"The Molten Veins": Franz Ferdinand’s “40'” (Singled Out - Back Catalog Edition)

One of the marks of a great song is it allows for multiple interpretations that build with listens, over years, and across people. But then there are those songs that staunchly resist any solid interpretation, those songs that move you and mean something to you that you can never quite verbalize and that fact keeps you going back to it. While I’m sure many other songs fill this category, “40’” by Franz Ferdinand is a big one for me. I’ve been trying to get a handle on this song for ages, yet like the foam forty feet beneath the narrator’s feet it’s always out of my reach.

Early on in their collaboration, Nick McCarthy and Alex Kapranos planned to form two bands; a pop group (which became Franz Ferdinand) and a more folk-orientated group (which never really came to be.) However, a vestige of that folk group exists in the work of Franz Ferdinand in the form of “40’.” According to Kapranos, they “thought the other band would probably do that one” as the song’s main riff draws influence from rebetika (Greek folk music.) Kapranos also claims it’s about “trying to catch the emotions you feel when you’re faced with an incredibly immense decision” and I think that comes through in both the lyrics and music. Decisions can be paralyzing, especially when you build them up in your mind. The musical surges in “40’” perfectly encompass how that anxiety feels and the outro is the sweet calm that follows finally taking the leap.

My attempts to glean clear meaning from the song have over the years led to different lines holding most of my focus while obscuring the rest. Personal phobias are the likely reason behind my initial focus on the aspects of height and distance. More recently, though, the line that really grabs me is “Salt scales upon my drying arms.” Scales as a metaphor came up a lot in interviews Kapranos did during the promotion of Franz’ last album, Right Thoughts, Right Words, Right Action. In the context of RTRWRA, the scales mask vulnerability and shedding them can allow one to find strength in that vulnerability. By contrast, “40’” appears to be about building them up, even if only temporarily. The image of salt scales implies that the narrator has been standing at that precipice for an extended period of time, because (and I could very well be wrong) salt would likely make skin raw first and then prolonged exposure would draw out moisture. Skin care and other logistics aside, the larger point is that the narrator waits for these scales to build before he leaps the forty feet (if he leaps) and the scales are protection from what comes after.

Another thing I find interesting about the lyrics are the references to “cold,” “cooling,” and “calm,” which stand in contrast to the surging nature of the music. The narrator says, “Burn my back beneath the sun, but I am cold beneath the burning rays.” One could take that literally, his focus is so concentrated on the impending decision that even the sun can’t affect him. Cold also denotes a lack of emotion, which could be seen as a negative. However, in this case, the “coldest calm” seems to suggest clarity and resolve. He’s stood long enough to know what he wants to do. Perhaps this is projection on my part, but despite my frequent anxiety and tendency to drag my feet, when I do come to a decision I tend to feel that matter-of-fact about it. Clear cut and cold; this is what’s happening.

Franz Ferdinand is loaded with contradictions and “40’” might be one of their starkest with its heightened and calm emotions. I doubt this analysis has fully bridged that gap for me (only time will tell), but I do think it’s been lessened at least a few feet. 

Daily Album Digest: March 29 - April 11, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

3/29: Big Giant Circles' The Glory Days: Proof that chiptunes don't need nostalgia value to be affecting and awesome.

Why? A recommendation from LoadingReadyRun’s Best of 2014 podcast(s).

Anything else? In case you don’t know, “chiptunes” are a form of electronic synth music. Also called 8-bit music due to its close association with (or attempt to recreate) old school video game soundtracks. To further drive this association home, Big Giant Circles an album called Imposter Nostalgia, which The Glory Days is a sort of sequel to (the album was Kickstarted with the subtitle Imposter Nostalgia 2.) Since I grew up with that era of video games, I do have a fondness for chiptune scores, which might make me more receptive to this album. However, I don’t think one necessarily needs that background to appreciate it. For one thing, while the songs have chiptune sounds they are very full and complex. It’s a lone melody like old game music. It’s almost orchestrating big arrangements with chip sounds. Each track is so distinct and the album covers so many emotions and moods. It can be very tense and exciting one track and very somber and beautiful the next (like “A Rose in a Field”.) I definitely think it’s worth checking out.

3/30: Sparks' Balls: Who knew a song called "How To Get Your Ass Kicked" could be sung so sweetly?

Why? Still plowing through Sparks in preparation for FFS.

Anything else? One of the downsides to the size of Sparks’ catalog is that some albums will eventually get lost in the shuffle and not always due to any of their own shortcomings. Case in point, this album happens to come after the one-two punch of Gratuitous Sax & Senseless Violins and Plagiarism and before the one-two of Lil’ Beethoven and Hello Young Lovers.  It’s almost a given that this will be overshadowed, but it has plenty of its own charm, such as the aforementioned “"How To Get Your Ass Kicked" and the drama of tracks like “The Calm Before the Storm” and “Scheherazade.”

3/31: Ringo Starr's Postcards From Paradise: Feels like friends getting together and jamming just for the fun of it.

Why? New release and it’s Ringo, so why not?

Anything else? I can’t necessarily see this converting anyone into a fan, but it’s a solid record. Ringo has well passed the point where he has to make music or, well, do anything really. It’s definitely made by people who want to make music and want to do it with each other.  I can always admire Ringo’s positive outlook, which comes through. And yet despite that (or maybe due to it) some of the most memorable moments are the more somber ones, like “You Bring the Party Down” and “Right Side of the Road.”

4/1: Sparks' Lil' Beethoven: The almost Python-esque absurdity of "Suburban Homeboy" is nothing short of magical.

Why? Still plowing through Sparks in preparation for FFS.

