Junior Boys – So This is Goodbye

When it comes to electronic music, the brand that Junior Boys has created is definitely some of the easiest to get into. Accessible and yet heady with minimal tendencies, the kind of music this duo crafts is both masterfully composed and easy to get lost in. Their second album, So This is Goodbye, focused on a brighter kind of sound than their first album and before the moody soundscapes of Begone Dull Care, the cover art fittingly portrays the kind of music behind the veil. The title track rests at the heart of the album and starts with a slow burning shroud of color. The synthesizer is the only constant here with everything around it acting as pure atmosphere. There’s a foggy sort of dissension and the lyrics are pointedly poignant, “So this is goodbye, no need to lie.” This is the kind of album you could play at the dark of night, in your bedroom, with nothing but your headphones surrounding your ears as the beats blast away. And when this song hits, it’s as if everything lets loose: a certain kind of blissful swaying and easily one of the album’s many highlights.

Before the album ends, you get this other song that also begins with a cloud of atmosphere: bits and pieces of robotic sounds before the piano takes main stage. At first I was floored with the lyrics about feeling entirely alone when no one is around to vent to, or to love, “When No One Cares” is a Frank Sinatra cover. The version by Junior Boys removes the strings from the original and replaces them with pacing keyboards that lightly glimmer in the background, because the star of the show here is the aching vocals. “You’re like a star that dies…and seems to keep on dying.” On Sinatra’s version there is this huge cascade of strings that definitely support, but don’t take over. Instead, Sinatra’s voice melts with the strings and although I’m still a fan of the version by Junior Boys, there had to be Sinatra suffering heartbreak and finally coming out of his shell for us to even have “When No One Cares.” It’s always awesome to listen to such sad words when there is no current sadness in the heart simply because you can take everything at face value; instead of being entirely sad with it. If that makes sense – either way, great music all around. – Bryan

Los Zafiros - "He Venido" (BB)

All good things must come to an end. Some of the features will say that all bad things must come to an end. Either way you look at it, it’s going to end very soon and while it’s sad, it’s enough to reflect and realize what’s good in life and Breaking Bad is very, very good. The music they use is impressive, for lack of a better word. Everything from the likes of America, to Thee Oh Sees, to Calexico, to old jazz numbers, to Fever Ray, to Danger Mouse, to Apparat, to so much more.

This particular song is played when the RV is destroyed and the faces of the two characters who worked on it are priceless. Dejected, somewhat depressed, almost demur; they play this love song that fits more in terms of sound, rather than lyrically. I’ll use these words to dedicate it to the special one in my life and I’ll use this chance to dedicate this post to the show. Maybe I can get around to showcasing some more of that aforementioned music soon but until then, the lyrics below and “He Venido” (I have come..) by Los Zafiros.- Bryan

He venido a decirte, que te sigo queriendo.
He venido a decirte, que te sigo amando.
Que quiero estar contigo…cada día más y más.
He venido a decirte, que nada ni nadie
Podrá separarme, ni podrá arrancarme
De mi alma tu amor.
Por tu amor soy capaz, de enfrentarme a cualquiera.
Por tu amor soy capaz, de dar mi vida entera.
He venido a decirte, que te sigo queriendo
Que te sigo amando, que te sigo adorando
Cada dia más y más.

The Roots - How I Got Over

Sometimes there’s a certain kind of distraction that takes over. And sometimes a blend of restrictions and confinements makes it an arduous task to embrace the singular passions in life. It’s rare that it’s everything from the aforementioned combined – but rare is not never. While it sometimes feels like a sort of cloudy fog that has encapsulated everything in its path, the distraction is a definite kind of solace. An escape from the immediate temporary, a remarkable kind of love that has sustained throughout; the only thing I know for sure is what I wanna do, anytime, anywhere… 

Arguably the hardest working band in music has always been The Roots. I know I’m not going out on much of a limb by saying that but they were the hardest working band even before they became the best house band on TV. But before and during their mainstay as the best house band on TV, The Roots has been making album after album of tremendous music – twelve total studio albums if you count all of their collaborative albums – and How I Got Over is #9. Distinctly a lot brighter than their previous two albums, Rising Down and Game Theory, it’s also the first album after the Bush administration finally left office. So it immediately has a much clearer flow and the songs just sort of gel throughout The Roots’ positive, optimistic point of view. And since they became the best band on TV they’ve also met some amazing musicians who they collaborated with on this album to create some of the better songs.

