Archive for the ‘Tunes’ Category

Strongarm vs. Gladhand

Written by

Okkervil River – On Tour With Zykos

Between jobs and apartments, Ryan moved in with his brother and sister-in-law in Phoenix for a couple weeks. Ryan paid rent by babysitting the kid, Oliver. After the parents left for work, Ryan and the baby would eat unsweetened cheerios together for breakfast, sharing toothy grins over unarticulated jokes. (Ryan had lost his most recent bar fight.)

While carrying the diaper-clad infant around in one arm, Ryan taught Oliver how to high-five. It seemed the most natural expression of male camaraderie available. But Oli didn’t so much slap Ryan’s outstretched hand as much as press his own tiny, ruddy palm into it solemnly. The act resembled the sealing of a pact, unspoken like the jokes — a pact that said Ryan would do everything within his power to protect Oli from the harsh world outside the single-bedroom apartment and that Oli would promise not to grow up to be like Ryan.

[Buy The Stand Ins. Also, read this Believer interview with lead singer Will Sheff which begins with the line: “So the first thing I wanted to ask you was if you’ve ever been in a fight.”]

My family’s role in the world revolution.

Written by

Beirut – My Family’s Role In The World Revolution

I’ll tell you exactly how I listen to this song:

Waaarp, air-piano! Ba-da-da-da-da-da-dum!

Pause… laugh along with the band, man, you guys are great… and piano!

Ba-da-da-da-da-da-dum!

Trumpets, tubas, whatever the fuck they are, air-play those!
Drop ’em (I’m not worried if they get scratched) and back on the piano.
My feet are pressing the pedals,

I’m making the sounds ring,
they’re flying,
I’m flying.

My lower back and my stomach, convulsing.

Back to the trumpets! Come on, people. Get in here!

I want to hear the thunderous march of your ambition!
The spine-curling cry of your despair!
March march march!
Grip at the air with your instruments and play a goddam song.

We don’t see the melodies, so why should we see the instruments?

And now strip away. One goes.

The other goes.

Just a tinkling piano.

A smashing on the cymbals. Pssshh!

And a squealing trumpet.

And slump, head down, into silence.

[Let’s go to Lon Gisland.]

I left my urge in the icebox.

Written by

Brian Eno – Third Uncle

This shouldn’t sound so delectable, so garishly pretty. The bass is a persistent, knocking intrusion, the rhythmic rhyme of guitar comes courtesy of the wrist that rocked the whip, there are drums who flaunt their singular focus of speed, and then there’s the capture of song by a distorted (once birthed on poorly tuned Viola, surely) lead guitar; the stranglehold of sound. The vocal track of let’s-just-get-through-this pace and delivery does nothing to entice either – (“There are…,” “there was…,” “you…,” / “pork,” “Turks,” “leather,” “shoes.”) So why then does the end result, the union of each individual craze, produce an aural mosaic; how are we unexpectedly privy to something so awfully cool?

[Part some money and in return receive ‘Taking Tiger Mountain (By Strategy)’.]

Over-sentimental nostalgia to follow

Written by

Perhapsy – Mountain (demo)

Editor’s note: I spent a month in Asia, where I grew up, half a year ago. Recently, I found a series of notes on my iPhone from that trip, largely written on airport tarmacs. These are reproduced below. The picture above was taken by my brother during that trip.

I’m afraid time has washed away the memories of my youth and that I will just replace them with the images of this trip.

When I was young I fell asleep peacefully anywhere — sitting upright in an airplane chair, on hardwood floor, in sand. Now that my body is fat and old, I require unsustainable levels of comfort.

I have missed these accents. They make what people say sound interesting again.

I held my hands over my ears to trap in the sounds. My headphone earbuds buzzed like two electronic flies against my fingertips.

He was tan of skin. Grime stained his fingertips and palms. His hair was nicotine or jaundice yellow; sickly, unnatural.

The muggy heat, the colorful monies, the curry aromas — it all feels unmistakably of HOME.

The shoulder is just another lane in Indonesia

I rode a motorbike down a hill going 80 km/h and extended my hands like in Titanic. I had forgotten how glorious childhood can be.

Here cops keep their lights and sirens on perpetually. To pull you over they point and gesture.

The widower maker.

[Buy Perhapsy’s self-titled album. No, seriously, he’s a buddy of mine and needs your money.]

E R U P T L I K E V O L C A N O

Written by

Jónsi – Tornado

I’m imagining a man at a bar sitting side-by-side with a perfectly still tornado. Just wisps of white wind and debris in spirals circling their way to the ceiling.

