Yay for another decade list of albums that influenced my growing up as a teenager. This list probably means jack-shit in the grand scheme of things, but regardless here are my top 40 records that I think owned. Just a note that one a band has had an album already appear, no more will come up, just to share it around.

40. The Killers – Hot Fuss (2004)

I remember back in 2004 when The Killers were the ultimate hype of the year, and so they should have been, they were great, and Hot Fuss was an amazing album. From “Jenny Was A Friend Of Mine” through to “Everything Will Be Alright”, this album owned my summer and was one of my first transitioning albums from my young, 13-year old rap and hiphop faze (everyone’s been there, okay?). I’m not sure if it was their catchy one-liners, or dominate 80’s synths, that would go on to really influence the bands I enjoy in music, but The Killers catchy pop riffs backed with Brandon Flowers lyrics “Make this go away without a word” in “Midnight Show” lifted my adolescence. What a shame The Killers never got back to this status as the following 2 albums that followed (not including Sawdust, b-side albums don’t count).

39. Sigur Rós – Með suð í eyrum við spilum endalaust (2008)

For me lyrics are a huge part of who I do and don’t enjoy listening to. So when Icelandic band Sigur Rós came into my life it breached all contracts. Understandably, hardly any of their tracks are in English but for some reason it doesn’t seem to faze me. Their music is simply so divine by tune of the song you can gather what it is about. And if you still don’t know you can make it up really. I suppose the influence of Thom Yorke putting forward that “this band is going to be huge” also helps ones inhibition and self promotion. I think with or without the word from Yorke Með suð í eyrum við spilum endalaust was always going to be a fantastic album.

38. The Shins – Chutes Too Narrow (2003)

Having your bands name come out of Natalie Portman’s mouth I guess impacts on a small minority of followers. Having your band pasted all over a soundtrack is another. Regardless, The Shins were always going to be as rated as they are, and their fantastic debut is no exception. Realistically, Garden State was an indie film, and although there have been amazing indie’s before it, ie. The Virgin Suicides collaboration with Air, Dappled Cities writing out the last couple of anthems for Disney. The Shins success has also been filled with rock n roll back-story that critics love to hear, from front-man James Mercer receiving death-threats from a neighbor while trying to write and record Wincing The Night Away. Chutes Too Narrow is full of fun and vibrant “indie” tracks that have easily impacted on the decades explosion in the indie world.

37. The Postal Service – Give Up (2004)

Ben Gibbard and James Figurine seemed like an unlikely couple, and many were skeptic from the start. One gave his soul to promotion on The OC and is now more commonly known as the king of the indie world, though 7 records in and signed to a major label. The other half of The Postal Service is an electronics genius. But when the two got together to do Give Up it proved a fantastic combination of talents, even among the music world. “Such Great Heights” has boastfully been covered more times by more artists than most (Ben Folds, Iron & Wine etc), not to mentioned a sneak cover every now and then, with one of the greatest lyrics in a song written, also covered by Teddy what’s-his-name. Give Up oozes confidence from start to finish.

36. Peter, Bjorn & John – Writer’s Block (2006)

For a good 18 months people all over the world could not stop whistling that pop brilliance that came out of the world wide hit “Young Folks”. It was enjoyable regardless of people not listening to the lyrics and hearing what the song was really about “If I told you things I did before, Told you how I used to be, Would you go along with someone like me?“. Writer’s Block is solid gold in every track from start to finish. In its lyrical brilliance of “Objects Of My Affection” to the short and sweetness of “Start To Melt” that you never want to end. And the devistating heart-break of “The Chills” with “Don’t know about love, But I know the lack of it” that rings in your ears for days after.

35. Iron & Wine – The Shepard’s Dog (2007)

After releasing multiple albums revolving around a simple husky voice and an old acoustic guitar, Samual Beam, better known as, Iron & Wine turned up the amps, switched on the distortion, and layered as many tracks down per song as possible to produce one of the fantastic albums of 2007. Though as Iron & Wine’s style of song-writing goes, it can be a bit hard to tell what he is writing about, The Shepard’s Dog tells the great Beam stories of love, loss, what he wants, and what seems out of reach, “There is a house by the sea, And an ocean between it and me“, though as Beam assures no distance is too far out of reach. This in-turn creates one of the fantastic folk records of the decade.

34. Augie March – Sunset Studies (2001)

While it seems apparent that not much “super-fantastic-omg-amazing” music comes out of the western parts of the southern hemisphere, Augie March are this fantastic Australian band that have circulated around for years. Though it wasn’t until 2006 and the release of the chart topping hit “One Crowded Hour” was released that they would come to fame, but I remember hearing back when I would have been so young hearing “There Is No Such Place” and the beautiful song that it is. Augie March seem to be king at beautiful arrangements of piano & guitar that can span out for any length of time, like on the eariness of “Hole In Your Roof” another key track.

33. Band Of Horses – Everything All The Time (2006)

Strongly influenced by the likes of Built To Spill and Interpol is the Seattle based 3-piece Band Of Horses with their stunning debut release of Everything All The Time. Like Built To Spill before them Band Of Horses follow the same multi-layered guitar, strongly dominated by lead rifs, arranged around Ben Birdwill’s beautiful and unique voice. Tracks like, “Our Sword” and “The Funeral” play key in this epic, 36 minute indie-pop gem of the decade that recieved critical praise among reviewers all over the world.

