Lightning Dust has some members from the Pink Mountaintops/Black Mountain collective that are very beloved in theseparts. Once this one gets going I can’t help but think of an 80’s movie montage where the characters implement their plan or enjoy a day of hijinks compressed into 2.5 minutes.
St. Vincent (Annie Clark) is only into her second album and I am starting to have angst about maybe never seeing her live. UC prefers the more delicate but still theatrical numbers while I lean to the angular, fuzzy, mathy virtuosity ones. We previously had “Your Lips Are Red” from her here, and “Marrow” is in the same vein. Phenomenal.
There is also an extended intro version of this same song from a different angle at the same show on the Tuber should you wish to get into it more, also it seems more songs from this set as well (good quality).
One of my favorite songs ever. This version is exceptionally good. While it is quite similar to the album version, in this case the execution of such a facsimile enhances the feeling of vibrancy and connection. Certain songs can make your spine tingle a bit when you hear a live version that hits the tiny parts that you treasure, and because you are hanging on waiting for those brief moments, when they arrive they are that much more powerful.
Key aspect of this version is the faithful reproduction of the outro, which can be ad-libbed in other renditions. Also the volume gets pretty low on the album fade out so it can be very hard to catch, but here it is right there.
I needed to wait until posting this wasn’t seen as hipster, then I needed to avoid the accusation of bandwagon, then there was the minefield of the inevitable backlash. I hope I am in the realm of indifference/old news, but am likely in the land of poseur.
Creepy and psychedelic video for a surprisingly 80s-esque experimental art-wave straight up lovey dovey song about walking around at night in the city when it is too hot to sleep in your unstated 4th floor Brooklyn walk-up or some such. Works best for our Northeastern urban areas, 80s Sprite commercial type zones and from the Loop up to Wrigleyville. It is really a good tune.
Pandora birthed this effortless Spoon guitar triumphalism it’s so easy everything is perfect we are Spoon suck it talentless audience were are awesome Spoon who are you you are sad yeah I am but Spoon doesn’t even break a sweat it is so easy hey want to be pals really yeah wow you we be pals with me yeah we are Spoon we love everyone doesn’t everyone?
WARNING: Fan video.
NOTE: They won me over with the ol’ glass of milk gambit. Plus Spoon.
Sactown bar band power poppers. Pandora popped this one out a couple of times, and I was first struck by a little bit of Wrens-y “Surprise Honeycomb” guitar weaving through, but then the boy/girl double tracking popped in and the woo-ooh-oohs and I just thought it was quality Spring-time pop. It builds toward the end. For some unclear reason I am reminded of Imperial Teen. Also, I am intrigued by the mystery of why Mr. Michael seems so guilty.
I have entered a productive relationship with Pandora internet radio wherein songs I’ve never heard are played, and then I look on Emusic (not Emu-sic) and find they have the song. This is unpaid product placement at its finest. This is hazy bedroom psych at a very wonderful level. It just hits you with a very standard chord progression, the standard chord progression of almost uniformly awesome songs. This is the song of a lost mixtape presented to you by a friend of exceptional taste, the friends we all wish we are to other people the friends we strive to be. Therefore, I pass this to you.
A certain propulsive urgency. I like especially that it doesn’t feel overdone. Kind of like melodic retro-post punk. I wonder if the case can be made to have a certain amount of faith and get the entire album. This is a pretty good live version (the album version is on their 2006 LP Anti-Anti). This track was brought to my attention by Pandora.
1:02 in hits like a girl group My Bloody Valentine crossover. Maybe a little more Slowdive-y. Can’t say I love the album, but this song is so wonderful. We loved this track when it brightened our day in the P-Fork top 100 tracks of 2008, but the album showed up on eMusic and I loved it all over again.
I didn’t remember ever hearing “Morning Dew” before I heard it on the radio (DJ actually played the vinyl) the other day. Apparently everyone on Earth has covered this song at some point. Hilariously, Lee Hazelwood and Eisterzende Neubauten are on that list, the only list they likely share among their vast and disparate catalogs. I guess the version most people might know would be the Grateful Dead.
Anyhow, the Lulu version from 1968 (second of two songs here) has awesome marimba, horns and ultra-scuzz 60’s bass, and her voice is quality.
I’m not sure why this song resonates so much with me. I wonder if its placement in a variety of films has imprinted it on my consciousness. I think it is in Babe, Pig in the City, one of my litmus test films. Polarizing does not begin to describe it. GC is excluded from this litmus test because she is basically allergic to talking animals. I was just on YouTube reading comments from people acting like they were scarred for life by Babe, Pig in the City. I suggest that these people are also likely to embrace juvenile philosophies such as Objectivism or Notgetitism. To those people, I dedicate this song, which somehow seems so defiant and strong that it comes across as a polite yet firm “f*** you.”
Mashups may be declared novelties and refuge of degenerate DJ scoundrels. Fi on that when they are as seamless and perfect as the below. Perhaps the most remixed/mashed up track of all time, “Get Ur Freak On” seemed to get stronger and more powerful with each remix. I never really liked the original until the fact that it could be mashed with anything made me realize its nefarious control over all things.
We return once again to a seeming early nineties mixtape mainstay, the MLDs. We already visited with “Out of Hand” from these guys. I saw on the internets that this song was used for the outro of the Gilmore Girls series finale. That is pretty quality- going with a song you love and grew up with as opposed to some autotuned piece of disposable crap that someone paid to defile your show. Even if shows/movies go for the low hanging fruit of exquisitely chosen and perfect music (Hi, Wes Anderson!) I’m still a sucker for the emotional and easy wallow. I’m easy that way.
Saw lots of people “Yes on 8” demonstrating today. Disappointing. I dedicate this song to them. GC is much more familiar with the original, which she calls the “burping song” based on the sample/hook. I always am dumbfounded by her claims because I never know what song she is talking about. Lo and behold we heard this cover on the radio this very day. So to all the “Yes on 8’ers” with their deep, dark predilections and their bigoted world views, ride your ponies.
Deerhunter has at least one track on every release that worms its way immediately into my grey matter. Usually relating to some sort of repeated, advancing refrain. Some noisy bits with a chimey, insistent trudge throught the indie snow. This is from their latest, Microcastle, out just this week. I got it at eMusic, who I am convinced keeps moving up the date of my downloads evaporating each month. I think the album is decent, but this is the track that stood out to me.
I only put it under “shoegaze” because I think the feeling is of that genre if not the aesthetic.
They really screwed the marketing of this album. This was right about when “alternative” was just turning into penis rock only like everything usually does. So long ago. Came across an unlabeled mp3 on the ol’ computer and it was this track from an old mix CD. A stunner.
This is the ITV Chart Show from July 1995, Belly gets the last three minutes.
The second track from Okkervil River’s recent and excellent The Stand Ins is currently dominating my psyche. A good cover has been invited by the band as part of a series of covers from the album, and that is the video on display below (David Vandervelde). The more electric nature of the original, and the fact the lyrics expressed by Will Sheff, lead singer of Okkervil River, almost seem effervescent and effortless, even though they are rife with memorable phrasing and wit, really does it for me. You need to obtain this record.
Kind of an amiable ramble from these new psych drone hipsters not necessarily prone to this sort of pop reverie. The key part of the song is the refrain that tips into a different tone from the rest of the piece, somewhere different, something portending unspoken something, but vague in the best way, where you can supply your own palimpsest. Kind of reminds me of the Baxter Dury we did here.
“There’s one thing you should know, there’s always two ways out.”