Unfashionably dressed, with his plain blue collared shirt tucked – front, back, and waist – into his jeans. He’s leaned over the bar, can cupped in his focused hands, and singing. Quietly, to begin with. His throat is extended, his Adam’s apple exposed with a jagged triangle bursting from the skin covered in stubbly black hair and the odd white. He’s singing a simple song, as if he were just talking, just getting it out. His ears twitch when he says, “You. You grow like tornado. You grow from the inside. Destroy everything through. Destroy from the inside.” And the bartender unlatches the locked stained-glass window, to let some of the night in after a long day, and the breeze comes sifting in through the bare legs and soaked ankles on the barroom floor. And the breeze creeps and crawls and finds the wisps of white wind spirals at the counter. And the spirals start to spin, when the creeping breeze touches them.

“You sound so blue. You now are gloom.” This breeze, once gentle, comes forcefully now from the roaring quiet of the outer-city avenue. And the jackets come quickly from the shoulders of the chairs and wrap around the prettiest, most slender waists first. And the tornado spins spins spins spins. And the glasses fall from the counter top, shattering on the barroom floor, against the dried drink from the night before, so the shards glowing like crystals in the dim light scatter like marbles on uneven ground.

His throat now shaking free from the vines of skin and muscle and bone splits veins that wrap around the revolving winds beside him and this mix of wind and odd chunks of dirt and blood is tearing from him this voice altogether brash and subtle and blinding. “YOU. YOU GROW, YOU ROAR. ALTHOUGH DISGUISED, I KNOW YOU.” And his lungs come strangled by the winds, the two of them shriveled and purple and floating in the middle. His heart, like a pendulum swinging by a thousand strings of gold, comes next. It swivels on an invisible axis. And the chairs and stools come crashing down around this man and this tornado, beating like mad-men on newly-bought drums while the glass clinks and clangs and this man sings to twisted tornado from tightened tongue. [Go.]

Take them back to your red house.

Written by

Tom Waits – Ol’ 55

Isabella had an atlas. Three to be true: one under her bed which was new and still had shop stickers on its front, a second in her school-bag which was covered in brown paper, torn at the edges, and had her name and age (“7.5”) on the front, and the third she kept it in plastic covering, in a shoe box, four branches up on her favourite tree (the one with the tyre swing – the one nobody made her as it was just there when she moved in). Using her sisters green nail polish, the paint she’d use to brighten her feet, Isabella traced over anything black within this book, and this was to include every available border. She thought they were mistakes or stains, almost certainly they were intrusions. She was adamant they had tarnished and made chaotic what was intended to be a pretty picture. With some pink nail polish she’d paint bridges from one city or world to another – places she was sure needed such connection, including a deliberate, ruler inspired pink bridge from Guyana straight to Dakar. She preferred the pages with just the continents. They weren’t perfect, they were all different colours, so she still wasn’t sure how to make them all friends, but they at least had her golden stars.

[Buy album.]

Are we on our way?

Written by

Detox Retox – Caroline

I’m not sure what this song is about, probably something as regurgitated as the end of a relationship, but when I hear it all I can think about is a road trip.

You stayed up all night lining the roads in a borrowed atlas with a pink highlighter to show where your adventure will take you. The car just had a checkup and an oil change. Caroline packed turkey and provolone sandwiches, stacked neatly in a cooler next to cans of cola and a small bag of carrots.

There’s a new playlist entitled “ROAD TRIP” on your iPod, sleeping bags conveniently cover the bottle of whiskey in the trunk, and you both have your seat belts snapped on.

Caroline rolls down her window in the car parked in your driveway. With an elbow resting out in the summer sun, she turns to you. “Are we on our way?”

1, 2, 3, and yes we are.

[Buy Movement when it comes out June 15.]

A teenager in love with Christ and heroin.

Written by

The Pains Of Being Pure At Heart – A Teenager In Love

Endorphins meet dolphins on the Gulf of Mexico squeaking from their blow-holes waiting for the next wave to sully their salty smiles. Ultraviolet violence comes crashing from the bolted metal arks with staggering javelins poking and prodding at the Earth’s sweaty bellybutton.

Sarah meets Maker on the rickety staircase of her aunty’s Victorian five-bedroom house on Chapel St. Her Cross Country medals sit perched on the wall, never dusted. Her cheques sit in the mailbox too far from the front door, and living alone no lover brings them to her. The neighbour on her left, Liam, sometimes does the deed, if lonely.