I need to include “A Peace of Light” because it features the original females from Dirty Projectors. A band The Roots met through performing on the late show and whom they immediately fell in love with. It’s mostly an introduction that features the women harmonizing their vocals into one bubbly, smooth opening that allows ?uestlove’s timeless drums to appear in a light refrain.

Jim James is another hardworking musician who crafts music with his main band My Morning Jacket, as a solo artist and who also did a collaborative album with M. Ward and Conor Oberst as Monsters of Folk. The Roots borrow the melody from the opening song off their album, “Dear God,” and also use James to sing the chorus on “Dear God 2.0” (perhaps homage to “The Seed (2.0)” as well?) The Roots version is a straightforward letter about the pain in the world and how everything from broken homes, to drugs, to jobs, to love can fall apart and how there can be so much suffering in this world. “Why is the world ugly when you made it in your image?”

Joanna Newsom is another hardworking musician as she not only composes all of her music but practically writes poetry when she writes lyrics. Here The Roots borrow her “The Book of Right-On” on “Right On,” for what is probably the best song on all of How I Got Over. Her version features her trademark harp and her singular voice but The Roots version combines it all for a smashing hit that showcases just why they’re one of the best bands, period. – Bryan  

Atoms for Peace - Ingenue

I’ve been way too behind on 2013 music thus far – I feel like I’ve only really heard a handful of new albums. While I intend to shift that focus soon, this particular album by Atoms for Peace, Amok, has slowly buried a nest in my heart. It’s easily the best album I’ve heard of this very young year; I want to say it’s not entirely because I’ve heard very little else. It’s also a creatively musical album that finds Thom Yorke and his side band (not Radiohead) relishing in Fela Kuti-inspired songs that both suck you in with their mesmerizing sensibilities and still, leave you craving for more. The album has gradually garnered more and more attention and this is the video to “Ingenue,” with more dancing by Yorke.

It’s as if spring has finally sprung. I’ve been behind on finding music, on listening to the mountains of music I already have, I’ve even been slacking it with my fifa playing but I don’t really feel down about it. The definitive love has certainly sprung. My heart flutters with a light, brisk beaming ray of light that seems to be turning the grayness into this bursting red color. While I discover some kind of balance to my brain’s waves of consciousness and what my heart is screaming about, I also realize that I’m incredibly happy because of how magnetic my heart feels. It’s as if spring has finally sprung.

On this song, the third one of nine on the album, Yorke sings about a love that seems to be holding him down, while still bringing him back up for air. The video itself is a great depiction of the words he’s singing, with his pairing with another dancer a match made in heaven. Visually, it’s hard to keep your eyes off it and lyrically, it’s densely full of layers. And ingénue is by definition: a character in literature, film or any kind of theatre role whereby it’s an innocent or unsophisticated young woman. Some kind of purity, it could be a naïve woman who is still finding herself. He sings about being stuck in a mess and like being inside of a bell jar, suffocating. She tries to comfort him but at the end, he just needs more time to figure it out. It’s beautifully exposed and delivered and the video couldn’t be more perfect. It’s an album very much worth seeking if you haven’t already, in due time it will be one of 2013’s finest moments. It’s already been an immensely great year and here’s to more of the same. – Bryan

Coldplay – Parachutes

I’ve been going through some ‘writer’s spells’ lately and I figured this one would be the best one to start off with clearing. My heart’s been feeling a lot warmer than usual lately and while that’s certainly contributed to my lack of writing, I haven’t figured out yet if that’s the entire reason. But before I clear out what I need to put in the j, I need to point out that Coldplay has also progressed higher and higher into my realm of endorsement – add pretentious tag here. I’ve gotten through X&Y and realize it’s probably very great, but I just recently got Parachutes and at this very moment, it’s very much a deep swell. While I haven’t reached for the most two recent albums yet, the first three showcase a band that dynamically tried to expand, grow and mature into a declaration of three distinct albums and mostly, they achieved that. Parachutes just highlights what some consider their peak to be.

