Category: Music

The Music Diet, Vol. 1

Photo: Brian Wilson

Over the years I’ve tried to come up with a better name for this column. In the past I called these “Music Wire” but title never really fit. The substance however did. These diet blogs will share new and old music I’m enamored with at the time. I enjoy analyzing why I’m obsessing over a song or an album. Each infatuation has its own explanation deserving of recognition. The Music Diet might be a bit on the nose but aptly fit for my daily listening habits. I’ll still use the Music Wire tagline but for off the cuff and broader music thoughts and experiences.

I’ve been looking forward to Assertion’s debut record for a couple of years. I first heard of them when drummer William Goldsmith appeared on the Washed Up Emo podcast. Goldsmith played for both Sunny Day Real Estate and the original Foo Fighters line-up but since those days has mostly stayed out of the public eye. He was overwhelmed by emotion after recounting stories of personal struggle during and after his time in the music industry and raising his autistic son. The bond Goldsmith found with his bandmates, some of who also raise autistic children, really touched me. You can’t help but root for a guy like that. The triumph of finding peace and happiness in your art really translates through in Assertion’s debut record. Definitely for fans of loud pacific northwest hard rock and subtle indie rock you could’ve found on a Friday night at Evergreen State in 1995.

Holy shit, you did it, you crazy bastards, ya did it! After 10 years Lower Definition released new music, and banger at that. “Grief Eater” has classic Lower D soaring guitar licks, smashing Tino Arteaga drums, and seductive Matt Geise vocal hooks who sounds as captivating as ever. Musically the group plays tighter and seem in full command of their style and identity. Exactly what fans hoped they’d sound like based on those infinite et cetera demos. We started to learn Lower D had begun writing their first album since forever ago just last year. With vaccinations getting into more and more arms we might see the long awaited album and tour come to light. If we’re getting more songs like “Grief Eater” this album could be extremely special.

Defend Boy Bands leaders Brockhampton just keep rolling towards the top. 2019’s Ginger showed they could dip into the mainstream pool, to some fan’s chagrin. Roadrunner however infuses some of these maligned elements to better effect by arranging more straightforward hooks with their unconventional brand of eccentric hip hop from the Saturation trilogy. “Bankroll” and “Count on Me” seem like the singles for the public while “Chain On” and “Don’t Shoot Up The Party” serve the music snobs and elitists like myself. Both propel forward with kinetic rhythms. Two of the more unique tracks, “Windows” eerily refers to COVID with haunting vocals and synths while “What’s The Occasion?” sounds like an anti-climatic closer to a Sundance film. Might be too early to call but for my money Roadrunner is their best work yet. Records like this make you excited for what the next 10 years of Brockhampton’s career might look like.

A month ago I was fortunate enough to add Whirr’s repress of Feels Like You on vinyl. Very few copies exist and all are sold out now. Since then I’ve been on a Whirr and shoegaze kick. I spent two weeks playing Sway almost everyday. “Mumble” seems like the fan favorite but “Lines” really hit me the most. The serene and quiet notes leading up to the sudden and loud thrash just satisfies my musical programming. Check out some live performances of “Lines” on YouTube to better understand how effective the quiet and loud approach remains in rock music. “Heavy” gouges and hammers away with dark, not brutal, weight. Really a wonderous song melding almost metal heaviness with dreamy indie rock. Whirr does it better than anyone, outside of Hum. Detractors always say Whirr completely ripoff of My Bloody Valentine which comes with a lot of bias and clearly those critics haven’t listened to either band. MBV isn’t dark or even mysterious sounding. MBV also goes crazier with their effect pedals and write poppier tunes. Whirr would never make songs fit for alt-rock nation/active rock radio. MBV never tried to either but they got played there.

Since scoring Feels Like You on vinyl I’ve rounded up as much Whirr vinyl and plunged into as many Nick Bassett, guitarist, projects as I can. My discogs activity has really picked up in the last month (sorry Lili). Went back to Bassett’s time in Nothing, Cloakroom, and especially Deafheaven. I’ve loved Roads to Judah since it came out but didn’t realize until now he helped make it. Bassett’s most recent project Pink Slip features vocalist Brandon Setta, ex-Nothing. The pair put out an ep, Perpetual Care, quietly about a year ago. It may remind those familiar with Bassett’s old project Camera Shy, but a little darker and much quieter. Hard to say if they’ll continue with more music soon however Perpetual Care offers silent introspection, if you’re looking for a somber melancholy vibe.

Seabass Bebop

I haven’t written shit in a long, long, time. Seems like years have elapsed since I last attempted this. Never took the time to tell you I reached a monumental goal in my life, or how a global pandemic short-circuited all our lives. There’s not much to say other than this is fucking strife.

For those who know me my politics are well known. There were many times I wanted to sit down and exude all my rage over this blog. Many, many times. Would it have been worth it? Unequivocally no. I’m comfortable admitting this evitable truth now more than another time in my life.