Anything else? Before anything else it must be said, this is not entry level Sparks. Even for Sparks this album is strange and I would not suggest most people wanting to get into the band start here. That isn’t a mark against it, it’s just not as accessible as some of their other work. After multiple albums of techno and synthpop, Beethoven’s heavy reliance on classical sounds (though not totally unprecedented in their work) feels like welcomed whiplash. And while the classical aspect could be alienating to some listeners, the lyrical content is what takes the album into avant garde territory. Much of album is built on constant repetition of minimal lyrics; the title of “My Baby’s Taking Me Home” repeats over a hundred times and opener “The Rhythm Thief” consists of a handful of lines that layer over each other. In any other hands it would be tedious or lazy, yet as AllMusic suggests “the mantras themselves become a pulse of sorts” in place of more traditionally achieved grooves and beats. Lyric-as-beat is quite an ambitious idea and I think it works for them.

4/2: Sparks' Hello Young Lovers: To call it a "rock opera" seems an oversimplification. It's fearless genius in action.

Why? Still plowing through Sparks in preparation for FFS.

Anything else? This album felt like Sparks took Lil’ Beethoven and mashed it with the glam rock of Kimono My House and Propaganda and then blew it all up as big as it could get. Generally, I’m not a fan of when people describe a piece of music “rewarding.”  It reeks of gatekeeping and almost makes the piece sound like a hazing or endurance test that reflects badly on one if they failed. Though I suppose it has a more positive connotation than calling a piece “difficult” or something similar. That said, I would probably put Hello Young Lovers in such a category, because it felt like getting chased by a runaway train. It’s an album that can take a lot out of you and much of it isn’t an easy or necessarily pleasant listen. For instance, the repetition of Lil’ Beethoven carries over onto this record, but instead of it serving as lyrics-as-beat it makes the songs’ narrators sound increasingly unhinged as the accompaniment builds in drama and hard rock ferocity (see “Dick Around” and “The Very Next Fight.”) Still, amid the craziness there are moments of fun (like “(Baby, Baby) Can I Invade Your Country”) and beauty (such as “Waterproof” which is one of the loveliest songs about a total asshole since John Lennon’s “Jealous Guy.”) Sparks themselves don’t like variations on the term “rock opera” used in regard to their work, which I empathize and agree with. Unfortunately, that’s the only term to even begin to describe and contextualize what they’re doing, though it can’t fully encapsulate it.

4/3: Ben Frost's Aurora: One listen doesn't feel enough to grasp all that goes on in this tense, menacing electronica.

Why? A recommendation from LoadingReadyRun’s Best of 2014 podcast(s).

Anything else? I’ll confess I’m not really sure how to write about this album. I get the chiptunes that Big Giant Circles works in, so I have a way into the work. Along with electronica, this album is labeled as industrial and noise, two genres that I don’t think I have the vocabulary to do justice to at present (especially the latter.) That’s just a shortcoming on my part, though. The album itself is interesting, intricate, and well-constructed. When I first started hearing “noise” used as a genre I figured it would be something that isn’t for me (given the connotations of the word), but this album makes me rethink that stance. I’m curious and willing to give it a shot now. Even if it takes some time for me to verbalize it properly.

4/4: ABC's The Lexicon of Love: The band succeeds in their desire to be "danceable, memorable, intelligent."

Why? A blog I follow put this on a recent list of recommendations.

Anything else? What stunned me most about this was how many Greatest of the 80s/All-Time lists it’s been included in. Not because the album is bad by any means (it’s damn good), but because I don’t recall ever noticing this album on such lists before. Of course that’s probably due to most “All-Time” lists I’ve seen being US based and 60s heavy. Or it got lost in the shuffle because I didn’t recognize the name. Either way, I’m glad it eventually found me, because it positively sparkles. 

4/5: Sparks' Exotic Creatures of the Deep: Maybe more accessible than the previous two albums, but doesn't click fully.

Why? Still plowing through Sparks in preparation for FFS.

Anything else? I’m not thrilled with the tweet for this album. “Accessible” was the wrong word to use. As strange as they can be, Sparks have a pop sensibility that makes them immediate and their ambition not alienating (with the perhaps exception of Lil’ Beethoven.) And they’ve explored so many genres, I do think most people could find a way into them. I think this album was easier, in a way, to take in because it didn’t have whiplash gear change of Lil’ Beethoven or the hard rock-classical explosion of Hello Young Lovers. Exotic Creatures occupies a similar vein, so the previous albums prepared me well enough. I feel like Exotic Creatures is to Hello Young Lovers what Propaganda was to Kimono My House in expanding and refining some of what preceded it. Also like those two albums, which one you like more may depend largely on which you heard first. There’s a lot of great stuff on this record; the humor of “Good Morning” (“I hope it's just your laugh that is infectious”), the swagger and stomp of “I Can't Believe That You Would Fall for All the Crap in This Song” and “(She Got Me) Pregnant,” and the divine harmonies of “Likeable” and “The Director Never Yelled ‘Cut.’” 

4/6: Foxes' Glorious: Some solid tracks like "White Coats" and "Echo." Great voice, but her enunciation can be muddled.

Why? This album’s been sitting in my Spotify queue since her feature on Fall Out Boy’s “Just One Yesterday” intrigued me.

Anything else? Though I stand by my tweet, I’m willing to give Foxes the benefit of the doubt and put some of the enunciation issue on lyric transcriptions possibly being messed up. Still. It was distracting at times.

4/7: All Time Low's Future Hearts: I don't really see the story said to be here, but it's some sincere pop-punk.