32. Daft Punk – Discovery (2001)

Something about the unflinching charm and optimism of Daft Punk’s Discovery is too lovable to hate on too much. It’s so damn happy and unassumingly danceable that it doesn’t grate on me the way other albums like it have. Though previous Daft Punk records seemed hard to listen to, after all, they were really just a combination of samples that the duo would use in their live sets, they just made tracks out of them, yet Discovery seems the perfect record for a group of this genre so early on. The duo from Paris who hit the dance bullseye in Discovery by combining a variety of old-school styles with modern studio techniques and meticulous production. And who is ever going to forget this album with singles like “One More Time”, the anthem to any party that will just never end.

31. Muse – Black Holes And Revelations (2006)

Muse has cemented its legacy among the faithfuls of the rock genre with this effort. Riding on the coattails of Absolution’s stunning success, Black Holes And Revelations simply is a stellar gem from top to bottom. Opening the curtains for this album is “Take A Bow” which has a strong political message included in it. Screaming “Corrupt, you’re corrupt and bring corruption to all that you touch”, the song really tells what the band thinks about the present world. Closing the album is one of its released tracks “Knights of Cydonia”. Galloping horses, a spectacular guitar work, the song closes the album on a high note implanting in your head “No one’s going to take me alive“, it really seems fitting for anthem of the decade.

While most people will recognize The Postal Service from their famed and commercialized “Such Great Heights”, and to a lesser extent “The District Sleeps Alone Tonight” (the first single and my personal favorite), the entire Give Up album is chock full of great tunes.  Here is one that I never thought got enough respect.  “Clark Gable” is one of those songs that is easily looked over but will have you grooving as soon as you hear the first digitized horn blast.

The Postal Service

“Clark Gable” from Give Up

It’s that time of year again where writers and editors alike scramble to piece together coherent lists of the albums that shone the brightest over the past 12 months.  Personally I find these lists extremely difficult since I always, always, always leave one or two essential albums out that for some reason didn’t cross my mind when I searched through all the dark crevices to find the music that meant the most to me.

Alternative Press took things a step further by providing a list of the Top Ten Singles of the Decade.  The results are void of many of the scene bands that grace the covers of their pages these days and reflect an era of music most prominent when I was in high school, so much so I felt the need to comment on each song and it’s relevance to me personally and how I see it fitting into to influential music.

10. Thursday – “Understanding In A Car Crash” – I am very excited to see Thursday on the list, especially this track.  Thursday changed the way music was played, incorporating elements of various styles into their post-punk poetry.  Their songs were decidedly darker than their contemporaries mostly thanks to unfortunate circumstances in vocalist Geoff Rickly’s personal life.  What they created was something so beautiful its impact is something that will forever resonate with me.  Musically, they are some of the most talented people I have ever heard, weaving intricacies around lyrics that shatter my heart, creating an eager dependency.  Their influence is something not recognized in the modern derivative of this style of music, and perhaps this is simultaneously also the biggest punk disappointment of the decade.
9. Jimmy Eat World – “The Middle” – I fell in love with Jimmy Eat World when I first discovered the album Clarity, a record that solidified so much those feelings of being lost and those confusions about love.  It’s beautiful and heart-wrenching and easily one of my favourite albums of all time.  The selected track is from their record Bleed American and arguably that song that made them a household name.  And this is a song that will also forever speak to me because it is very much about not believing in yourself, it’s about losing yourself while attempting to find yourself, but ultimately it’s really about standing up for yourself.  It’s about not giving up.  It’s about acceptance of self.  For a sad song, it’s so full of hope and sometimes hope in music is all we ever need.
8. My Chemical Romance – “Helena” – When I think of My Chemical Romance two memories come to mind.  The first of the time they played the Kool Haus with the Used, a show I attended with my good friend Shyla back when we were young and full of rockstar dreams.  While I was never religiously into My Chem, I always really liked them.  The second memory is when I attended Bamboozle in ‘07 and watching their theatrical version of their hit single “Welcome to the Black Parade” with the company of a few great girls.  This song is so terrific, with piano that reminds me of Meat Loaf songs that thus remind me of when I was young.  With an intro so epic, I have no choice but to post the video here:

