A little smoother around the edges but just as fuzzy in the
middle, this single from Give A Glimpse
of What Yer Not”, fits into the sonic landscape of the year and continues
the trend of indie Gods getting another chance to add to their canon. This song
has all the potential to be treasured by their die-hards and by those just
discovering the band. There is still only one J Mascis, who of recent has had
his hand in several projects and tribute albums, and he can still move his hands
over guitar strings like no other (while pressing down on any number of pedals). Praise is also deserved for how he
sings, clear enough to communicate his confusion. The band plays right along and fits nicely.
Coming off 2015’s Blurryface,
this contribution to the Suicide Squad soundtrack both encapsulated the movie’s
mantra and spoke to the aesthetic of the band and its fans. They are a little
different than the “mainstream” but they have found commonality amongst each
other. Five years from now, we might look back and see this song as the closing
of one chapter for the band. Who knows what awaits them and their sonic quest.
For now, this is a perfect capturing of the band.
8.
“Wow”- Beck
Doubling down on the pop motifs also heard in his 2015
release “Dreams”, Beck once again released a single showing off his production
knowledge and ability to create in the studio. This time, the tension between
indie and pop is lost and instead cohesion of beat takes over. (Both songs are
supposedly part of yet to be released album)
This direction could be seen in contrast to his 2014 Album of the Year Morning Phase, yet still it is in the
Beck canon of inventive music. Supposedly he was inspired by children to pass
it along to the record label. Call it
indie, call it pop, its both and a fun song from the summer.
Before seeing bands on the landing, Jeff Tweedy spent his
summers “high behind the garden shed”
and “Lighting crazed and cracked like an egg.” Not nearly as mellow as other
songs on Schmilco (named as homage to
Nilsson’s Nilsson Schmilsson) this
relaxed album opener already sounds like a Wilco classic and paints with the same
nostalgia the band has perfected. Instead of reflecting on sunny days lost, it
is innocence mourned, with the backing of the band at its understated best. All
of the traces of their talent can be found and lead you into the album. And I
am sure for some fans, lead them back to being the most normal they once were.
This truly has been a big year for indie-darlings Whitney,
landing on several end-of-the-year lists. This up beat, peppy song of affection
and adoration sounds like a bumpy back road ride in the “trash heap two seat”.
The story could be that of both a 17 year old first learning to drive and a
twenty-something trying to have something to drive in today’s economy. An
arrangement highlighted by guitar chops, falsetto vocals, and complimentary
keyboards, it sounds like both homage to songs past and a possible direction
for music to come. We can hope.
A fun sing-along from a formidable super group of sorts
consisting of Neko Case, k.d. lang, and Laura Veirs. Any one of these artists
could have been capable of releasing this sweet song about someone’s hidden
gem, all of their talents come together and their collective mastery really
shines. The strings in the background add prominence to the song and show that
thought was given to the arrangement. No shock there. This one is destined to
be heard on the lower end of the dial for years.
Thirty years on since Graceland,
Simon offers up a meditation on modern life where credentials are key, he
highlights his for being ability for being possibly America’s greatest
conductor of simply what sounds good. The metaphor for a wristband being the
entry to a better life, both on Earth and what comes next (he name drops Saint
Peter) flows through a couple of verses and into a chorus. The opening lines
about stepping out outside to “breathe some nicotine” and hoping he can “read
the screen” while checking his email are updated antidotes from everyday life.
In other words, he still got it.
Don’t get fooled by those opening piano strokes, this isn’t
dusty Midwest folk found on For Emma,
Forever Ago. This isn’t even the big band, large arrangements of the
self-titled second release. This is Justin Vernon coming out of the other end
of the rabbit hole known as the studio. He brings with him just as much as
lament as any of this other songs. There is also a back-up chorus of altered
voices and distortion. Still there is beauty in all the unsettling and
unorthodox sounds. Like cracked stained glass, his genius and unique touch shine through. Plus the line "I'd be happy as hell if you stayed for tea" is about as sweet as Vernon can get in a song. As sweet as anyone of us can get.
The most reverend J. Tillman continues his celebration of
Love found on 2015’s I Love You,
Honeybear with another beautiful reflection on the romantic and sexual and
how they come together for a life shared. In Tillman’s case, it is a perfect
match “I’m a flower, you’re a bee.” The same can be said for the
instrumentation and sentiment. Both subdued and celebratory, it rises and
falls, but never too far in either case. Some strumming draws in the listener
and soon you are clapping and singing along. The chorus is just fun and for a
non-album single holdover, there isn’t much more we could ask for.
If only 2016 was just a casual party we could have exited at
any time and the conversations didn’t have to be so serious. Either way, this
is not only the jam of the year, but also the song of the year, giving voice to
the delusion of standing there, trying to make sense of what is around you. Why Are You OK” saw a return to form for
the group and this one rocks as much “The Great Salt Lake” or “Laredo”. It is
both a treat for their loyal fans and an invitation to new ones to get in on the
party. It was almost everywhere and ruled the alternative/indie radio ways for
a little bit. For me, it was a great mindset for life, it is just a casual
party, it will be OK.
