Monday, February 2, 2015

2/2/15

In nearly seven years of running this humble home for my words and thoughts related to songs, albums, artists and creativity, something happened this weekend that never before occurred.

I lost a post.

I had about 600 words on the beautiful new Punch Brothers album, and I didn't press publish, it didn't save, and I lost it. Then I lost it, or wanted to anyway, because I worked hard on that and I like sharing my thoughts, especially when I actually review something that might give someone a new recommendation or context for listening. But in spirit of "The Phosphorescent Blues," which is my favorite kind of bluegrass, part elevated folk and part chamber music, I will not dwell on what I no longer have, I will not lose a minute of this present. I'm so struck by this album's maturity, and so soothed by its shadows and shimmers, that it might prove to be the perfect accompaniment for moving onward in spite of any stumbling blocks - which is, after all, what progress is all about, isn't it?

For the sake of review, some bulletpoint thoughts:
  • Chris Thile, virtuoso;
  • T.Bone Burnett, wizard;
  • "Familiarity," never heard a Track 1 like this before;
  • Mortality, a worthy theme.

"My oh my, what a wonderful day
We're having, we're having,
Why, oh why, are we looking for a way
Outside it, outside it?

How long, oh Lord, can you keep the whole world
Spinning under our thumbs?"

~My Oh My
Punch Brothers, The Phosporescent Blues


Wednesday, January 28, 2015

1/28/15


How long the nights can feel when you are alone, how grey the skies can look in the morning when you feel as empty as the day before.
How suffocating the world can be, with all its petty problems and daily difficulties compounding the very real, often exhilarating, occasionally traumatic exercise of existing.
But these times are temporary ones. These struggles will pass, just as they did before, and all that's around you will look new again, tinted by love. The sweet sounds of morning birds will ring in your ears, the sparkle of sun will fill your eyes, and on that day, you will live like you never have before. That day is coming. It could even be tomorrow, if you let it.

"I heard the church bells from afar,
But we found each other in the dark.
And when the smoke does finally pass
We will rise above all the ash.

Cause we're gonna live, we're gonna live, we're gonna live
We're gonna live, we're gonna live, we're gonna live
We're gonna live, we're gonna live, we're gonna live

At last.

So bright, the flames burned in our hearts,
That we found each other in the dark.
Like beasts out in the wilderness
We are fighting to survive and convalesce.


But we're gonna live, we're gonna live, we're gonna live
We're gonna live, we're gonna live, we're gonna live
We're gonna live, we're gonna live, we're gonna live
Like the rest.

Through the black starless water,
And the cold lonely air.
On the rock restless seas,
The vessel in deep disrepair.
And I swore they started singing,
But then oh, rejoice!
I can still hear your voice.

Then I heard the church bells from afar
But we found each other in the dark."

~We Found Each Other in the Dark 
City and Colour, Little Hell

Monday, January 26, 2015

1/26/15

"Oh no, this couldn't be more unexpected,
And I can tell that I've been moving in so slow
Don't let it throw you off too far,
Cause I'll be running right behind you."


Acceptance is back! Which is cool, because I really enjoyed this band back in the day. "Phantoms" is a very definitive "high school" album for me, because it wasn't one I really ever revisited or continued to listen to beyond its moments of first discovery and obsession. But hearing these songs now, wow, they're better than I remember. This track, anyway, is a fantastic declaration of instant, obsessive love. A slow-tempo take with a loopy, moody guitar part primed for chorus sing-a-longs and patient interludes make this one of the more classic pop punk ballads of the early 2000s, and I'm pleased, upon rediscovering it today, that it holds up over time.

Something about the vocals on this track are so representative of the era's trends toward desperation, but the song itself has a very standard alt-rock feel that keeps it from feeling too dated. Lyrically, it's a heartsick little gem on a record that is full of smart, sharp songs. Something about that "only one I would take a shot on" line always stuck with me in some mysterious, private way, though not one necessarily associated to any particular relationship. I never sang it to anyone, I never swore it to anyone, I don't think I over-used it in an away message or something like that. But what a wonderful sentiment to round out a chorus. I don't think I fully embraced this song on a personal scale the way I maybe did with some others from Acceptance back when, so what a nice find it was to come across today. What a nice feeling it was to find a sad, full little love song with words and notes familiar to me but new again after all these years. What a wonderful commemoration to that first-sight, light-headed love when it first sweeps you off your feet and convinces that you'll do anything - anything - to stay in that moment for as long as you can.



"Could this be out of line, could this be out of line?
To say you're the only one breaking me down like this
You're the only one I would take a shot on
Keep me hanging on so contagiously


Oh, when I'm around you I'm predictable,
Cause I believe in loving you with first sight
I know it's crazy but I'm hoping to
To take a hold of you.

Could this be out of line, could this be out of line?

 To say you're the only one breaking me down like this,
You're the only one I would take a shot on
Keep me hanging on so contagiously.