7. Dashboard Confessional – “Screaming Infidelities” – Dashboard is often associated with being one of the first mainstream emo bands, but they remind me of this girl I used to know named Elizabeth.  In fact, Elizabeth introduced me to a lot of the music that later greatly influenced me as a music lover and as someone trying to make sense in a crazy world.  “Screaming Infidelities” is one of Dashboard’s most well known songs, but I much prefer “Hands Down” as their best single and “The Sharp Hint Of New Tears” as one of their best songs.  They allowed it to be okay for grown men to cry about their girlfriends, and whether you love them or hate them for this their influence and presence cannot be denied.  Not only has it helped shape an entire movement of music, but it’s also helped get a lot of losers laid.
6. The Postal Service – “Such Great Heights” – I totally agree with this song choice because this is one of the most amazing songs I know and it is always stuck in my head.  This song really put Ben Gibbard on the map as an important multi-dimensional songwriter, as his other project Death Cab for Cutie was already successful. I love the way the lyrics wind around the meanings in this song, which is constructed almost like a Weakerthans song.  This band allowed indie electronic rock to be welcomly incorporated into the punk scene.  As much as I love them, I feel the modern bands who try to encapsulate this raw, innovative energy are actually partially responsible for the decline in the Warped Tour style of punk rock, as more and more electric music seeps into the scene.  However, I do not put this blame on the Postal Service at all.
5. Taking Back Sunday – “Cute Without The ‘E’ (Cut From The Team)” – Taking Back Sunday came onto the scene as a breath of fresh air, with a new way of displaying their ideas.  Catchy, swinging lyrics and melodies laced with spite and conviction, they were in a league of their own that roped me in right away and continues to harness my love.  They too faced their share of Long Island drama, silly affairs that lead to some of the best songs and shows I know.  Behind sugary sweet vocals were battle scars that slowly crept more and more into the music, solidifying my connection to this music and warping them slowly into deeper and darker musical avenues.  This band never got the true respect they deserved, so thank you AP for including them in the list.
4. Fall Out Boy – “Sugar, We’re Goin’ Down” - Back before Pete Wentz entirely ruined Fall Out Boy’s authenticity (even though he writes the majority of the lyrics), they were making waves for their unique style of song writing.  Off their debut album From Under the Cork Tree, this song encapsulates the rise of poppy emo bands in the mainstream.  Since there are way too many politics in punk rock, this band also divided people into emo lovers and punk lovers, and those who sided with this album were also often discredited.  However, their impact tells it’s own story.  They were one of the firsts to name songs with obnoxiously long titles, my favourites being “A Little Less Sixteen Candles, A Little more Touch Me,” “”I Slept with Someone in Fall Out Boy and All I Got Was This Stupid Song Written about Me”  and personal favourite “I’ve Got a Dark Alley and a Bad Idea That Says You Should Shut Your Mouth (Summer Song).”  They embraced their image and continue to hone it without sacrificing their ideas and visions.  I respect them for this, especially considering they do put on a stellar live show.
3. Jimmy Eat World – “Sweetness” - Also from Bleed American, I feel this spot definitely should have gone to Brand New. Brand New created a dramatic, cult following that was still apparent in their two sold-out Toronto shows this past weekend.  If TBS is on the list, BN should be too.  Brand New continually changed the way I personally looked at music in terms of development, and I mean this in both positive and negative ways.  Their earlier material wasn’t that amazing, but they still could have put “Mix Tape” or “Soco Amaretto Lime” in here.  It is hard to deny their influence, especially on Deja Entendu and the Devil and God Are Raging Inside Me. Did someone have a memory lapse?  Brand New seems like a no-brainer to me for an AP list.
2. My Chemical Romance – “I’m Not Okay (I Promise)” -  Another great song by My Chem, but perhaps the people at AP couldn’t think of other bands (Tight deadlines? Too much on the Go?).  Really they have only named eight bands as the most influential over the past decade, where I feel a spot could and should have gone to acts like Propaghandi, Rise Against, AFI, Greenday or even Blink 182.  What about the Get Up Kids?  Or Bright Eyes? Or Alkaline Trio?  Or Thrice? Or Rancid??? So many influential and important artists were not included in an otherwise fabulous list and thus I’m going to have to disregard this allotment.  I really do not think My Chem deserves two places.
1. At The Drive-In – “One Armed Scissor” – I love At the Drive-In, but I was never in love with them, especially this song.  While I appreciate their infusion of ambiance and understand their cultural significance and impact on modern artists, I don’t know if they warrant the number one position.  Musically, they are above many of their contemporaries, with an understanding of song construction that likens them back to psychedelic ’70s music and with that same post-punk neuroticism mastered by Thursday.  I cannot deny their significance, but I would agree more with this award had I experienced that connection with them like I did other acts on this list or even the acts I mentioned that weren’t featured on this list.  I like to think I have really good tastes, but they never captured my heart in the same fashion as other bands in this era.

Reading over my reflections on each song, it’s crazy to realize the impact music has on an individual and how certain songs or certain bands are symbiotic with precise moments in our lives.  They remind us of times we came out triumphant and of times we couldn’t stop feeling lost.  They give us hope when nothing else will and they make us feel like we belong when we feel lonely.  They create community, they divide community, they have the power to make us want more out of life, to make us become better people, and also the power to destroy.  Music allows us to see things and experience things we may not otherwise have and it allows us to reflect on life in an intelligent, intimate way.  It can alter our moods from happy to sad, from sad to happy depending on the connotations it stirs up within each individual.  It truly is one of the most powerful and beautiful of all creations.

So wie den richtigen Song im Ohr, wenn man Kummer hat und es sich irgendwie doch gut anfühlt.*

*Satz geklaut bei Cousin Martin.

When was the last time you heard music that blew you away?

For me it was last week when I received Goodnight Owl’s EP in the mail from their manager and music blogger Sabi.  As soon as I checked the letterbox, I ran upstairs, put it on and was amazed at just how good it is.

Goodnight Owl play lush folk music with electronic beats layered underneath. The result is something like a cross between Josh Pyke and The Postal Service but with a distinctly Australian flavour.

Goodnight Owl  is composed of main songwriter Eddie Alexander who moved from Central Australia to Melbourne, Joe Walker who provides all of the electronic work and Bella Walker on piano. All three members were friends in Alice Springs  and met up back in Melbourne.

