Welcome to episode 6 of the midnight genius hour! Your resident homies dissect a sextet of books and a sixer of albums for all the geniusheads out there. Let us know what you think and leave us some hate mail.
I really love strong bookends on albums. Any of the classics are further solidified - strengthened by a gilded bond to its shielded core - whenever they possess a KILLER starter and closer. Off the top of my head: Vespertine, Swordfishtrombones, To Pimp a Butterfly, Z, Kid A, The Low End Theory, Funeral are vastly sublime because of the way they open and close. (more on a few of those sprinkled around somewhere on this blog I'm sure).
Reckoning is like that to me. The songs sound like they recorded them in one or two takes and they bleed with raw intensity. The way Michael Stipe and Mike Mills blend their voices is superb because they sound equal but entirely different. And Mills' bass is a captivating force - there have been plenty of times I've heard this song only just to follow the bass line. The middle section cacophony, the way the music shakes and rattles throughout - and the way i can't stay still while it's playing - all very special to me.
On "Little America" the frenetic energy is still on full display with Stipe's menacing lyrics. He spits out verse after verse, diving even into some colloquial dialogue at times. The music is unapologetic and this theme of seeking comfort, or trying to be comfortable in a shifting land, or trying to be comfortable at being uncomfortable, or just what exactly is comfort? is a continuous theme. Whereas on "Harborcoat" they're needing their favorite coat to brave the cruel outside world, on the closer they're trying to run away from the massive and ever-changing world around them. And the music is equally brimming with that same kind of fervor; asking questions that sometimes will never be answered. One's thing for sure, these are the original freaking geniuses in my book.
Welcome to episode 004 of the MIDNIGHT GENIUS HOUR!! We've moved on from soundcloud (16 bucks a month to have unlimited uploads) onto Anchor! Soon you will find our podcast on Spotify, Apple Music, Stitcher and more!!
On this episode we dive into Nick's illness, the note department's lack of drive, our best films of the year, the late great KOBE BRYANT and as always, new musical gems. Let us know what you think and see you next week with another pod.
Even though my general disdain for social media is constantly focused, it shouldn't deter me from keeping up with musical news. Too often I'm buried under my rock - alone in my little corner of the world - that I lose sight of so much. A couple of Sundays ago seeing bits and pieces of the grammys despicable show, their "in memoriam" feature slapped me with the realization that Daniel Johnston passed away last September. He, too, loved to live beneath his shell, burrowed in the hallows of his spiraling thoughts. At least he crafted honest gripping music with all of that desolate time.
I think they called his brand outsider music but I first heard of Johnston while attending ACL in 2008. The festival's official poster was created by Johnston and I was intrigued to listen to more from this curious artist. He was even there for a brief period signing posters but ignorant on his music and mired in a high frenzy of festival hysteria (read: weak excuses) I didnt get his signature on it.
For me, I really enjoy the innocent rawlike qualities to his music. I gravitate towards that type of pensive, longing style and Johnston's lyrics were beyond poignant -- his recordings always had the ability to have me shedding tears. His world was broken but he was sincerely yearning to spread peace and love through his humble soul. Outsider for life.