Why? New release and I don’t think I’ve ever heard their work before, so I thought I’d give it a go.

Anything else? According to ATL’s lead singer there’s a story being told on this record, but I didn’t pick up on it at all. If it does indeed contain a story, it’s not very overt about it, which can work. It’s often considered a strength for a work to unfold more with repetition. The songs themselves are fine overall. “Kids in the Dark” and “Dancing with a Wolf,” in particular, are quite good. I don’t mean this as any sort of knock against them, but it’s also quite apparent how much these guys have listened to Plain White T’s and Fall Out Boy. “Kids in the Dark” seems like it might be right at home on Save Rock & Roll.

4/8: Sparks' The Seduction of Ingmar Bergman: Gripping and moving. Some moments stand out, but it's definitely full piece.

Why? Still plowing through Sparks in preparation for FFS.

Anything else? The album is very much a musical that needs and deserves one’s full attention when listening. It’s funny; through a portion of it I didn’t think it was really grabbing me, until a Spotify commercial made me groan in frustration.  I was also surprised by how “Oh My God” and “Garbo Sings” gave me goosebumps. I wanted to enjoy this, but I still somehow ended up being surprised by how much it got to me.

4/9: Tears for Fears' Songs from the Big Chair: The songs have been so enduring a true "first impression" is difficult.

Why? It was in the queue.

Anything else? I realize I pretty much bailed when it came to that tweet, but I really didn’t anticipate literally half the album containing songs I already knew well. (Hopefully the rest of their discography will yield more genuine first impressions.) That said, in spots it felt jazzier than I expected and I love the trio of “Broken” and “Head Over Heels / Broken (Live).”

4/10: Phoenix' It's Never Been Like That: Exudes a joyful feeling that can only be described in silly spring metaphors.

Why? I’ve been meaning to check out their other albums since I really liked Wolfgang Amadeus Phoenix and this was in my queue.

Anything else? Yeah, the best way I can describe this album is that it sounds the way breathing in cool spring evening air feels. It’s a subtle joy, not the take-off-down-the-street-“Dog Days Are Over” style of happy, but a subtle joy that stop you in your tracks if you let it.

4/11: The Strokes' Room On Fire: Disappointing. The vocals mostly sound bored or like he's singing through a sore throat.

Why? In the queue and I wanted to get through more of their material.

Anything else? I remember really digging Is This It, so I was disappointed by this one. Although, I’m not too surprised, since I have read critics say the Strokes are an example in diminishing returns. I’m not ready to count them out, though, or even this record. It could very well be that I just wasn’t in the right frame of mind to get into it. Musically I can dig a lot of it, but the vocals often kill any affection I could possibly muster. I don’t know if there’s some kind of effect on Casablancas’ voice or what, I just know that whatever is going on doesn’t work for me. But “Reptilia” still kicks ass. 

All albums available to stream on Spotify.

Daily Album Digest: March 15 - 28, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

3/15: Sparks In Outer Space: I was ready call this an okay-possible-grower with cool synths and humor, then "Dance Godammit" confirmed it as more.

Why? Still plowing through Sparks in preparation for FFS.

Anything else? Maybe a better way to put it would have been that “Dance Godammit” made me rethink the album. Much of the album feels “typical 80s,” but the final song seems to imply that may have been intentional. Nowadays an artist attributing the vapid nature of a work to irony happens a lot (see Ke$ha and Marina & the Diamonds’ Electra Heart), so if that’s indeed what Sparks were doing here it would be very easy to just shrug and say, “So what?”; the unfair consequence of any technique becoming so damn pervasive.   

3/16: Bruno Mars' Doo-Wops & Hooligans: Portrays Mars as a solid musical chameleon, but is that all he is? Highlight: "The Other Side"

Why? I only know Bruno’s singles, so I wanted to give his albums a spin.

Anything else? For the longest time I put Bruno Mars in the same category as the Black Keys; acts who don’t do anything outwardly wrong, in fact they do a lot right and ostensibly should appeal to me, but something just doesn’t jive. Generally I like genre-hopping and love soul, but Bruno’s debut doesn’t really feel like it possesses a strong personality behind it to tie it all together. Even the most genre-defying artists have something that strikes as quintessentially them. Bruno certainly knows tons about music and how to write good tunes, but I don’t think the album says anything about him. Some of the tone shifts don’t help in that. The album goes from the sweet and romantic “Just The Way You Are” and “Our First Time” to asshole mode in “Runaway Baby” (and, if we’re being totally honest, “The Lazy Song.”) Not that artists should never contradict themselves, just that when it’s that stark of a contrast (on a debut, especially), I can’t help but think, “Who the hell are you?” And that’s the problem. I could deal with genre-bending and contradicting lyrics, except he does both and tries to be too many things at once without establishing his own clear identity. I see why the album got big, but ultimately it doesn’t really work for me.

3/17: Marina & the Diamonds' Froot: Two big stand-outs from this album are "Weeds" and "Savages," which exhibit stunning brutal honesty.

Why? New release and I’ve been meaning to check her out for a while.

Anything else? It took a while for this album to grab me, but once it did it blew me away with Marina’s honesty. Admitting one’s flaws and mistakes can be difficult and she does it so well, as evidenced by tracks like “Blue” and “I’m a Ruin.” The latter of which contains the great line, “It's difficult to move on when nothing was right and nothing's wrong.”

3/18: Bruno Mars' Unorthodox Jukebox: He still works in pastiche, but this feels more confident. "Treasure" and "Moonshine" are undeniable.

Why? Finishing up Mr. Mars’ discography so far.