Apparently Eddie Alexander used songwriting as a way to overcome the homesickness and other emotions that came from living away from friends and family and it shows in the heart-breaking yet hopeful nature of the music and lyrics.

Although acoustic instruments are mainly used on the EP, the use of electronic glitches though out the record blend everything together in a subtle and interesting way. This is particularly noticeable on the opener and standout track Maps & Compasses, which is probably the most electronic track on the EP.

Verandah is a delicate song about childhood memories in Alice Springs and I’m sure that anybody, regardless of where they’re from could relate to some of it. The final track Stale Bread comes all too quickly and is the least electronic track which draws attention to the lyrics. It is definitely one of the EP’s highlights and leaves the listener wanting more.

The only track that let’s the EP down is She Kept A Secret, which starts off well but tends to drag on towards the end, especially after repeated listens.

There aren’t many bands like Goodnight Owl, particularly from Australia. These guys should be huge, and in time, I’m sure they will be.

9/10

Myspace

Downloads

This place is a prison and these people aren’t your friends

Inhaling thrills through $20 bills and the tumblers are drained

And then flooded again and again. – The Postal Service,

Man, there has been something insane going on within the confinement of my brain. I’ve been flat ass broke for a couple months here; with few breaks of money in between, but still. I guess maybe I am irresponsible about money. But honestly, in the bottom on my heart, I don’t think I’m being dealt a fair card in this situation.

To help my mental state a little bit more, I’ve been keeping to myself much more and thinking. Thinking about life; about plans; about how when I wake in the morning, I wish I had fresh squeezed orange juice; about how I wish my friends would help me out a little bit more; about how stupid I am for relying on my father; etc. etc. etc.

The more I sit by my lonesome and ponder everyday mysteries, the more I can feel my sanity being sucked out of my soul and throw into oblivion by an invisible Dementor. Since I’m watching myself type all of this down, I feel as though I may be losing more of my mind than originally thought; seeing as though I just used a noun that exists only in a fantasy-based novel by J.K. Rowling.

A dear friend of mine just recently had a lovely smoke-out early in the morning with my other friend and myself. He was describing how he enjoyed how ‘normal’ we both were to him; and how much he liked us versus the people he had deeming ‘not normal.’ Most people who I’ve told this story to were slightly appalled and thought I would of taken offense to this statement. However, what most people don’t seem to understand is; I’m a tad bit crazy in my head.. I guess I can be the only one who knows this for absolute positive, but then again, if anyone else lived in my head for as long as I’ve lived in mine, they’d believe they were crazy too. Being referred to as ‘normal’ made me feel like other people might not see actually how crazy I really am. Like maybe I’m tricking all these people around me into believing I’m ‘normal,’ whatever that means. I suppose I just felt a little dash of pride, forgive me.

Today I encountered a nice young man who seemed to be moving in an extremely peculiar way. I just assumed he was moving awkwardly to Andrew Gorny’s guitar playing. Awhile went by and I didn’t notice anymore, but he seemed to notice me more. He began speaking very slowly, then very quickly. Once or twice, he moved his head around closer to my ear, like he thought I couldn’t hear what he was saying. Eventually, I learned he had just eaten five mushrooms four hours prior to our meeting. He mentioned that it was his first time tripping and how insanely high he felt. I thought he may be trying to figure out what was reality, when he picked up his bag, said his goodbyes, and traipsed off into the downtown streets of Portland. The only real response I could come up with was to just slightly smile and nod my head knowingly. I imagine I’ve appeared that way to strangers before. I faintly remember several trips in public, feeling nothing but euphoria.

• Ahh, how the days drag on without you, love. I miss you like I miss walking next to the ocean. When I touch your face, look into your eyes; I see the clouds blowing and I can almost hear the waves beating against the barrier between my mind and yours.

Quite personally, forever is unconceivable.

It’s more dangerous when every second could be your last.

November 11, 2009 – 05:01am

I guess this is the end.

Possibly the end of you and me,

Possibly just the end altogether.

Regardless – I’m done with this scene, boy.

Here we come, future.

Verse of the Day:
“O Israel, my faithless people,
come home to me again,
for I am merciful.
I will not be angry with you forever.
Only acknowledge your guilt.
Admit that you rebelled against the Lord your God
and committed adultery against him
by worshiping idols under every green tree.
Confess that you refused to listen to my voice.
I, the Lord, have spoken!”
~Jer 3:12-13

Quote of the Day:
“In my opinion, we don’t devote nearly enough scientific research to finding a cure for jerks.”
~Calvin, “Calvin & Hobbs”

Lyrics of the Day:
“What I’d give to make you coffee.
Find out how you like your eggs.
Wrapped around you in the mornin’.
A tangled lace of arms and legs.

What I’d give to let you love me.
Find out everything that brings you joy.
Wake up to your face above me.
I’d be that girl and you could be that boy.
Find out why that feelin’ is…
Oh, what I’d give. What I’d give.”
~“What I’d Give” by Sugarland

currently listening to “Give Up” by Postal Service

Ben Gibbard, aka Zooey Deschanel’s husband, has some great songs outside of his work with Death Cab For Cutie.