[Hold close The Pains Of Being Pure At Heart.]

lextrical – Nautical Automaton

Quentin Tarantino’s James Bond short, filmed during his hallucinatory-arthouse-phase, exposed everything that was important about The Man With The Golden Gun. In its succinct runtime of seventeen-minutes, fifty-seven seconds, Quentin plays his cards: foreign seductresses, ear-rattling explosions, hair-raising chases in ramshackle Cadillacs, an intimidating-yet-laughable villain, a finely cut beige Armani suit, and an endless array of buzzing, beeping, brrrat!-ing gadgets. And a shark tank.

And so, the shark tank scene: it will not be the kind where Bond goes toe-to-toe with a pack of tiger sharks, rendering them immobile with swift jabs to their noses, no sir. Bond will take with him his mistress, Eva, and they will twirl amongst the frenzy, soaked through to the bone. And her clothes – clinging to her supple breasts, her pert frame – will slip away. And while they nibble on one another, the beasts will tear strips of flesh from their form, whirring from the predatory machine within.

And the blood will bubble and stain the opaque walls.

[Pay-what-you-want-or-pay-nothing on pre-release for Heavy Lextricity. Oh, and find some rhythmic beans.]

When love came and told me I shouldn’t sleep

Written by

Rufus Wainwright – Bewitched

horizontally speaking he’s at his very best.

For one of such emotion, Wainwright summons great composure from every touch of key and crackle of throat. It’s a song that would bring a crowd to calm and stillness, but for applause at songs end. I’m in love with the piano pumping blood, with the voice of such great bravery – you can only help but feel privileged to be part of this, to be a witness. A distinct voice, a wandering eye over diary entries, a spillage of heart-discovery for you and for me. One of few songs to bring me to tears.

and long for the day when I’ll cling to him.

[Purchase the soundtrack – which includes the above piece – to one of the greatest films ever made here.]

Just a small coincidence.

Written by

iotah – Foreign Lover

Errant leaves scattered clumps of brown on the tar of a quiet road in Siren. Siren, a town of no more than two-hundred inhabitants and, if fortunate, a visitor or two each year, was gifting Autumn its final hurrah, a pat on the back before being gift-wrapped in brown paper with a violet string and sent on its way to college. Winter this year was falling hurriedly on the sloping hills surrounding Siren; hills made not altogether of dust and weeds, but awash with beehives in every rocky alcove, every tilted tree, every false step. In Winter, the bees would bite down on their mandibles, fearful of a trigger-happy Queen sending them into the uninviting wilderness, the biting cold. But in Summer, well, the hills of Siren overflowed with honey streaming down the cracks in the earth and finishing, folded in layers, at the porches and stoops of homes and businesses everywhere.

[Triple J are hosting a tasty selection from iotah as part of their Unearthed series, so be sure to mosey on over there to have a listen.]

bearhug – Grapefruit

Mother hadn’t said a word, staring at the remaining scraps of food left on her dinner plate. Dinner, she thought, was lovely tonight. Father had come good on his word to play chef for the evening, to give her some respite from the thankless slog of day-to-day housekeeping. Fixated on the clustered colors in front of her – the unwanted green peas, the once-creamy-now-mushy-white chunks of potato, the slivers of meat scattered carelessly against the worn-weary pattern painted on each plate in the thirty-piece set – there wasn’t anything there to frown upon. Maybe it was the onset of Winter, the cold creeping into her teeth, but she couldn’t bring herself to indulge in dessert. Untouched, in the center of the dining room table, sat one porcelain bowl of Siren Hill’s Honey.

[Bearhug have a free EP, Cartoon Islands, on offer at their MySpace page. It’s terribly colorful. Their next, To Anything, is released late-June.]

The Jezabels – Easy To Love

Siren’s hospital, a pastel building found without trouble by the ever-lit red cross at its entrance, was buzzing with activity on Winter’s Eve. The hospital’s entire roster was on call – all three doctors, nine nurses, three administrative officers, and Errol the janitor. There were two mothers laboring through the heaving trials of childbirth this evening. Both had arrived at similar times, accompanied by equally concerned husbands, and found themselves side-by-side in the hospital’s two remaining rooms. As the evening set and Siren’s streetlights began to flicker off, automated and comforting in that sense, both women fell into a rhythm that propelled the other along. Room one: heave, rest. Room two: rest, heave. Room one: heave, cry, rest. Room two: rest, cry, heave. As their cries met, mingling for a moment, the Moon found its snug groove in the night sky and looked cozily upon the two vessels hoisting into the world two more for the Sun to enlighten, two more for the Moon to soothe.

[And you, yes you, curious reader, should pinch pennies from pockets to pick up a copy of The JezabelsShe’s So Hard. At $6.99, it’s a steal.]