Anything else? Now this album I dig. It suffers some of the same pitfalls of Bruno’s debut, but feels more cohesive. I still don’t know if I know much about him, but this time he’s much better at making me forget that fact. I prefer his performances on this album, because it feels like he’s really throwing himself in it. One review calls the album “oddly lyrically aggressive,” which I think contrasts the debut’s occasional lovey-dovey moments. Even though those sweets moments where the best parts of Doo-Wops, they rang false set against songs like “Runaway Baby.” Basically, if you’re going to be an asshole at least commit to it and go whole hog. Put it this way: I’d much rather listen to “Gorilla” than “Grenade.” Both are ridiculous and over dramatic, but I’d rather hear Bruno brag about his sexual prowess than brag about guilt tripping someone with his suicidal ideation.

3/19: Sparks' Pulling Rabbits Out of a Hat: Charming overall. I have a bit of a weakness for seductive synthpop like "Kiss Me Quick.”

Why? Still plowing through Sparks in preparation for FFS.

Anything else? According to the album’s AllMusic review, “Few sparks are struck here.” I disagree. As I said in the tweet, I think it’s charming, especially in comparison to In Outer Space. The title track is fun and sounds like what would happen if Oingo Boingo wrote “Applause” by Lady Gaga. “Love Scenes,” “With All My Might,” and the aforementioned “Kiss Me Quick” are quite lovely. I can see how one would view it as generic for Sparks and I certainly wouldn’t choose this album to die on a hill defending, but it’s charming enough for me, for whatever that’s worth.

3/20: Ariana Grande's Yours Truly: Much has been made of the albums 90s feel, but a big highlight is 50s/60s throwback "Tattooed Heart."

Why? Wanted to finish off Ariana’s discography so far.

Anything else? I enjoyed this more than My Everything.  I think maybe that album tried too hard to be overtly sexual and this one just concerned itself with showing off Ariana’s great voice. I love “Tattooed Heart” in premise and execution. The vocal melody and strings have that classic sound that makes me melt in happiness. 

3/21: Marina & the Diamonds' The Family Jewels: If the idea of a musical baby between Fiona Apple and Sparks appeals to you, this is for you.

Why? After enjoying Froot I’ve decided to go back and look at Marina’s other records.

Anything else? Unlike Froot album grabbed me almost instantly. The performances on Froot are definitely more reserved, especially in comparison to this album. Sparks came to mind immediately when listening to this and I thought that might have been due to how much of them I’ve been listening to until I found multiple critics making the same comparison. I love the bouncy, theatrical moments (like “Mowgli’s Road”) almost as much as the more open moments (like “Obsessions” and “The Outsider.”) The album shows someone who, despite maybe some insecurities, is absolutely fearless musically and willing to try anything, which is greatly appealing.

3/22: Tokyo Police Club's Forcefield: Solid and enjoyable indie pop/rock and sometimes that enough. Highlight: "Argentina Parts I, II, III"

Why? A recommendation from LoadingReadyRun’s Best of 2014 podcast(s).

Anything else? Again restrictions making me sound more backhanded than I’d like. Granted I don’t sound as harsh as some critics and fans that roasted this album for leaving the band’s “original” sound in favor of something more radio friendly. Granted, this was my first exposure to the band, so maybe they’re right about it being a step back. Still, I found the album enjoyable and it makes me curious enough to look into their previous work.

3/23: Sparks' Music That You Can Dance To: "The Scene" & spoken word infused tracks "Shopping Mall Of Love" & "Change" make up for a slow start.

Why? Still plowing through Sparks in preparation for FFS.

Anything else? This can be found on Spotify under the title Best of Sparks. Prior to listening to it I’d read the AllMusic review, so I wasn’t too keen going in. It does have a slow start and I wasn’t thrilled with their cover of Fingertips (I mean nothing can beat Stevie Wonder), but within seconds “The Scene” made up for it. The track reminds me a lot of “The Reflex” by Duran Duran, so I can always get into that. Despite their titles “Music That You Can Dance To” and “Let’s Get Funky” are decidedly not dancey or funky and they’re kind of… plain. For Sparks, anyway. The quirks of “Shopping Mall of Love” and “Change” make up for that, though. “Change” in particular is simply magnificent musically, just heart-clenchingly wonderful. Overall, the album has some fairly forgettable stuff, but the good stuff is really great.  I can’t see the whole album ever being counted among my Sparks favorites, but some tracks definitely could.

(Missed March 24th, so I did two albums on the 25th)

3/25: Mini Mansions' The Great Pretenders: Majestic psychedelia anchored by beautiful vocal melodies. Among the many highlights: "Any Emotions"

Why? New release. Their bio on Spotify describes them as “dark psych-pop” and I can’t deny Brian Wilson.

Anything else? I think I might expand on this record in a full post. It’s really good. I wouldn’t be surprised if it ends up one of my favorites of the year. Don’t be deceived by the title -  they aren’t simply good mimics.

3/25: Marina & the Diamonds' Electra Heart: A record steeped in artifice and irony that's strongest when its vulnerability can shine through.

Why? To round out her discography.

Anything else? As I’ve said, her brutal honesty that draws me to Marina, so I’m not all that keen on her going the ironic route here. That said, I enjoy seeing her growth and how this led to the more “human” sounding Froot. Also, “Sex Yeah” is great. 

3/26: Sparks' Interior Design: Aside from "Lots of Reasons" not much sticks out. I don't know if it needs to grow on me or is just forgettable

Why? Still plowing through Sparks in preparation for FFS.