Here are two of his songs for The Postal Service, “Such Great Heights” and “Nothing Better” live with Jenny Lewis:

Finally, here’s Ben doing an acoustic cover of “Silver Lining” by Rilo Kiley:

So, I can’t even keep up with regular posting on this blog, but I decided to chip in on the trend to, now that 2010 is only a month and a half away, reflect on the past decade. In terms of society, we’ve entered a new Dark Ages as far as I’m concerned, but because one of my mission statements for this blog was to not talk about me, I’ll only bother my friends in the bar with that. I don’t consider myself important enough to be sharing my opinion on everything that’s going on.

So, let’s talk about music then! In my list there will be no Wilco, no Arcade Fire or no Radiohead. The first two surely would be in my traditional decade list, but I decided to focus on those bands that aren’t in any lists, albums that have been ignored or forgotten, or albums people have never even heard about. 26 albums precisely, and I believe all of them are timeless. At least to my ears, because I give them a spin all too often.

Making this list sucked. I had to leave out a lot of favorites. And quite a few of the bands have featured on this blog before. I won’t upload new songs for them, unless the uploaded songs are from another album.

Anyway..here is number 26 to 20. Oh yeah, no albums from 2007, 2008 or 2009. I wanted to make it really obscure.

26. Hudson Bell – Captain Of The Old Girls (Upperworks, 2002)

Sounds like: A nineties indie-retro melancholy soup

Hudson Bell is one of those bands I got to know by just downloading everything that was in my way. Ninety per cent of those songs disappear into the Microsoft Trash can, where it will be monitored how much illegal music I have once owned, so that it can be used against me. Hudson Bell is the bastard son of Neil Young and Built To Spill, but just a little bit sadder then. I wrote about them here. You can also find some songs there. And release that new album man.

25. Arab Strap – Monday At The Hug & Pint (Chemikal Underground, 2003)

Sounds like: Scottish pub-sadness, but as long as there is beer in the end, we’ll be happy.

Arab Strap wasn’t known for their happy songs. The collaborative project of Adrian Moffat (who released a fine album this year by the way) and Malcolm Middleton (who has been releasing good stuff since he started a solo career) was all Scottish melancholy. It was rough, but musically amazing. The Mumbling of Moffat, combined with the sometimes uptempo melodies, makes this album a master in duality. Ok, this is crap, but it’s really good. As an extra I’ll add a song of a sideproject of Moffat, The sick anchors, where he sings a cover by Atomic Kitten in his own amazing way. If you have that single, I’ll marry you.

Arab Strap – The Shy Retirer

The Sick Anchors – Whole Again (Atomic Kitten cover)

24. the Love of everything – Handjob Community ( Redder Records, 2004)

Sounds like: Daniel Johnston’s squeaky basterd nephew, but even worse at singing.

I have not known the Love of Everything for more than a year, but already they are among the most played bands on my last.fm pages the last six months. It’s got this sincerity I’m looking for in music. Anyway, i wrote about the band not so long ago. You can download some songs there.

23. Havergal – Lungs for The Race (Secretly Canadian, 2001)

Sounds like: The Postal Service who didn’t care about being poppy. Why, but not Why?

Havergal..damn, i wish he would resurrect from whatever grave or coffee bar he’s in, to release something new. He made two albums and then kind of disappeared from the face of the earth. the last login on MySpace is from beginning of 2009. Maybe i should become a documentary maker and then go on a search for Havergal. Anyway,  I wrote about him here.

22. Black Bear – The Cinnamon Phase (Baskerville Hill Records, 2006)

Sounds like: Casiotone for The Painfully Alone, you’d better watch your back.

Another project that hasn’t been heard of after this album. Too bad, cause I think this is one of my favourite bleep-bleep indie squeak bedroom projects. I wrote about this project here. Download those songs.

21. Chauchat - Chauchat (Free digital release, 2006)

Sounds like: the sadcore indie project no one knows about, but everyone should know, cause it’s fucking underrated.

I don’t use the word ‘fucking’ that often, but in regard to Chauchat, it’s necessary. There is no vessel in my mind that would doubt that this band can be really big with the american indie crowd. It’s got all what indie bands need. Damn. Luckily, it’s not too late to discover, cause this album can be found for free on the internet. And therefore I applaud them even more. Also try out their other stuff. And by writing this, I found out they released a new album for free this year, to be found on Last.FM.

Chauchat – Olde Smuggler

Chauchat – Young And Dethroned

20. Okay – High Road (Absolutely Kosher Records,  2005)

Sounds like: A cricket singing about heartbreaking emotions.

This cd was rediscovered by me the last week. It’s been my wake up-cd. The unique way with which Okay connects the sad lyrics (and voice) with poppy melodies..It breaks my heart each and everytime. another bastard son of Daniel Johnston, with the ability to unite melancholy with uplifting indie pop.

Okay – Compass

The rest is for later this week! (or two or three or four. Eventually I’ll get there)

Ben Gibbard, amb la lletra de Transatlanticism com a rerefons. Font: deviantart

Si d’alguna cosa no podem acusar Ben Gibbard és de sedentari. L’any 2003 publicà amb la seua banda principal, Death Cab for Cutie, un disc que molts crítics consideren com un dels millors d’aquesta primera dècada de segle. Transatlanticism proposava seguir amb la línia dels seus primers tres LPs, això sí, amb una cohesió entre les seus pistes que l’ha portat a ser considerat com el millor del prolífic grup estatunidenc.

