Monday Mixtape, Vol. 13

I apologize for being MIA since Tuesday, but my Macbook died. I was traveling to DC as well, so I wasn't able to work on the blog! I'm sure you survived.

I heard a version of "Bros" by Wolf Alice - (**TANGENT ALERT ** which is a more raw-sounding version of the song than the one on their debut album. The track on their album sounds much more produced and less emotive. I can't stand when producers or record labels (or maybe the band thought they could record a better version) put their influence on a song and mess it up.

This is the original song:

This is the song on their album:

You be the judge. ** TANGENT OVER **) - a couple years ago which reminded me of The Zombies (remember "Linger," ahhhhhh such a beauty!) and Chvrches, but their subsequent releases have sounded edgier and even more distorted, a welcome evolution for me. The first track of this mixtape showcases this sound, and the buildup on "Giant Peach" would be a great opening track for their live shows while Ellie Roswell purrs and screams like Joan Jett (who, by the way, gave a kick ass speech at her Rock and Roll Hall of Fame induction).

The comparisons to Twin Peaks span decades and sounds. There's dirt in their amps, feedback in their mics, Mick Jagger in their vocals, and sixties and seventies in their sound. They also remind me of bands these days like Parquet Courts and Broncho, but these guys have a better roadmap for melody and songwriting. The whole album is worth a listen.

I compared Alpine to Trails and Ways a couple weeks ago in my mixtape because both have beautiful female vocals. Alpine is ahead of Trails and Ways in my book because of their upbeat and unique album from 2014 (my #15 Album of 2013!), A is for Alpine. If you like the two tracks on here from their new album, Yuck, definitely check out their last album before the new one!

That's it, have a good week!

Singles - Father John Misty - The Suburbs (Arcade Fire cover)

Father John Misty released one of my favorite albums this year, one that I lovingly reviewed some months back. He's taken his talents to perform a somber cover of the first track of Arcade Fire's great album, The Suburbs. The cover is a stripped down version of the song, a simple four chords strumming throughout.

I am always inspired when I hear songs so good with so few chords. Ryan Adams is a virtuoso at this, and I was shocked to realize that this original song, amongst the guitars, pianos, and strings, breaks down to just four chords. As you watch FJM play, notice how he progresses chords four times and repeats the process pretty much throughout the whole song. Simplicity wins while the darkness of the lyrics sing.

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Monday Mixtape, Vol. 12

Today's mixtape focuses solely on rap. And if we're talking recent rap, it has to start with Vince Staples debut album, Summertime '06, released last week. It's gotten a lot of love, and it's nice to see a rookie making his space in the world of Kanyes and Drakes. "Street Punks" should have given some credit to Pharrell and The Clipse - that muffled bass drum echoes just like "Grindin'." Like most of his other tracks, the sparse beats leave a ton of space for Staples to find himself.

Speaking of Drake, he just won't disappear from my mixes! He's the modern music Midas, making great music prolifically on both his own tracks and the songs he's featured on. These are all features by Drake, but he makes the tracks.

"CoCo" is a completely ridiculous song. But when the Warriors won the NBA Finals, I was in a bar surrounded by locals going crazy, and amidst the chaos, the bar blasted their Warriors anthem, "CoCo." Everyone started dancing, bobbing their heads, and singing along. A memorable moment and a song that will forever remind me of the Dubs winning the title! 

Playlist - Throw Party, Press Play, Vol. 3

With the 4th of July so close by, I imagine a few of us will be throwing some parties. These parties usually need music. And if you're not playing music, or it's some background muzak, shame on you! 

A party mix has a few things, which should include:

  • Numerous flavors and genres of music to keep it interesting while never sounding the same (as going from Ladyhawke to Naughty by Nature to Nas to Band of Horses would suggest on this playlist);
  • The ability for a passive listener to tune in and acknowledge that he or she loves this song (this ALWAYS happens with Phantogram's "Don't Move" and Alabama Shakes' "Hold On," two tracks which are on other volumes of this playlist :()
  • Songs upbeat enough to keep chatter alive amongst numerous awkward and/or silent pauses.
  • Most importantly, a flow and rhythm between tracks and blocks of songs to give the playlist an overall vibe and well-roundedness (if that's a word?).

This playlist was made back in 2013, but I still think it stands the test of (a short) time. If you don't have a playlist to throw on for the background of your party, I highly recommend this one!

Party on Wayne.

Monday Mixtape, Vol. 11

Good morning, Monday! Today is a short week for most, and hopefully all are planning on barbecuing and celebrating the 4th with a few beers with friends. So happy soon to be 4th of July.