Anything else? I’m conflicted about this record for reasons stated above. On the upside, “Lots of Reasons” made me laugh; “You’re intelligent, but that’s no threat. I’ve been reading every chance I get.” “Let’s Make Love” also sounds a lot like run-of-the-mill synth-based love song, but it also has a sense of humor; “I’ve been waiting all my life for someone I could stand.”

3/27: Orange Juice's Rip It Up: Feels a bit padded, but its wit and grooves make up for it. Highlights: "A Million Pleading Faces" and "Rip It Up"

Why? Earlier on in the day I’d listened to Late Night Tales: Franz Ferdinand, which probably influenced the decision to pick this over other albums saved in my Spotify.

Anything else? According to what I read this album came after the departure of key members and some record company pressure, so that likely explains that sometimes padded vibe. It feels like they were stretching for time. Despite all that, when it’s good, it’s great, so any weakness is forgivable. 

3/28: Sparks' Gratuitous Sax & Senseless Violins: The kind of techno I really love, where sweetness and haunting beauty just wash over you.

Why? Still plowing through Sparks in preparation for FFS.

Anything else? I loved this record. So much so, that I don’t know if I can coherently discuss it. It reminds me a great deal of their No. 1 In Heaven; lush and breathtaking with a perfection that almost defies any discussion. It was worth going through stuff like Interior Design to get to pieces as magnificent as “When Do I Get To Sing ‘My Way’” and “Frankly, Scarlett, I Don’t Give A Damn.”

All albums available to stream on Spotify.

Daily Album Digest: March 1 - 14, 2015

Carrying on February's Music Writer's Exercise (#MWE), each day I listen to a new album and tweet a brief review of it. Then every two weeks compile those tweets here with some extra thoughts.

3/1: The Killers' Battle Born: The title track and "Be Still" are great, but cramming it with aspiring anthems makes it fall flat.

Why? After liking Day & Age so much I decided to charge ahead to this album. It… didn’t work out well.

Anything else?  I’m not a fan of when the Killers get their Springsteen on, but it’s not really that aspect that tanks the record for me. It’s a matter of pacing. The standard edition of the album has twelve songs, only two of them don’t go into lighters-in-the-air anthem territory. After a while they just have no punch anymore. Not every song has to be or can be “Born to Run.” 

3/2: Janet Jackson's Damita Jo: Its best moments are the old school turns ("I Want You") or just plain fun ("Just a Little While.")

Why? I wanted to go the opposite of the Killers’ record and have been criminally behind on Janet.

Anything else? I doubt this will ever be among my favorite Janet records, but it has some great moments. As something of a junkie for the genre myself, “R&B Junkie” speaks to me. I love the old school vibe of that track and “I Want You.” Speaking of “I Want You,” I think that track and the other Kanye West collaborations (“Strawberry Bounce” and “My Baby”) are really good.  His verse on “My Baby” is another matter, but that’s to be expected from him. The Babyface produced  track “Thinkin’ Bout My Ex” is another highlight and quite moving.

As for the negatives, no matter how sexy the singing, no matter if it’s Janet Jackson whispering it breathily, there is nothing sexy about the word “moist.” Or “erect.” I have no problem with Janet (or any artist) exploring her sexuality, but tracks like “Moist” and “Warmth” prove there’s a limit, at least creatively. I wouldn’t go as far as someone from AllMusic and call it embarrassing, just say that there are diminishing returns in that area.

3/3: Purity Ring's another eternity: In a word: dreamy. Carries you through lovely and strange images, but not much sticks out after the fact.

Why? Tuesday release. I’ve seen the name around a lot recently and dove in.

Anything else? No. I didn’t really connect with this record and feel no great desire to go back.

3/4: Sparks' Whomp That Sucker: I'm partial to the song "Funny Face" if for no other reason than it reminds me of book "Invisible Monsters."

Why? Still working through Sparks’ discography.

Anything else? This album came after Terminal Jive and is more rock than that or No 1 In Heaven, but it’s a better rock record than Big Beat or Introducing Sparks probably due to it sounding more early 80s new wave than generic 70s rock.

3/5: The Strokes' Is This It: Seminal works can be difficult to discuss, but alt. rock of the 2000s owes this album a debt and for good reason.

Why? I was originally going to listen to Room On Fire, but decided on this instead.

Anything else? As I said, it’s difficult to talk about albums like this one, because they have been so influential. I may not have ever heard this album in its entirety until recently, but I’ve still heard it because so much of rock in the 2000s wouldn’t exist without it. That sort of status can sometimes work against an album, though since they inspired a lot of the 2000s rock that I like, I dig it. In fact, this album is such a big deal that it landed on the Rolling Stone 500 Greatest Albums of All-Time, so while I would like to dig deeper in this, it’ll have to wait.

3/6: Coheed & Cambria's The Afterman: Ascension/Descension: I hesitate to use this phrase, but really, this is a return to form. Magnificent.

Why? Why not?

Anything else? I held off from this double album for a long time, because I was not big on Year of the Black Rainbow (and parts of No World for Tomorrow, but mostly YotBR.) The band has always had a metal edge, but those records seemed to be carrying them even further into that direction and frankly, that just isn’t for me. However, The Afterman feels more somewhere in between Good Apollo Vol.1 and In Keeping Secrets of Silent Earth: 3 without feeling like they regressed. It’s eclectic, gave me chills, made me tear up, so I loved it. 

3/7: Ariana Grande's My Everything: Her sweet and lovely voice saves songs that otherwise would be just middle of the road pop/r&b.

Why? I really liked her Grammy performance last month and have had this album in the queue, so to speak.