Sis anys després, l’autor de la majoria de les cançons d’eixe àlbum acaba de publicar el disc que serveix com a banda sonora al documental One fast move or I’m gone: Kerouac’s Big Sur, juntament amb Jay Farrar, una de les figures més aclamades per la crítica i desconegudes pel públic dins de l’escena del rock amb arrels americans. A l’obertura de l’àlbum, Gibbard es transforma en Kerouac per cantar “Now I’m transcontinental/3000 miles from my home”: ben podria tractar-se del seu propi viatge, un viatge musical que ha portat el polifacètic autor a escriure i a col·laborador en projectes de tot tipus.

Death Cab For Cutie , que començà com a projecte individual de Gibbard, publicà el seu primer disc l’any 1998, i va anar guanyant adeptes àlbum rere àlbum fins arribar a l’esmentat Transatlanticism, en 2003. Gràcies a l’indubtable qualitat de l’àlbum i a les nombroses cançons a sèries de televisió i pel·lícules que en aparegueren, el grup va donar un salt immens quant a públic es refereix. Des d’aleshores, han publicat Plans (2005) -que inclou l’hiperradiada ‘I will follow you into the dark’- i Narrow Stairs (2008), junt amb l’EP The Open Door (2009). Tot i no haver variat massa el seu só, Death Cab For Cutie intenten buscar un só diferent al pop basat en emotius riffs i precioses melodies vocals dels primers discos, encaminant-se cap a arranjaments èpicodramàtics (‘I will possess your heart’) o més rockers (The Open Door EP).

Des dels inicis de la banda, el multiinstrumentista Gibbard ha col·laborat amb nombrosos artistes, sobre tot, en el camp de l’indie rock, tocant tot tipus d’instruments. Això sí, degut a la seua suau veu, el seu treball és molt més fàcil de reconèixer quan es tracta de col·laboracions vocals, com la que dugué a terme en l’àlbum Rabbit Fur Coat (2006), de Jennifer Lewis And The Watson Twins (enllaç). Tot i això, el més important d’aquests favors a altres artistes ha estat el fet de posar la seua veu al tema ‘(This is) the dream of Evan and Chan’, de Dntel, en 2001.

Dntel és el nom darrere el qual es troba el projecte de música electrònica de Jimmy Tamborello. La col·laboració en aquesta cançó dugué els dos artistes a intercanviar diversos materials, que van anar prenent forma fins convertir-se en deu joietes que publicaren baix el nom de The Postal Service al disc Give Up (2003). El nom que es posaren feia referència a la seua manera de treballar, doncs, degut a la distància i als projectes personals que els separaven, van composar el disc enviant-se parts de cançons i lletres per correu ordinari. Sembla mentida que d’un mètode de treball tan retro haja pogut eixir un dels millors àlbums de pop electrònic mai publicats. El seu gran hit, sense cap dubte, és una cançó que, com ‘Transatlanticism’, ha posat banda sonora a diverses produccions audiovisuals, com la sèrie Grey’s Anatomy o la pel·lícula Garden State, ‘Such Great Heights’:

Per a finalitzar d’arrodonir la seua figura com a totterreny de l’indie rock, només el faltava algun projecte més proper a la música country o al folk americà. Just eixa és l’última faceta que Gibbard ens ha mostrat, col·laborant amb Feist i amb Jay Farrar. Amb la primera, ha gravat la cançó ‘Train Song’ per a un recopilatori benèfic, mentre que amb el segon, ha gravat la banda sonora de la pel·lícula-documental sobre el viatge de “desintoxicació” que va fer Jack Kerouac en 1960 cap a la regió de Big Sur. Extractes de la novel·la homònima i una instrumentació lleugera i estrictament “surenya”, que deixen les melodies soles davant el perill són la base de l’àlbum. Es tracta d’un gir de 180 graus en la seua carrera, passant del per moments grandiloqüent Narrow Stairs a les guitarres nues i l’harmònica, de les lletres d’amor melancòlic de Death Cab For Cutie a la reflexió vital de Jack Kerouac.

En definitiva, apropar-se a la música de Ben Gibbard és apropar-se, sempre des de l’òptica pop, a un ample espectre d’estils musicals. Tractant-se d’un dels estendards de l’indie nord-americà, mai no li faltaran les controvèrsies ni els detractors, però vos convidem a sentir-lo i a donar-nos-en la vostra opinió. Hem preparat una llista de temes per a l’Spotify que podeu escoltar prement ací.

Has any one ever heard of The Postal Service?

Owl City – Fireflies:

-Drew

Wie nennt man eigentlich diesen putzigen Synthie-Sound von Passion Pit, MGMT oder Miike Snow ? Fluffy Pop oder doch eher College Pop ? Keine Ahnung, aber “Fireflies” von Owl City ist so ein charmantes Liedchen, dass sich nicht nur anhört wie eine Schlafzimmer Produktion, sondern auch genauso visuell umgesetzt wurde. Das Sänger Adam Young auch noch genauso klingt wie  Ben Gibbard von Death Cab for Cutie ist sicherlich ein weiterer Pluspunkt, böse Zungen sprechen allerdings von einem dreisten The Postal Service Rip-Off.