Oh you're everything I'm wanting
Come to think of it, I'm aching
On account of my transgression

 Will you welcome this confession?
Could this be out of line, could this be out of line?
To say you're the only one breaking me down like this
You're the only one I would take a shot on,
Keep me hanging on so contagiously.
"

~So Contagiously
Acceptance, Phantoms

Wednesday, January 21, 2015

1/21/15

This is the second-best track on new Decemberists record. It's called "A Beginning Song" and it's the final track, which is a nice touch. I am listening to it a lot, because it's pretty and uplifting, because it uses those feel-good folk instruments, because I like thinking about beginnings, and because I like the way Colin Meloy says "wanting."

This is the second-worst blog I've posted this week.



"Let's commence to coordinate our sights
And get them square to rights
Get them square to rights.

Condescend to calm this riot in your mind,
Find yourself in time,
Find yourself in time.

If I am waiting, should I be waiting?
If I am wanting, should I be wanting?
And all around me. 


Document the world inside his skin
The tenor of your shins,

The timbre of your limbs.

Now commence to kick each brick apart
To center on your heart
Starting with your heart, bright heart

If I am waiting, should I be waiting?
If I am wanting, should I be wanting?
And all around me, all around me. 


If I am waiting, should I be waiting?
If I am wanting, should I be wanting? 
If I am hopeful, should I be hopeful? 
All around me, all around me.

It's it sunlight, it's it shadow,
It's the quiet, it's the word,
It's the beating heart, 

It's the ocean. it's the boys...

It's you, my sweet love, 

My sweet love,
Oh, my love... 


And the light, bright light,
And the light, bright light,
Bright light, bright light.

It's all around me
It's all around me
It's all around me."

~A Beginning Song
The Decemberists, What a Terrible World, What a Beautiful World

Sunday, January 18, 2015

1/18/15

“All human life, we may say, consists solely of these two activities: (1) bringing one’s activities into harmony with conscience, or (2) hiding from oneself the indications of conscience in order to be able to continue to live as before.” ~Leo Tolstoy

"Ain't no point in gettin' out of bed 
If you ain't livin' the dream." 
~Living the Dream
Sturgill Simpson, Metamodern Sounds in Country Music



The above quote and lyrics have been circling my brain for the past few weeks, and today (like that!, when the lightening bolt of realization strikes) I realized they're saying just about the same thing. I was driving to the store after a beautiful, rainy midday run, listening to the best singer-songwriter LP these ears have found since Isbell, and the chorus of the lead single instantly identified itself as a modern-day match to the musings of Tolstoy from more than century prior.

Sturgll Simpson, who I came across when his record was named #1 of the 2014 by American Songwriter, is becoming a fast favorite. His style is entirely his own, with roots in coal country bluegrass and folk, God-given vocal prowess and a damned honest take on living with struggle and sin and drugs and trying to maintain.  His ability to hold a note and pack it full of sorrow is something that cannot be taught, and his playing is equally steeped in soul. His attitude, in performances I've seen on YouTube and interviews and statements he's given, is positively charming in a don't give a damn fashion. His words are, even when slightly odd and disturbing, are the kind of truths found in the corners of bars with few patrons other than the sad old regulars, the kind of truths spoken by artists who are constantly struggling to say what they need and in turn, find they can say it by coming closer and closer each time. He can kill it on a couplet, see above and below for cases in point. Taken as a whole, Simpson's breakthrough LP shows a fundamental understanding of prog and rock as much as it does country, fusing all kinds of darkness and spirituality with weird strings and syncopation. I should get this on vinyl -- of course, it's all sold out on his Bandcamp.

This song is a good way to kickstart the morning, or liven up an everyday afternoon. It gets me thinking about how lucky we all are to have the time here to do what we will with, how there is no reason other than self-perception to hold you back from becoming as fully actualized in the world as you are in your own reality. Disharmony is an illness, it infects the body and the mind, makes you swollen in ways that make self-medicating seem like an easy cure.  But there is no real fix, other than the ability to open your eyes enough to the world right in front of you and accept it as the one that can offer your heart what it needs to feel full, or you find that world elsewhere. This is what the Tolstoy quote refers to - and this is, I have found, a lesson that makes it seem very simple and clear and binary when it comes to deciding what you want to do, where you want to do and who you want to do it with. It is easy to glamorize the use of drugs and alcohol  - Simpson does this more than once on "Metamodern," probably, though his descriptions prove he's keenly aware of the danger it provides. It is much more difficult to will yourself into living healthily, living gracefully, living with humility and forgiveness in the face of a world full of humans as flawed and failing as you are, stumbling into one another with their heats leaking all over the place. We are bound, in these times, in any times, to deal with situations of disharmony, of discomfort, of the opposite of our dreams. It is how we navigate these moments, I think, that determines if we let them hold us back. Do we wallow in the fear, in the anxiety and let the situation overtake our greater being, or do we examine it in a new light to see its shades and colors for what they are, without letting them tint our view of the rest of the whole wide world? Can it be, with the latter approach, that we are better able to control ourselves and make whatever life we find ourselves living feel more in touch, more in tune with who we are? What a struggle it always is, and always could be, to become the best version of yourself you know in your heart to be. Yet is there anything else to do, but try?



"Been dancing with demons all my life
Every time I find my groove, they cut in like a knife."


~It Ain't Flowers
Sturgill Simpson, Metamodern Sounds in Country Music