Anything else? Twitter’s limitations strike again and force me into backhanded compliments. Given more room let me put it like this: the songs themselves are not that striking or impressive on their own, but Ariana has such a beautiful voice that I wanted to listen to anything attached to it. I just wish the songs had more personality and more of her. She has a writing credit on the title track and that’s one song that feels true and not just a character she’s donning for a song. Maybe in time she’ll become more involved in that area. Her voice is a joy to listen to, so I want her to stick around and hopefully grow.

3/8: fun.'s Aim & Ignite: Reminds me of Panic! At the Disco's Pretty. Odd. in that both hit every right button to make me ridiculously happy.

Why? Another album that’s been sitting in my Spotify queue for ages.

Anything else? I liked Some Nights, in particular the introduction and title track. Something I really like about them is this drama and sense of scale that I don’t know the rest of that album lived up to. Aim & Ignite, however, completely revels in desires of Queen’s grandeur happily the whole way though. There have been critics who bemoan how much is going on musically and it certainly isn’t for everyone, but I can’t help bask in the strings and horns and harmonies. And Nate Ruess may not be Freddie Mercury, but when he sings, damn, I believe every word. Some current frontmen could really take a lesson from him. 

3/9: Janet Jackson's 20 Y.O. : Many blame this album's failings on Jermaine Dupri. That's unfair. The Jam/Lewis tracks don't fare well either.

Why? Playing catch-up with Janet.

Anything else? For anyone else this might be a decent or good album - not for Janet. I can cut her slack though. She has made some of the greatest dance/pop/r&b albums of all-time and frankly, not every album an artist makes is going to be great. It’s just not possible. That said, 20 Y.O. is still a letdown, because it’s the first Janet album that I disliked. “Call On Me” is sweet and breezy, but there’s not much here I feel the need to revisit. Even Damita Jo, which I was mostly lukewarm on, has more to offer. The Dupri-produced tracks feel messy and jumbled, while the Jam/Lewis-produced tracks wear out their welcome quick. Time could soften me this album, but as I said, I don’t feel a desire to go back to it anytime soon.

3/10: Laura Welsh's Soft Control: There's an edge to her captivating voice that recalls Annie Lennox. Highlights: "Ghosts" & "Break the Fall"

Why? The new releases that week were made up mainly of singles and Madonna’s Rebel Heart and I really didn’t want to touch that one.

Anything else? Along with having tones like Annie Lennox, the way she sings the word “cynical” in “Break the Fall” also reminds me of Fiona Apple. Anyone who can remind me of those two women possesses a voice that I can’t help but love. Unfortunately, though the album starts quite strong it starts to peter out about halfway through. The lyrics stay interesting throughout, but musically it blends together. Still, as I said about Ariana Grande, I enjoy her voice so much that I’ll take what I can get. I want to root for her and since this is only her debut I’m quite comfortable in doing so.

3/11: Janet Jackson’s Discipline: Tracks like opener “Feedback” and the evocative “Rock With U” make this the dance record 20 Y.O. wanted to be.

Why? I wanted to finish catching up with Janet.

Anything else? Apparently Jermaine Dupri made statements about 20 Y.O. being the most dance record Janet had done in a while. I don’t believe that to be the case. If you define a dance record as one that makes you dance, well, it didn’t make me want to dance. Discipline, however, does make me want to dance. The record also manages to give Janet a modern sound (such as on “Rock With U”), unlike 20 Y.O.’s clumsy attempts at contemporary r&b.

And yet, for all the goodwill Discipline builds with its dance tracks, the title track nearly throws it all out the window. Of course, Janet discussing sex is not new nor does the track represent her first foray into BDSM themes (see The Velvet Rope’s “Rope Burn”), but I find the track disturbing. Maybe I’m naïve or overreacting, but lyrics such as “Make me cry” and “Take out your frustrations on me” really, really rub me the wrong way. If nothing else, hundreds of thinkpieces on Fifty Shades of Grey prove the handling of BDSM in media is a murky area indeed. 

3/12: Dirty Pretty Things' Waterloo to Anywhere: With dark themes and rough but catchy sound ("Bang Bang You're Dead"), they were aptly named.

Why? It’s been sitting on my backburner for a long time.

Anything else? I’ve loved “Bang Bang You’re Dead” for a long time and was concerned that the rest might not live up to it. That concern was mostly unfounded. “Bang” still stands out the most sonically (mainly due to the inclusion of horns), but lyrically I was really struck by “Blood Thirsty Bastards” and “The Enemy.” The album’s not as rough as I recall (frontman Carl Barat’s previous band) the Libertines being, which works for me and makes it a more pleasant listen than they could sometimes be.

3/13: Box Codax' Hellabuster: How do I process an album full of grooves, that one minute reminds me of Oingo Boingo and 60s girl groups the next?

Why? Another that’s been on a backburner.

Anything else? That tweet was a play on recurring lyric, “How do I get your bullet out of my head” and also very much the truth. I’m still so flabbergasted by this record that I might end up writing a full post for it. But to be brief (for now): I know of this band because one of the members is Franz Ferdinand guitarist/keyboardist Nick McCarthy.  As with much of Franz, McCarthy composes the music of Box Codax  and what really struck me initially is how funky it gets at times. Trying to describe it is difficult for me, because something that vaguely reminds me Oingo Boingo and then throws out Motown strings by all accounts shouldn’t work. But it has so many great grooves that anchor it and it commits so hard to every seemingly mad musical idea that I can’t help but be on board. ...Even if it did break my brain.

3/14: Franz Ferdinand's Live at Roundhouse London: I likely won't discuss many live albums, but this "jolly bit of desolation" is the exception.

Why? Needed a break, so I cheated a bit.

