From inside of the ages through your eyes

I’ve been a big fan of Brandi Carlile for a long time. In fact, one of the very first posts on this very blog, all the way back in the spring of 2006, was an enthusiastic endorsement of her debut album. But over all these years, I’m not sure she’s written another song as beautiful as this one. Certainly none as likely to bring a tear to your eye. It’s a love letter to her daughter, one framed by a bracingly honest assessment of what it actually means to become a parent. And this is critical. By dwelling on the difficulties–the terror of knowing that you are now utterly responsible for someone else, the need to organize your life around someone else’s whims, the jealousy of seeing your friends still out enjoying all their free time–Carlile brings home just how powerful the experience really is.

It’s not simply that all those things are worth sacrificing for the sake of her daughter. It’s that having Evangeline in her life helps her to understand that every path comes with loss, that every choice carries the weight of all the roads not taken. But this choice has brought something precious into the world, whose simple presence is able to transform those feelings of loss into something very different. To give them purpose.

The result is a song that’s almost framed as an internal argument–a reminder that it’s okay to sometimes feel the weight as a burden, so long as you also keep in mind the new possibilities that it creates. As she sings:

And they’ve still got their morning paper and their coffee and their time
And they still enjoy their evenings with the skeptics and the wine
Oh, but all the wonders I have seen, I will see a second time
From inside of the ages through your eyes

And every time I hear it, my heart fills up so much that it feels ready to burst.

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Review: Dustings – Somatic Alterations


A little bit dream pop, a little bit shoegaze, and a little bit ambient. It’s a time-tested combination, and while Dustings doesn’t add anything particularly new to the equation, that doesn’t make this album any less affecting.

I haven’t been able to find out much about this band, which in many ways feels appropriate. This is not a record that reaches out and shakes you by the shoulders demanding your attention. It’s one that sneaks up quietly, nudging its way toward the edge of your consciousness. Pleasant, but elusive. Friendly, but mysterious.

On the whole, it’s an album of small gestures and whispered missives. And while it does let loose more than a few times, the explosion always feels tightly contained–like a tornado that whips through town and destroys one building while leaving the ones on either side completely untouched.

And I see from this interview, that Daniel Fritz, the artist behind Dustings lists Sadstyle by S as one of their all-time favorite albums, so it makes a lot of sense why I enjoy this record so much.

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Still hiding and waiting for the fall


Twee pop always walks a bit of a tightrope. Done poorly, it can feel instantly nostalgic–a reference to youthful exuberance that lives far more in our memory than in real life. But done well, there’s a timelessness to it, an expression of innocence that lives on, stubbornly refusing to accede to the slings and arrows of fortune, holding out for the possibility of finding a way to stay present.

Nancy Sin live on the good side of that line. Their music is light and joyful, but with just enough sense of doubt to keep you honest. As they say: “maybe it was just a daydream / but who could know?”

Daydream is from a lovely EP called Fall For You, which came out this summer. Here’s hoping for more from them soon.

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Electricity runs down your spine

“What’s the Deal With David” is a glorious slice of indie pop, ready to warm your soul and soothe your fraying heart.  The engine of the song is a rollicking little bass line, which is then surrounded by a waterfall of ringing notes. Add in some wonderful vocal harmonies, and what’s quite possibly the year’s most infectious chorus, and the whole thing glitters like a rainbow peaking out after the storm.

Oh Pep! are from Melbourne, and their new album I Wasn’t Only Thinking About You​.​.​. drops on October 26.

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50 songs for 50 states: New Mexico


Plenty of decent options for New Mexico, but no standouts. I gave serious thought to  two old titans–Johnny Cash and Waylon Jennings–but neither of their treatments really struck to the core of the state. To me, New Mexico is defined by the landscape: the mountains rising to the sky, the rugged hills laying all around, baked dry under the sun. It’s a place of unearthly beauty, of quietude, of reflection. So I wanted a song that captured that sense. Which led me back inevitably to Hearts and Bones.

It’s set in New Mexico, and the extraordinary beauty of the place is a key feature of the story. It begins as a shared journey, a romantic getaway for “one and one-half wandering Jews.” But as the story continues, you understand the contrast between the natural beauty of the land, which endures long after the tiny people who climb over its surface have disappeared, and the impermanence of human creation. Before long, the wandering Jews “return to their natural coasts, to resume old acquaintances.” Their love fades. And we remember that only rocks live forever.

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50 songs for 50 states: New Jersey

More than any other state, New Jersey poses a challenge of identifying what exactly determines whether a song is ‘about’ a state. Is Thunder Road about Jersey? Nothing explicitly marks it that way, but we all know that’s where it’s set. Is Born to Run about Jersey? Or is it more accurately about getting the hell out of Jersey?