In den USA ging Fireflies erst langsam aber dann äußerst erfolgreich auf Platz 1 der Billboard Charts. So etwas nennt der Amerikaner einen Sleeper Hit, wobei wir ja nun wieder beim Thema für das offizielle Youtube Video wären:

und hier zum Vergleich die in der Tat doch recht ähnlich gestrickten The Postal Service, deren Album allerdings schon 2003 erschien:

Brand New Colony, The Postal Service, Give Up, 2003

The Postal Service is one of many side projects for Death Cab For Cutie’s frontman Ben Gibbard. The one Postal Service album has the melodic catchiness of Death Cab frosted with soothing electronic coolness. Gibbard and Death Cab, if you don’t know, got a dose of mainstream fame a few years ago when they got a plug on some tv series called The OC. They’ve become since then some of the top purveyors of Emo music. The term Emo means basically nothing, at this point. It’s short for emotional. Emo emerged as a genre as an alternative (but not Alternative) to soulless, mindless stadium pop. Emo is basically defined as any music with truthfull, heartfelt lyrical content. As opposed to chart topping music that is composed by focus groups, it’s supposed to be intensely personal and confessional. But that can include a wide variety of musical styles. So emo now ranges from Bright Eyes’ Conor Oberst who sings lyrical paeans to lost love and damaged souls in a quavery voice, to straight up commercial rock bands like Fall Out Boy, and anything in between as long as it wears hoodies and guyliner. (Oberst does not wear guyliner, but he does have the tell-tale emo forelock.) It seems that Emo is as well defined as Alternative was in the 90s, which is, not at all. Take it or leave it, but nobody does it better than Ben Gibbard.

45,95 MB
128 kbps
mp3

Download

Megan Jasper, VP of Sub Pop; image courtesy of mtv.com

So, perhaps ya’ll saw Claire O’Neill’s recent post on NPR about the release of Grunge, photographer Michael Lavine’s new book that documents Seattle’s halcyon days as alternative rock’s beacon on an isthmus. Coming out in time for the holiday season, something tells me many folks of my generation are curious to skim the pages and indulge their nostalgic impulses (though some acquaintances may be willing to wait for a book that lovingly recounts Matador in the early to mid-90s instead of Sub Pop at the turn of the 1990s).

While Lavine could be argued as the book’s actual subject, as his work is being catalogued, I’d like to spotlight another key player that O’Neill mentions in her post – Megan Jasper (link readers: apologies to those not charmed by interviewer L. Swain’s purposely crass introduction). She was a low-level employee at Sub Pop when grunge became popular and all the major media outlets were looking for a quote from someone affiliated with the indie label responsible for discovering Nirvana. When asked to relay some scene-specific slang to a New York Times reporter, Jasper made like a riot grrrl and shut the interloping media out. Her tactic was playful — make some shit up, all the better if they totally buy your line and publish it. Hence grunge speak. Use it to avoid personal contact with lamestains who tom-tom club your flippity flop and turn it into a harsh realm.

Jasper has long since moved up the label’s ranks, currently holding down her tenure as the Vice President of an indie mainstay that has since released albums by The Shins, The Postal Service, Wolf Eyes, Iron and Wine, Wolf Parade, Sleater-Kinney, and many others. Pretty awesome, especially considering that the lady who used to work out front answering phones has her own office out of which she can help run the label.

It’s been quite a while since my last posting. That has more to do with my schedule than anything else, but it doesn’t take more than half an hour to write an adequate entry, correct? No excuse other than sheer laziness, really.

Anyway, today marks the first day the wonderful, awe-inspiring, motivating, reinvigorating sun sets far too fucking early. Far, far, far too early.

I cannot stand the lack of sunlight. I can’t stand the darkness approaching at 3:30pm. Slowly conquering the last lingering sunlit days: first encroaching on them, then suffocating them, and finally stealing all color from their skies. Oh, but of course, it’s not actually night yet, so we don’t have any pretty stars. Just blackness. We have to endure this shitty situation for the next six months.

Darkness doesn’t matter to some people. They’re still emotionally balanced, regardless of the lighting conditions of the environment. Those people suck (but only because I wish I were one of them).

So I have to find some music that fits the early spread of darkness, the early obscuring of vision, the fact that leaving the house and entering the house is done in darkness every day. That fact that no matter how hard I concentrate, how much my imagination tries, I still can’t place the sun back in the sky. I still can’t see any light at seven o’clock. Some light should still hover around the periphery while eating dinner.

But I’ve had this problem my entire life; I just have to find a way to accept it. That acceptance will come reluctantly, indignantly, and stubbornly. But it has to come, or I won’t survive or succeed.

I find the best kind of music for these types of situations incorporates frustrated, gloomy lyrics within music with positive energy. Emphasis on positive—not just loud or angry; it can be loud, it can be angry, but the underlying tone has to be triumphant.

Good examples: THE GO STATION, Annie Lennox, Bloc Party, Civil Twilight, Guster, Pictures of Then, The Bravery, Great Northern, Ra Ra Riot, Delta Spirit, Woods, Metric, Conor Oberst/Bright Eyes, The Cloud Room, Elbow, incubus, Josh Ritter, The Killers, The Low Anthem, Matthew Good Band, Mute Math, Passion Pit, Pela (now very, very sadly broken up.  Anytown Graffiti has now reached another level, because I know I’ll never hear anything quite like it again), The Postal Service, Rage Against the Machine, The Rapture, Ray LaMontagne, Ryan Adams, Snow Patrol, The Stills, TV on the Radio, U2, The Uglysuit, The Weakerthans, Wild Light, Wintersleep, Yeah Yeah Yeahs, and The Zutons. Examples from aforementioned bands forthcoming:

“can’t stop partying”-weezer feat. lil wayne.