Maybe it’s the way “Shiver” just sort of, in a melancholy, lovely, adorning style, sings out to the backdrop of crashing drums and trembling guitars. There’s very little lingering doubts to how good this guy’s voice sounds, especially when he calls out, “don’t you shiver” to his lover because, he’ll always be waiting for her. It’s affectionately strong and still, sweetly delivered. I love the way it collides through the loudness and never loses steam. And the music has this rolling, captivating feel that just sort of lulls you in, it’s easily one of the many standouts on here. 

Once I reached “Trouble,” not only was the nostalgia reached back to high school and singling this song out, as well as the epiphany that as the sixth song of ten, right after the shattering “Yellow,” the first true, gorgeous Coldplay ballad. They really do know how to write slow songs extremely well and while very simple and not-so-subtle as something as spectacular as “All I Need” (I apologize immensely for the comparison I always swore was never merited, never worthy…), the piano on “Trouble” is remarkable enough. Here, the notion is more depressing, sad and alone because the love is gone and feeling like a burden, and all the while the music with the guitars and the piano: a sad swoon. No need to feel sad though, this is a pretty great band actually; and this album might be their best. Still, here’s to hoping the block/spell is broken even after she returns and we continue, we’ll have to wait and see. – Bryan 

Twin Shadow – At My Heels

A sort of repeat post, I know but it just feels right as I've been in a blissful haze off the vinyl to this album for the past week or so.

I'm in the belly of a canyon
I can't come up with any reason
Why a ghost is following me, why a ghost is following me.
I've got some feed for the longing
I've got the pillow for the bad dreams
The apparition dancing with me, stepping down all over my feet.
There is no key to my gate…but you can still come around
Lean your ladder against my window
And I'll come down, I'll come down.

~ Guitar a la The Cars ~

Sometimes I don't know what I'm seeing
Who's keeping track of all that's breathing?
There's a world that's waiting for me, there's a world that's waiting for me.
I'm in the belly of a canyon
I can't come up with any reason
Why a ghost is following me, why a ghost is following me.
There is no key to my gate…but you can still come around
Lean your ladder against my window
And I'll come down, I'll come down.

There is no key to my gate…but you can still come around
Lean your ladder against my window
And I'll come down, I'll come down. (-Bryan)

John Coltrane and Johnny Hartman

During John Coltrane’s high years, he reveled as an unmatched musician that was on a whole different playing field. Even when he matched up with artists of similar ilk, like even Miles Davis, he outshined because his skill was something extraordinary. Ears unlike many others, skills that matched his impeccable ears and this silvery, smooth delivery, he was the best of the best. So during the early 60s Coltrane was just catching steam when he teamed with vocalist Johnny Hartman for what many consider a true jazz classic in balladry.

Make no qualms about it, Coltrane’s list of albums is deep and this is just one of a sample collection that further showcases his ear for melody. On this album he would take a backseat almost to Hartman’s singing as the two recorded the entire album in one day. Legend has it that Hartman went to one of Coltrane’s shows where he stayed until he finished and the two performed together and felt the fire. Agreeing to make an album together, they supposedly had their set list picked before they heard Nat King Cole singing “Lush Life” on the radio. Suddenly, the duo felt compelled to record their own definitive version of it. Here you can definitely tell that Coltrane allowed Hartman to take over, his voice sounds clear and very mellow, subdued almost by Coltrane’s serene style. You can hear his soft sax as it creeps into the song at about the two minute mark, always staying right underneath. Personally, yes to me, the sax is the star but you gotta love the way Coltrane allowed another star to reach high as well. The song’s lyrics were written by Billy Strayhorn who once said, “all music is beautiful,” agree or not, this is definitely just that, beautiful.

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And then there is “My One and Only Love,” where Coltrane takes the lead from the beginning with a melodically linear line. His saxophone renders half breaths where he dips notes, he takes the melody and adds the 7^th just to make it that much brighter and the piano is nothing more than decoration to Coltrane’s undeniably sweet saxophone skills. Just six songs short, this piece closes the first side of the record with a distant calling of love and although reminiscent, it sounds happy to have loved. Now, I’m not getting romantic or anything but this has to be the kind of music one would love to play at their wedding. The bright and sprinkling drums signal Hartman’s singing as he calls out with his singing heart. It’s timeless and the utter presentation of romanticism at its best. Even if they only paired up once and all we got was these six songs, it was obviously well worth it. – Bryan