Fuck Buttons – Tarot Sport

I was watching Top Chef: Masters tonight and one of the contestants commented on how “food should be like an Arcade Fire song…layers and layers…it should be like an orchestra” and it sounded pretty well-versed to me. It’s always good to see that music can reach a wide range, even if it is or isn’t because of The Suburbs surprising execution at The Grammys. Either way, it got me to thinking about music and layers; we’ve talked about Arcade Fire many times before but one distinction that some of the best music does have is layers and lots of them.

The style of layering and depiction of it is definitely present in the entire music electronic duo Fuck Buttons put out. Their first album got them an opening slot for Caribou during his 2008 tour and together they stopped at the old/old Club 101 where I first heard their music. Their newest album just came out and is receiving smashing talk as it is definitely one of the best of the year. But many would say it was their 2009 album, Tarot Sport, that truly shined the light on finely composed electronic music, with a pulse.

Bookended by two amazing songs, each of Fuck Buttons albums only have less than seven songs each but most span the ten minute mark as everything is about tension, release and attack. The closing “Flight of the Feathered Serpent” features a tribal-like, trance-like drum beating that is relentless in force. There’s a soaring melody that signifies the feathered serpent in flight as it battles through what sounds like a tumultuous ride. It has heavy doses of drums that are minimal in presentation but indicative of what Fuck Buttons are about: a full-blown assault on the senses. It’s layered within the walls of what is a powerful sound and although the synths and keyboards may not be as important as the actual drums here, it’s very much spectacular.

The opening song, “Surf Solar,” is definitely a piece that is tinged with the spectral touch of space and the atmosphere. It begins with a keyboard that is out of this world and that is both bemoaning an ominous style but mostly, delivering mood. The simple beat comes in before the synthesizer delivers the melody. Before you know it, you’re inside of this thick, densely layered world of bliss: it’s the perfect way to start Tarot Sport. These kinds of ‘orchestrations’ continue throughout the album, for it is what us snobs like to call – in a drastically different shade to something like Mount Kimbie, Bonobo or even, The Avalanches – real electronic music. And it was only a year removed from their first album but in many ways, worlds apart and most of all, a world that is easy to get lost in. (Also, FYI, this song was used as part of the montage for the London Olympics opening ceremony, hell yeah). – Bryan

Deerhunter - Cryptograms

The first time I heard Deerhunter was back during the old days The Wax Museum was around. Cleverly titled, it was a tiny store on Montana near downtown that prevailed amongst true vinyl heads. The owner ran a modest shop that catered to funk, old soul and jazz, some electronic and some indie music. He had a few books, a few cassettes and a few CDs to sell as well and he’d always be willing to let you play the record first and hear it before purchasing. I had heard this band from Georgia was coming to El Paso but I just sort of shelved it and never gave it much thought. The concert came and went and I went a week later to find copies of Cryptograms at the Wax Museum and I promptly bought one.

I bought the CD and immediately realized how foolish I was for not going to see them in concert. Half of the album is these ambient pieces that sort of melt into the linings of the music and act as breathers in between the intensity of the other half. The rest is a noisy and poppy but still rocking set of songs that showcase Deerhunter in full-on assault mode. “Octet” is a song that combines both of these styles onto one song that shines on the album. The beginning sounds like tranquil vibes of water glistening in the night and then a bass dives in. The music swells and grows from here with hi-hat, Bradford Cox’s growling vocals and the surrounding noise coming to a head.

What’s probably most amazing about a band like Deerhunter is how their albums really do change in terms of sound. They’re the kind of young band that has already mastered the ability of being able to drastically try out new mediums and new modes and they never, ever sound the same. Nothing from Cryptograms will be seen on Halcyon Digest, nothing from Microcastle was relatively close to Monomania. A truly remarkable band, “Lake Somerset” is simply the highlight of this album for me. It has the menacing guitar throughout and the drums come in dashes of light and heavy and Cox’s voice again takes over with even more snarling. But the magic of this song is the way it just massively roars and my goodness, it needs to be played as loud as possible every single time to be able to take in its entire glory. It has two separate instances where it just grows into explosions and the pay-off is everything. They came around to El Paso one more time and with my arm branded and all (BRADFORD WAS HERE), they played this song. Front row with my ears begging for it to stop, I didn’t care, it was pure bliss and that’s what Deerhunter is about – Bryan

Classic Film Music

It’s the opening weekend of the Plaza Classic Film Festival and this year the world’s largest classic film festival looks to feature another outstanding amount of awesome films for all movie-lovers to enjoy. I am glad I got a few kicks in the butt by a great friend that showed me this festival where I’ve been able to see classic films I love and also find new, breathtaking films I never knew about. I was on my way to write about Radiohead when their lyric about how “it’s not like the movies, they fed us all little white lies” stirred me up to write about some classic films that have some awesome music I absolutely love.

I had first heard Adagio for Strings back when I was in high school and my old band director showed it to me. A slow-moving and equally slow-burning song, it was made even more famous when Platoon used it as the centerpiece to its darkest, most horrific moments. A certain conviction and deep and profound movement, it’s a flawless classical piece. This version is even more fitting because it’s a symphony that is conducted by Leonard Bernstein who happened to write the music for West Side Story, which played at the festival today (Thursday Aug 1) but we didn’t attend (it was $20!)

 
One of the best touches to any of Quentin Tarantino’s films is his way of combining music with a scene for absolute perfection. One of those scenes is the one in Reservoir Dogswhere Mr. Blonde takes out his anger and anguish on an ill-advised cop in stunningly memorable fashion. Easily regarded a classic film now, it took some time for people to catch on and come to think about it, the film has at least a handful of other significant songs but “Stuck in the Middle With You” by Stealer’s Wheel is probably the best.

  
I’m not sure if Mo’ Better Blues is considered a classic but I definitely like the film a lot. And even more because Spike Lee wanted to name it A Love Supreme after John Coltrane’s brilliant four-piece suite. Coltrane’s widow asked Lee to change the name of the film but luckily she let him use the first movement, Acknowledgement, on the film for what is a moment of beautiful music magic.

 
The film Donnie Darko is one of those cult films that you either love or don’t really care for. Personally, I feel like it deserves a lot of credit for presenting a story about adolescence in an understanding and moving fashion, while still using a lot of fantastic music throughout. The scene where they use Tears for Fears’ “Head Over Heels” is really special and the song itself, well, it’s really quite awesome.

 
Martin Scorsese, like Tarantino, has always been able to combine music into his films: with a deft touch. It’s fitting that tomorrow (Friday Aug 2) we get to kick off the festival with his stone-cold classic Goodfellas and while there are many songs from that film that could go here, I will go with an even older classic of his, Mean Streets, and its use of The Ronettes’ “Be My Baby.” Mostly because it inspired Brian Wilson to write “Don’t Worry Baby,” (I’ll include that classic song by The Beach Boys, too, just because I love it, although it’s entirely irrelevant to this post – well not entirely since there is this song) but also because the scene he uses it in is a chilling take of poignant humanity. And with that, to the festival we come! – Bryan

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