And then there are the songs with a real, but somewhat tangential connection to the place. For a state with fewer options, something like 99 Problems (which isn’t really about Jersey, but is certainly set there) would be a clear winner. Or America, which takes place in several locations, but whise climax occurs here (“counting the cars on the New Jersey turnpike…they’ve all come to look for America”). And speaking of the Turnpike, you’d hardly go wrong with Chuck Berry’s You Can’t Catch Me.

But for this state, it’s not enough to be a great song set in the place; you want something that really defines itself in relation to the state.

I gave serious consideration to Jersey Girl and Jersey Bounce, and certainly wouldn’t argue with anyone who took one of them, but in the end I couldn’t say no to The Boss. And while it’s not (quite) the best of his Jersey-adjacent songs, I don’t think there’s one that more perfectly captures the specificity of the state. It’s about the seediness of the boardwalk and casinos, of course, but it’s also about what it’s like to be a person living in the shadow of it all.

Everything dies, baby that’s a fact
But maybe everything that dies some day comes back.
Put your makeup on, fix your hair up pretty
And meet me tonight in Atlantic city.

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50 songs for 50 states: New Hampshire

The only real question for New Hampshire was which song to pick from Okkervil River’s Silver Gymnasium. In the end, I chose Black Nemo. It isn’t really a song ‘about New Hampshire’ in some general sense. But it is a song about a specific kid who grew up there, about his sense of memory, and about the poetry of imperfect understanding.  It speaks to me about the intense particularity of our own experiences, the pieces of our past that we feel but could never manage to truly explain.

There is a gesture toward the fantastical imagination of youth, toward the idea that the utterly mundane experience of growing up, somehow, for each of us manages to feel special.  Because, weirdly, it is.  The beaches we walked down, the songs we listened to, the long drives with our parents, these seemingly unspecific and meaningless events all still managed to build an entire world, a human consciousness, a completely unique and individuated identity.  They constructed the eyes through which we see the universe, and therefore in a strange way, built an entire universe.

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Tell me again how there just aren’t that many girls in the music scene

It’s been a rough year. From politics to the personal, there’s a lot of pain to go around. But there’s also a lot of beauty and wonder. This is a mix of the songs that have been helping to get me through the year. I’ll certainly write more about many of these at some later point, but wanted to take a moment here to discuss the two bookends.

To start we have “The Opener” from CAMP COPE, which doles out equal parts rage and joy. Rage at a world of blatant injustice, filled with men who are utterly incapable of grasping the privileges they wield. But also joy: at the sheer audacity of creation and the righteous noise they can make. It would be a great song for any era, but feels absolutely essential in 2018.

Then, at the end: Floating in the Forth. Long-time readers of the blog will be well aware of my love for Frightened Rabbit. Midnight Organ Fight is one of the the great albums of the 21st century–an expression of the will to live and love, struggling to stay afloat in a sea of depression and pain. It feels all the more poignant now that Scott Hutchison seems to have been lost to the depression he fought for so long.

It’s tempting to read Floating in the Forth as prophecy, given that he ultimately was lost in precisely the way that the song foretold. But I don’t see it that way. It’s a song that tells the truth. The painful, honest truth of a man who understood his own demons so well that he could name them this clearly, could sing of them, and could fight them off. Not forever, but for a long time.

In the song, I hear the undying hopefulness of love. I hear a man in pain, who knows just how hard it can be to put one foot in front of the other, but who somehow has the ability to sing this truth, to put it out into the world for others to share. Scott Hutchison has passed, and I feel the ache of it deep in my soul. But I also feel the hope of his promise, and I know that it will last forever.

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50 songs for 50 states: Nevada

There is an obvious pick I’m leaving on the board here. And I adore Elvis as much as the next fellow. But come on, I’m not picking Viva Las Vegas. I’m not even going to pick the (very good) Dead Kennedys cover.

I did seriously consider a sadly-forgotten track called “Reno” by Finishing School, a lovely Elephant Six-inspired track from the early 00s. But ultimately, I kept coming back to the ethereal wonder of “Heaven or Las Vegas.” The enigma of the city provides a strong framework for expressing the gauzy beauty of the Twins. All of the seediness and chintziness of the city fade away, replaced by a kaleidoscope of lights and movement.

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50 songs for 50 states: Nebraska

Nebraska – Bruce Springsteen

The whole album is a classic, of course, but this song is arguably the hardest-hitting of the bunch. It’s not my favorite track on Nebraska, by any means, but it’s the one that defines the entire enterprise. Springsteen has always been more complicated than his critics (and fans, too, in most cases) have thought, but with this song he laid down a marker. It’s dark, unforgiving, raw, horrifying.

The killer waiting for his execution, feeling no particular remorse, or fear either, with just enough humanity left to ponder why it all took place. The simple, devastating answer: “I guess there’s just a meanness in this world.”

 

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