Why? Before I felt weak as if I’d forsaken my 1st amendment right; however, it’s not worth the scrutiny or the myriad of risks in expressing my thoughts on the status of the country or planet at large. Somewhere Tom Brokaw is taking an afternoon nap mumbling to himself “The world’s in trouble…”

Instead I want to get back to the kind of writing I know and love best: music. Despite a year where Kobe Bean Bryant and Chadwick Boseman passed, the Coronavirus pandemic, abominable murder of Black Americans, and a corrupt President and system 2020 has given us an otherwise strong assembly of records to begin this decade.

The success of Dua Lipa’s Future Nostalgia seems COVID proof as one of the most successful records of the year. One of the few pop records I own on vinyl. Phoebe Bridger’s Punisher became the most unintentionally timely record of 2020. I knew Punisher would be her best work but didn’t expect its lyrics to capture the overall mood of a planet in isolation and self-quarantine.

Looking at my favorite/best records of the year, more than most years, women have pervaded into this world and I don’t see that trending plateauing. I haven’t seen much buzz about Alina Baraz but the music industry should look at her like the NBA looks at Luka Dončić. She could eventually ascend into the higher levels of popularity.

When I read shit like NME saying It Was Divine sounds “bland in comparison” to other contemporaries I can’t help but laugh. Who are these clowns writing for these publications? You won’t find writers like Chuck Klosterman or Hanif Abdurraqib critiquing for these outlets anymore that’s for sure. I’ll buy all your Baraz stock if you’re selling. That record has bedroom jams for sure.

Haven’t seen much press for Lianne La Havas’s self-titled record either. Again, what the fuck are these people doing all day? Just praying corporate planet Billie Eilish puts out some more bland “duh” material? Thanks again Greg for bringing her LP over yesterday. I need my own copy.

Seems like the generation(s) after mine sits on Tik Tok all day casually listening to the Kidz Bop track of the moment. Where am I even going with this? Whether it’s Eilish or some other soon to be irrelevant product music has become like a Tweet. 280 characters, ten to sixty clips, doesn’t satisfy me like a full-fledged album.

Listening to records in COVID times indelibly imprinted on me the importance of supporting musicians with the craftsmanship to sculpt a cohesive piece of art. Good for you if you can get rich off making some flavor of the week banger. There’s a distinction between those people and artists. I respect those that can give me coherence, purpose, and sometimes even longevity; although, I never expect it.

I’m not a critic. I’m just a guy in his bedroom pontificating on the music that matters to him. Music of quality which seems rarer today than it did ten years ago. Back than I remember reading music had never been more saturated thanks to the advent of the internet provided platforms to share music. Equipment and recording knowledge had never been cheaper or more accessible then. Today we’re even more inundated with empty calorie music. I hope to give you the best nuggets I’ve found.

The Song Obsession: Electric Sunrise

Trying something new with this space. Worklife keeps me pretty occupied but I miss putting my thoughts into words. Instead of trying to toil over 1500 word essays; where I eventually lose focus, I’ll write some bite size pieces to stay current with my immediate existence.

I obsess about a new song fairly often. When I say obsess I mean playing that song everyday for weeks, maybe months. I scour YouTube for live performances, covers, and critique of the song. Plini’s “Electric Sunrise” fits perfectly with my short but current obsession profile.

Plini came to me through Periphery’s constant advertising on Instagram, since they are touring together. I was aware they existed but never listened to them. I needed some new songs for the month playlist I curate for myself and decided to give their top song “Electric Sunrise” a spin.

The bare acoustic intro reminds me of waking up early in Denmark and going for a run in my grandmother’s neighborhood. The sun hasn’t risen yet. It’s a bit chilly but not bad, just brisk. Start jogging on roads I’ve known my whole life as the sun wakes up. The main riff comes in, you can imagining Plini’s finger’s prancing all over his guitar, it’s so fucking captivating.

Now the rhythm guitars kick in with epic chords letting you know this run about to get L I T. As the harmonic pinch screams the first rays of sun strike the over the lake and onto familiar grass fields. Plini slides up into a massive chugging rhythm overlaid with his jolting lead melody. This is a run!

I obsess about songs that take me to a place I’m not physically at. “Electric Sunrise” brings me somewhere I haven’t been in nearly five years. It reminds me of a run I went on last time I went home. Unfortunately I came to Denmark for my grandfather’s funeral but for whatever reason that run made me optimistic. Maybe it struck at the right time.

When I hear this song I feel hopeful good things will happen. It hit me at the right time, another reason for my obsession, as important priorities in my life have begun falling into place. Even when some doubt creeps in something else happens to reassure me. The song runs in a similar wave of emotions as the middle section pulls back before finale rises back up again.

The end finishes the way we started with a little more majesty. The lead up to the climax shows how many different textures Plini can funnel into your ears. He’s incredibly dynamic bouncing off reverb and delay effects with impeccably keen timing for when to play the next note.

When the reverse snare starts you can just feel we’re about to go on a great adventure again, a great run, with the lead melody and chugging rhythm returning. I haven’t gotten tired of it since I first heard it about two weeks ago. I don’t think I will anytime soon.