Anything else? I try to steer clear of live albums or compilations for this daily album stuff. It feels a bit like cheating, because a greatest hits compilation doesn’t have the same purpose as a legit album. But, of course, if I’m going to make an exception for anyone it’ll be Franz Ferdinand. If nothing else Franz is a great live band and I really think anyone who doesn’t get a chance to see them should at least give this a listen. They have tremendous energy and when they hit their stride (“The Fallen” through “Auf Achse,” for instance) everything flows almost seamlessly.

All albums available to stream on Spotify. Except for Franz Ferdinand’s Live at Roundhouse London which is available here. 

Daily Album Digest: February 2015

If you follow me on Twitter or Facebook you know that for the month of February I participated in the hashtag Music Writer’s Exercise (#MWE). The premise was to listen to a new (for you) album each day and then write one tweet about it. A really neat idea, so I decided to jump right on once I found out (a day late, which is why February 2nd has two tweets) and it’s a habit that I want to keep up with. But I realize that given how social media can be that things get buried, so I’ve decided to make digests of the tweets with more thoughts and maybe why I chose those records.

This first digest is for the entire month of February (and quite long), but going forward the digests will be biweekly.

2/2: I Hate Kate's Embrace the Curse: Mostly just... okay, but "Story I Can't Write" & "I'm in Love with a Sociopath" are highlights.

- I chose this record because it was on the top of my recommendations on Spotify. If you’re into poppy punk stuff it’s fine. Not much to write home about though. I can’t see myself going back to much of it.

2/2: The Rural Alberta Advantage's Mended With Gold: Beautiful & grand without feeling forced. Track "Not Love or Death" sums this up best.

- I watch a lot of sketch comedy troupe LoadingReadyRun and at the end of 2014 they made a few podcasts with their favorites for the year. They included a ton of recommendations for artists and albums, which I want to listen through. The Rural Alberta Advantage’s Mended With Gold is just one of the albums members of the LRR crew mentioned. I recall enjoying this, but I also remember thinking that it’s a slow burn that I might grow to love more with time.

2/3: Fifth Harmony's Reflection: Some weak moments, but at its best (like "Sledgehammer") it feels like r&b/pop girl groups from the 90s.

- I’ve been making it a point to listen to a new release every Tuesday and I chose this one because I have a soft spot for girl groups. It really did remind me of 90s r&b (some of the first music I loved), so that was cool. However, some of the lyrical content was cringe-worthy and might end up making it more dated in the long run. Also, while I’m mixed on the end result, it was interesting to hear “Always Be My Baby” by Mariah Carey used as a sample.

2/4: Sparks' Sparks: Doesn't feel as instant as later work like "Propaganda," but their distinctive personality is already present.

- I’ve been making my way through Sparks’ discography in preparation for their collaboration album with Franz Ferdinand. I enjoy most of it so far, but not this particular album. In fairness though, the album was only their first and as I said, already had marks of their distinct personality. Not part of my go-to Sparks, but not offensively bad.

2/5: Clean Bandit's New Eyes: Classical & electronica often polarize, but this fusion is accessible with lovely melodies & promise.

- Todd-in-the-Shadows put Clean Bandit’s “Rather Be” on his Top Ten Best Pop Songs of 2014. Add to that my love of strings and I was very curious about this album. It’s a lovely record, but it didn’t grab me as much as I wanted. That’s okay, though, some records take time to grow on you and this may well be one.

2/6: Fall Out Boy's American Beauty/American Psycho: FoB once said, "Songs you grow to like never stick at first." This time I doubt it.

- Of all the tweets I made this month, this was the one I worried the most over, because (1) I feared backlash and (2) it pained me to pan this album. I love Fall Out Boy and have for years. This, however, was a huge disappointment. It reminded me way too much of the experience of listening to Evening Out With Your Girlfriend, where everything I love about FOB (melodically, vocally, even lyrically) was buried under needless screaming and noise. When your band has a vocalist like Patrick Stump it makes no sense to have him sound like he’s singing from his ass Chad Kroeger. Straight up, it’s a fucking waste of his considerable talent. The good that is present in the album just isn’t enough to make me see beyond disasters like the title track.  Also, I wish they’d done more with the Beauty/Psycho thing, but they seemed to rely too much on the “psycho” and didn’t leave much room for “beauty.” But of course, I’m one of those freaks that love Folie à Deux, so maybe I’m the minority here.

2/7: Phoenix' Wolfgang Amadeus Phoenix: A fantastic mood pervades the record that strikes a perfect balance between pensive and joyful.

- One of my long-time twitter friends, Laura, loves Phoenix (she even co-runs this tumblr), so I’ve been meaning to check them out for quite a while.  I’ve had “1901” on loop frequently since listening to this. The song can’t be denied, it’s just effervescent. I really liked the record in large part because I love records that can create a mood from start to finish. Also, most records that can achieve that tend to be rather melancholy (Pet Sounds, Wind in the Wires, etc.), but this one has such a joy underneath it all that makes it stand out in that regard.

2/8: Vampire Weekend's Contra: Fitting this lost to the Black Keys. Not bad in any technical sense, but not much stands out either.

- Yeeeesh. As I said on Twitter, I remember quite liking their self-titled, so I was really stunned by how much I disliked Contra. It bored me to fury. Also, I’d like to elaborate on the Black Keys comment. Contra and Brothers were both up for Best Alternative Album at the 2011 Grammys and of course, Brothers won and it’s fitting, in a way, because Contra and the Black Keys both give me the same vibe.  In that, I have no real complaints technically about them, they don’t do anything atrocious or offensive, but they just don’t do anything for me. Not bad, exactly, but nothing that strikes me as particularly good or great either and lacks life or personality. But I know I’m clearly in the minority on this and practically committing music geek heresy by saying it. Oh well.