The first track of this week's mixtape, "Alright," was performed by Kendrick Lamar as the opening act of last night's BET Music Awards. Lamar stood atop a graffiti-laced cop car and spit out a ferociously technical song on live TV. Listen to this song and the wordplay, speed, and execution of his delivery: "Now tell my momma I love her / but this what I like, Lord knows / 20 of 'em in my Chevy / tell 'em all to come and get me / Reapin' everything I sow / so my karma come / And heaven no preliminary hearing, so my record / I'm a motherfuckin' gangster in silence for the record." The whole track is the epitome of Lamar's ability to spit. Another interesting tidbit is the hook is sung by Pharrell. I thought the song was an interesting choice for Lamar to play to the primarily black audience as he sung along with Pharrell's backing vocals, "Do you hear me? Do you feel me? We gon' be alright."

Trails and Ways hails right over the bridge from me in Berkeley, California. If you like this song, I highly recommend their album. The female singer and some of the songs remind me a bit of another band, Alpine, who released a great album in 2014 and a new one this year as well (which I have yet to listen to!).

Gengahr - NO IDEA how to pronounce that - released their album recently, and "She's a Witch," stood out to me from all the other tracks. The only comparable I can think of is Of Montreal's "Bassem Sabry:"

Both weird songs, both oddly catchy. 

I wrote about Will Joseph Cook's EP already, but I am really digging this song and have been listening to it more than any other song over the past week, so it's gotta make the mixtape!

Twin Peaks sounds like they're recording their music in a garage while their friends jump around, drinking beers, and the band has to just keep getting louder because their friends progressively get drunker. It's raw, unpolished rock.

De Lux is is like the hideous menage trois music-child of LCD Soundsystem, Hot Chip, and Talking Heads. "Irish people hate me / Hippies don't love me." This is not all true, I'm cool with you guys!

Listen to this EP - Will Joseph Cook - You Jump I Run

Will Joseph Cook doesn't have a ton in the blogosphere about him yet, but he released an EP in April, You Jump I Run, that has a songwriter's simplicity that reminds me of Angus Stone while also having the pop and sonic sensibilities of another group I love, Minus the Bear. He looks like a young Cillian Murphy, so who knows what this guy has in store because he could either be the next guitar-wielding pop star (as "Streets of Paris" would indicate) with a real sense of musicianship, or he could go down the indie road of rejection and/or respectability (as "Daisy Chains" could indicate).

"Daisy Chains," probably my favorite track from his EP, builds upon itself through the first minute and then really starts going around the 1:15 mark. "Oh, you got it, you got it good," Cook proclaims on the first chorus as he reminds the listener there's something worthwhile here.

His other great track, "Message," is another track that starts in its shell, peeks out, reverts back and then grows into its own. The lyrics follow the rhythm as Cook confusedly wants to love when he knows it's not there. "I feel like following / following my heart again...The sweetest little things / I can't stomach the things my memory sings."   

There's a pace to this EP that just feels natural. It's not rushed, and Cook sounds like he's getting used to himself. I look forward to see wherever he takes this. 

READ THIS BOOK - Americanah by Chimamanda Ngozi Adichie

Americanah is a story about wealth and privilege, war and peace, love and the shields that deflect its arrows, whites and blacks, African-Americans and Non-American Blacks, poverty and riches, the United States and the world, and finally, Ifemelu and Obinze. It's a story of many competing themes that never seem to trip over each other; instead, they weave together seamlessly.

Ifemelu is a Nigerian girl who emigrates to the United States after high school to attend college. She begins to blog about her experiences in America, and the blog posts alone are worth the price of admission for this novel. Obinze, Ifemelu's boyfriend and love from high school, has his own travails as he grows into a man. The novel follows both of them with an amazing depiction and vantage point of the lives and countries they see and live.

Author Chimamanda Ngozi Adichie, who is also a Nigerian, captures these characters in all of their humanity. All of them are flawed, and the ones that mask their flaws behind their pride prove to be the most insecure and miserable. The many characters that briefly pass through Ifmelu and Obinze's life are also incredibly well drawn. For example, one description of a corrupt politician, "Ferdinand, a stocky acquaintance of Chief’s who had run for governor in the last elections, had lost, and, as all losing politicians did, had gone to court to challenge the results. Ferdinand had a steely, amoral face; if one examined his hands, the blood of his enemies might be found crusted under his fingernails."

Most impressive was Adhichie's ability to succinctly describe the ease that wealth and privilege enable while the burdens of poverty and "choicelessness" (as she puts it) disable so much. I wanted to provide some of my favorite passages in regards to this in the hopes that a few of you would read this book! (I included a link at the bottom if you have a Kindle and/or want to buy from Amazon).

