippet of it at The Triple Door during “The Song Show,” a series where CityArts interviews artists on stage between songs. Bazan’s been urged for a while now to write a conventional love song that doesn’t involve some sort of twisted scenario (not a lot of people bought his reasoning that “Please Baby Please” was a love song, a song where the narrator drunkenly pleads with his wife for a drink and later their daughter dies in a car accident – basically our generations “I Only Have Eyes For You”). Hearing just that little bit two years ago, I knew it was breathtaking. I thought the same thing when it was finally released on his album last year. But I don’t think I really “got it” until tonight.

As I work on the favors for our wedding, I have this song on repeat. The distant drums, the ethereal guitar twang, and Bazan’s aged soft growl are constantly buzzing in my ears. I can’t stop listening; I feel comforted. Basically in the song Bazan is calling his wife before getting on a plane, explaining that when she gets this message he’ll be on a plane thinking about her and his responsibilities to her – and that he won’t let go of her.

The premises sounds more like a Billy Joel, Peter Frampton, or, heck, even a Bruno Mars song – some generic safe musician. But it’s all about the execution of the story and who is telling it. The track bookends an album that starts with a chorus of “You’re a goddamn fool and I love you” and later details how we as people have lost our humanity. Not exactly “Baby I Love Your Way” now is it? Bazan’s had a rough road with faith that he’s shared publicly through his music and has also publicly mentioned its strain on his relationship with his family in interviews. To Bazan, this isn’t throw away napkin poetry but a thoughtful declaration.

“Who or what controls the fates of men I cannot say, but I keep arriving safely home to you. I humbly acknowledge that I won’t always get my way, but darling death would have to pry my fingers loose.”

What does it mean to love someone that you would literally fight off death, not for your own sake, but to not leave them alone? Darwin told us the animal kingdom is all about survival of the fittest, animals fighting for dominance and doing whatever it takes to get it. Bazan tells us his wife is worth more than pure alpha supremacy. What a novel concept, aye? This probably seems obvious and stupid but I think he touches at something even deeper – love is going against your human nature to give up everything for someone else. That’s beautiful.

It’s not just about avoiding death, it’s about allowing nothing to keep you from the one you love whether it is metaphysical or otherwise.  That’s an easy statement to make but a harder one to fully grasp – let alone follow through with.

In the over three years Kristin and I have been together, I’ve become closer to her than anyone in my life. In those years I’ve learned really for the first time what it means to sacrifice for someone you love. Not just little sacrifices, but knowing your capacity to do whatever you can to make sure they are safe and content. I can probably think of small things I’ve done for friends and family throughout my life that may constitute as “sacrifices,” but they’re not quite the same. Getting to this point has been the hardest thing I think I’ve done. There has been that pain in my stomach when I’ve felt like I cannot do enough only to gain the strength to move forward. I mean a physical hurt. There’s an actual ache when you want to raise someone up but you’re not sure how. And when you figure it out, it’s so much joy – not joy for your benefit but joy for the other person.

Of course, there is much more than just these aspects that go into love, but right now these are the specific ones on my mind. I’d need a novel to explore that, not a blog post.

I love Kristin more than I did the first time I told her I loved her. In twenty years I’m sure I’ll look back and say that I love her more than I did when I said it on my wedding day. Having a responsibility like this to someone else is challenging but the reward is tenfold. I cannot and will not let go of her, I could never afford to do that. Bazan and I could tag team beating the of shit out death because it’d take far more than that for me to stop trying – it’s impossible.

“I will not let go. I will not let go. I will not let go of you.”