“brand new colony”-the postal service.

‘The Postal Service” Give Up. Sehr geiles Album mit sehr feinem Artwork von Jeff Kleinsmith (Art Director bei Sub Pop Records), der unter Patent Pending Industries seine Arbeiten präsentiert, darunter einige Hammer Poster.

Quería publicar una canción que me ha encantado, y buscando he encontrado este artículo del grupo; asique lo copio directamente:

The Postal Service son un proyecto independiente creado por el vocalista de Death Cab for Cutie, Ben Gibbard, y el productor Jimmy Tamborello. Solo tienen un album publicado, Give Up (2003) en el que su single mas exitoso es la canción que hoy os presento, “Such Great Heights”.

Fue una colaboración esporádica de Ben Gibbard en uno de los discos editados por Jimmy Tamborello lo que hizo coincidir a éstos dos artistas y gustó tanto que decidieron seguir trabajando juntos. Como vivian uno muy lejos del otro, se intercambiaban el trabajo a través del correo, por eso el nombre del grupo The Postal Service.

Son uno de esos casos en los que el no tener una multinacional les hace mas libres y creativos, no estar sujetos a ningun tipo de obligacion contractual ler permite ofrecernos un disco de corte indie-electrónico cargado de ambientes envolventes y melodias bien realizadas. Un trabajo que superó en éxito y ventas los anteriores trabajos realizados en paralelo.

Aunque se trata de un disco principalmente electrónico y que suele sonar en muchos clubs norteamericanos, no ha sido concebido para bailar sino que invita a escucharlo en casa, creando una atmósfera llena de intimismo y buenos sentimientos.

Sin duda, un trabajo fabulosamente realizado que espero tenga su continuación en breve ya que tanto Ben como Jimmy han expresado su intención de seguir colaborando.

Y aquí os dejo:

The Postal Service – Such Greit Heights

Vía dSong

Death Cab For Cutie: Transatlanticism

Transatlanticism was released in 2003, October 7th. I think I first heard it that same month. A good friend of mine at the time (Lisa Nguyen, who sadly hates me due to the damage I did to our very bright and particularly unique relationship…who I….coincidentally,   just searched for her on facebook, I think found her, and sent her an invite. I will let you know how it goes.) turned me onto this album and it stuck, permanently apparently. Initially she played something from one of Benjamin Gibbard’s other collaborations The Postal Service. I remember Listening to the Song “Nothing better” and making jokes to her in her car about it “being gay”. That might give you some idea of where I was at musically and emotionally at the time.  I wasn’t impressed. Now its hilarious as I have listened to it no less than 200 times.

Anyway this is about the Ablum “Transatlanticism”. The first thing I would like to say is: amazing. The second things would be: pretty damn amazing. Every track is really worth a listen and I have poured over them so many times its mind numbing. I’ve spent drunk evenings just replaying whatever happened to stick at that time for whatever reason. As Emo as all this is, and YES…Death cab for Cutie is brutally Emo, it works. Ben Gibbard is a musician and there is little else to say about that. Impressive, expressive and powerful. Once you get a taste it is difficult to not go back for seconds and thirds.

Cheer up Emo kids, this is actually good music.

Listen to Death Cab for Cutie: Title and Registration

If you have recently heard an upbeat New Wave electronic pop song with some uncommon lyrics, you were most likely listening to Owl City.  Adam Young is the only member of this group. He started recording in his parents’ basement, and is now with Universal Republic.

His  most recent album is Ocean Eyes,  which includes the hit song “Fireflies.” (See posted video). In Canada, it is currently number 13, and in the US it is number 7. Being from Seattle, it would only make sense for Owl City to be slightly more popular in the US. (Since I first posted this blog, they have actually gone up to number 1!)

You’re probably wondering why I am so obsessed with Owl City. What isn’t to like? Owl City has an upbeat, unique vibe that makes you want to move. His fantastic voice draws you in, and his electronic beats keep you there! His style has been compared to The Postal Service, and male version of Lights. When you hear Owl City, you can’t help but smile!

For more information on this great musical adventure, head over to Owl City’s website.

.do they know it’s hallowe’en? performed by the north american hallowe’en prevention initiative.

What better to do on a lazy afternoon than to listen to The Postal Service and make headbands on the front porch?

Double Layered bow headband

Red Velvet bow headband with embelishment

Champagne flower headband with pink net

Blue/green silk bow and tulle headband

Blue/green silk bow headband with veil

I am never taking this off! I look about 5 years old here…

If I get enough requests, I might make and sell more of these (but don’t get your hopes up too high, I don’t have paypal or even an etsy. Express your interest in the comments of this post, they’ll probably be around $30 + postage (I know, I know, but think about it from my perpective! The minimum for most fabric is usually half a metre and everything is hand sewn).

I was pretty annoyed getting glared at because I was somewhat ‘dressed up’ at the RMI waiting room.

Square neck shirt: Alivegirl
Foil lace skirt: My own design
Leather bag: Vintage
Dragonfly earrings: My own design
Bangles: Gifted
Watch: Blue Satin
Quilted leather belt: No brand, found it at a sale bin
Satin pumps: RMK

XXASAB