1.  "There was a certain luxury to charity that she could not identify with and did not have.  To take 'charity' for granted, to revel in this charity towards people whom one did not know - perhaps it came from having had yesterday and having today and expecting to have tomorrow. She envied them this…Ifemelu wanted, suddenly and desperately, to be from the country of people who gave and not those who received.  To be one of those who had and could therefore bask in the grace of having given, to be among those who could afford copious pity and empathy."

2.  "She liked, most of all, that in this place of affluent ease, she could pretend to be someone else, someone specially admitted into a hallowed American club, someone adorned with certainty."

3.  "The stories of his wealth made her assume he had changed more than he possibly could have.  People often told him how humble he was, but they did not mean real humility, it was merely that he did not flaunt his membership in the wealthy club, did not exercise the rights it brought – to be rude, to be inconsiderate, to be greeted rather than to greet - and because so many others like him exercised those rights, his choices were interpreted as humility.  He did not boast, either, or speak about things he owned, which made people assume he owned much more than he did.  Even his closest friend, Okwudiba, told him how humble he was, and it irked him slightly, because he wished Okwudiba would see that to call him humble was to make rudeness normal.  Besides, humility had always seemed to him specious thing, invented for the comfort of others; you were praised for humility by people because you did not make them feel any more lacking than they already did.  It was honesty that he valued; he had always wished himself to be truly honest, and always feared that he was not."

4.  "His friends were like him, sunny and wealthy people who existed on the glimmering surface of things… He was always thinking of what else to do and she told him that it was rare for her, because she had grown up not doing, but being."

5.  "Ifemelu would also come to learn that, for Kimberly, the poor were blameless. Poverty was a gleaming thing; she could not conceive of poor people being vicious or nasty because their poverty had canonized them, and the greatest saints were the foreign poor."

6.  "Alexa, and the other guests, and perhaps even Georgina, all understood the fleeing from war, from the kind of poverty that crushed human souls, but they would not understand the need to escape from the oppressive lethargy of choicelessness.  They would not understand why people like him, who were raised well fed and watered but mired in dissatisfaction, conditioned from birth to look towards somewhere else, eternally convinced that real lives happened in that somewhere else, were now resolved to do dangerous things, illegal things, so as to leave, none of them starving, or raped, or from burned villages, but merely hungry for choice and certainty."

Americanah
$10.00
By Chimamanda Ngozi Adichie
Buy on Amazon

30 Seconds to Mars Documentary

I recently watched a documentary, Artifact, that followed the band 30 Seconds to Mars as they tried to make an album, This Is War, while its record label, EMI, sued the band for $30 million for a breach of its contract after the band was pissed at EMI for failing to pay them their royalties. I thought the documentary was an incredibly enlightening depiction of the record industry, and a big label trying to wrap its grubby paws around as many bands as possible, sucking all life and creative energy out of these individuals while taking any and all money in its path in the name of legalese. There's a great part where Jared Leto gets legal advice for about one minute on his cell phone, hangs up, then forgets to ask how much it cost, wondering if the band even has the money to pay the lawyer for that one minute.  

Despite what my initial impressions were of Jared Leto (and more accurately: the celebrity machine that follows him), he comes off as incredibly likable and driven by his passion for music and art. After watching this, I really have a lot of respect for the guy. He is a very talented and blessed individual to be able to provide so many people a degree of happiness in music, TV, and film. I can also say from experience that he flies coach! 

This documentary got me thinking about the long lost idea of bands "selling out." Once people started stealing all of these artist's music, selling out was no longer called out because it was hypocritical to call someone out for wanting money as people picked their pockets. So bands turned to different forms of music that may have a broader appeal with the masses. Then advertising began to take advantage of this movement as bands' songs began to be featured in commercials, movies, TV, and so forth. The people in these bands have to make a living somehow and as evidenced in the 30 Seconds to Mars documentary, it's clearly not in album sales (save for the Katy Perry's and Taylor Swift's of the world). This is their livelihood. I read an interesting take from an advertising executive who had previously been in a rock band who bluntly stated that artists' distrust of record labels has brought a transparency to brands. While the brand plays their songs in their ads, the hope is the artist at least understands how these brands are using their songs. As I watched Artifact, this quote (TANGENT: which I came across because I was reading a bunch of David Carr's articles after his death - this article is hilarious and seems to encapsulate Carr as he goes to SXSW and is amazed at the degree music and brands have become somewhat of a packaged product), although somewhat depressing, spoke volumes to the state of music right now (and that being said - please go support bands at live venues!!):    

"The willingness of artists to partner with brands happened because revenues dried up from physical discs,” Peter Gannon from an advertising agency said. “The labels are not going to get a lot of sympathy because they were not very good to artists. At least when a brand is involved, there is an understanding that we are borrowing the cachet that the artist has built and we try to make high-quality projects that give value to both the client and the artist.”