Tag: Music Diet

The Music Diet, Vol. 2

Trying to write something regularly, and on a schedule, sounds like an obligation, job, and a commitment. It’s kinda hard to do that if you’re not hearing a ton worth writing about, although it’s only been two weeks since my last post so we’re making progress. I’ve mostly been feeding on old records and new records from artists I’ve followed for years. We’re nearing the halfway point of 2021 and the new music front feels a little lackluster so far, or at least lately. Perhaps as venues and festivals begin to open we’ll see the dams break with more releases, especially high profile ones. Anyway here’s Wonderwall, and some inspiration I found to write my recent listenings.

Real Estate’s In Mind will always remind me of visiting Japan for the first time. My friend Andrew was living and working over there at the time. I listening mostly riding trains to and from Tokyo, Osaka, Nara, and Kyoto. I was so proud I paid for the trip all on my own. My first vacation on my own, on my own dime. I’ll never forget it. “Holding Pattern” played on repeat throughout those travels. The silence and sunrise in the mornings dulled all my worries back home in America. I smoked way too many cigarettes on that trip, thankfully I’ve long since quit, but I have no regrets about smoking at the time. It was nice to get away from home and not feel guilty about anything that week in Japan. In Mind was kind of a bounce back record for Real Estate. Their previous record Atlas was subpor compared to Days, one of my top ten records of the 2010’s. They also had some necessary band turnover after Atlas ultimately leading to In Mind, which saw more implementation of synths. While not as energetic as Days, In Mind had a warmth and sweet chillness Atlas tried and failed to deliver on. Kind of perfect for a quiet relaxing journey through Japan.

Speaking of Japan, I was first introduced to Kero Kero Bonito by Andrew. Admittedly I kind of dismissed this group as a gimmicky cutesy anime thing but I’ll take the L on that after Andrew asked Greg and I to see them for his birthday at the Belly Up. As a full band with live instruments KKB were a completely different animal from their recorded material at the time. Since that then I’ve anticipated their next studio album. KKB just released Civilisation II, basically an EP, which gives an insightful preview of what their new full length might sound like. “Well Rested” stands as one of the group’s longer songs but now one of my favorites. The song vibes hard with trancey nintendo-esk synths melting over Sarah Midori Perry’s soft vocals, backboned by simple but propelling bass. I’d like to hear more live instruments, guitar and drums, on whatever they put out next; however, Civilisation II offers a nice tease of what’s to come.

I’m not a big EDM guy. My opinion of the genre and scene will probably always remain in an evolutionary stage. I’ve become far more open minded to these artists over the past five years. Before this time I dismissed the entire genre as commercial high school ass grabbing and a druggy culture. I still feel some of that exists in this scene but every music camp has shit I despise, so to dismiss EDM like that was an error. My buddy Ryan, who is deep into this scene and culture, has done a great job gatewaying artists like CloZee and Rezz into my music diet. His recommendations have definitely not only opened my tastes but also lead me to explore these sounds.

Ryan’s latest endorsement comes through Porter Robinson’s Nurture, his first album in seven years. I found Nurture to sound extremely real, which I can’t say I’ve described an EDM album to be before. Nuture sounded like someone coming out of depression and finding joy again. Apparently Robinson did experience dark times on the jets of Worlds, his break through record. His brother got cancer in 2016 and the pressure from the success of Worlds overwhelmed him. Thankfully he found his way through, helped his brother recover, and enjoyed some meaningful life experiences. He also went to Japan. I know that feel bro.

“Look at the Sky” sounds uplifting and doesn’t overwhelm sonically. The arrangement does a nice job calming down to isolated vocals with either piano, acoustic guitar, or sampling and then gently bouncing back to more energetic dancable choruses. “Musician” might be the most excited song on the album. Very kinetic sounds and vocals. Definitely a song that can work well live with catchy vocals and infectious tones to get you moving. “Something Comforting” almost summarizes the whole record. Lyrically it reflects on Robinson’s personal challenges and pulls out all the stops musically. Vocals, instruments, and sampling delicately builds up into wilding out drum and bass. Even when vocals start to isolate either the keys or synths use some tight melodic riffs. Production-wise Robinson uses some slick vocal ping pong cutting back and forth like old rotary phones.

Worlds still seems heralded as Robinson’s best work, and for now maybe so; however, I don’t think anyone should dismiss Nuture as something less than. It’s clearly different born out of circumstance yet arrives at a time when we’re starting to come out of the pandemic and isolation from the world. Perfect timing, even if it wasn’t by design, to provide an inspiring soundtrack to many of us who have endured a year of languishing at home disconnected from our friends and loved ones. I’ve never heard Worlds, and I’ll listen at some point, but Porter Robinson should be proud of this project. Whether it’s better or worse is besides the point. Nuture provides a little therapy after a long, long, 13 months.

Photo by Alex Knight

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.