2/9: Real Estate's Atlas: Lovely and atmospheric record that flows and floats along easily.

- Another LRR recommendation. I liked it well enough, but I’ll be honest, I don’t know if I would’ve liked as much if Contra had bugged me so much. A lot of things Contra failed at, this album succeeded at, I thought, so it was a much more pleasant experience. Maybe if I revisit it that will change somehow, we’ll see.

2/10: Father John Misty's I Love You, Honeybear: A title like "Bored in the USA" suggests a work bland & trite, but ILYH's moving & genuine.

- A Tuesday release, but I don’t recall why I chose this one specifically. Due to Twitter limits I couldn’t say the first thing I really wanted to, which is that “The Night Josh Tillman Came To Our Apt.” sounds like Pet Sounds if Brian Wilson were a total cynic. That isn’t an insult, by the way. I actually find it quite impressive and that song is one of my favorites on the album. Also impressive, the song corrects someone’s grammar in a way that’s actually funny.

2/11: A Flock of Seagulls' A Flock of Seagulls: Not a flawless gem, but with tracks like "Space Age Love Song" & "DNA" a gem nonetheless.

- A while back Todd-in-the-Shadows did a One Hit Wonderland episode on “I Ran (So Far Away)” and ever since I’ve been curious about this one. Overall I loved it, but one big problem with it is that the lyrics can be too repetitive at times. The song “Telecommunication,” for example, is almost nothing but the word telecommunication. Still, when it’s great the album is really great.

2/12: Sparks' A Woofer In Tweeter's Clothing: This album contains a rock cover of "Do-Re-Mi" and that's not even its weirdest moment.

- I’ll have to revisit this one soon. Woofer is only their second record, but definitely moving in the direction of works like Propaganda. Not a favorite, but I liked it well enough.

2/13: Bedhead's Transaction de Novo: Before this album I didn't know the term "slowcore." It's so sedate I'm at a loss of what to say.

- Another LRR recommendation. This really proved shoegaze and the like just aren’t for me. It’s funny though, in my reading on this album various critics claim that this album was Bedhead at their most uptempo. If that’s true their previous material was probably as inert as a sedated sloth.

2/14: Sparks' Terminal Jive: Great disco with a sense of humor and highlights like "The Greatest Show on Earth" and "When I'm With You."

- I’m always up for some good disco, so I dig this.

2/15: St Vincent's St Vincent: Allow me to add to the veritable chorus of praise this has received. It is simply impeccable.

- Another LRR recommendation.  I’ve put off checking out St. Vincent for ages and I’m not sure why, especially after listening to this album. The limits of Twitter really made it difficult to sum this album up. There is so much on it that’s fantastic and should be heard.

2/16: Owen Pallett's In Conflict: The restrained vocals contradict lyrics about reconciling life as it is with the life one may never have.

- Another LRR recommendation. Fittingly, I feel conflicted about this record. That is, it’s good and has so many things I tend to really like (such as the main themes of growing older and growing away from a variety of things, which resonates with me at the moment) but I feel like if I wasn’t already such a big fan of Patrick Wolf I might like this record more. Despite that I would like to hear more of Pallett’s work, because that initial impression may be wrong on my part.

2/17: Ibeyi's Ibeyi: Captivating rhythms with haunting and sweet vocals. It can be a bit slow, but still an impressive and promising debut.

- A Tuesday release. Their bio intrigued me, particularly the mentions of singing in Yoruban and the label “doom soul.” They can be melancholy, but I don’t know that “doom” really enters into their work very much, at least not here. I don’t know if this is a weird comparison or not, but listening to this reminded me a great deal of my first listens to Fiona Apple’s debut Tidal; the moodiness, the rhythms, prominence of piano, the tendency to be slow for maybe too long, and despite any flaws full of promise. I look forward to what they do next.

2/18: LIGHTS' Little Machines: A pleasant enough 80s-inspired listen, but it mostly blends together & buries anything that might stand out.

- I think for album I went into my recommendations trying to find a female artist. Sadly, I wasn’t thrilled with this album. The individual songs aren’t dynamic and beside each other there isn’t much variety either and as I said, it all blends together. I’ve heard that her earlier album Siberia is more experimental and interesting, so I want to check that out.

2/19: The Posies' Frosting On The Beater: An album of 60s harmonies and melodies from 90s Seattle with highlights like "Solar Sister."

- Gary Lightbody from Snow Patrol mentioned this album early on that day, so I decided to check it out. The influence the Posies have on Snow Patrol became apparent very quickly. I was very surprised to find out they were from Seattle and this was released in 1993. They aren’t at all the sound most would associate with that time and place. They also reminded me a bit of the Gin Blossoms, which is always cool.

2/20: The Hollies' Butterfly: The title track's strings & melody create something simply enchanting & make it the stand out on the album.

- My friend Sierra is a huge Hollies fan. (She runs this Instagram dedicated to them.) Also, the Hollies were listed as a big influence on the Posies, so I figured I should finally dive more deeply into them.  I know tracks by them like “Bus Stop,” so this album was more psychedelic than I was expecting from them. 

2/21: Stars' No One is Lost: The theme of mortality is too on the nose at times, but there's enough great melodies & synth to make it work.

- Another LRR recommendation. I think this tweet came out much harsher than I intended, because I liked this record and feel I could really grow to love Stars. 

2/22: Sparks' Big Beat: Danceable at times yet not really catchy. Nothing stands out and it seems rather generic, especially for Sparks.

- More Sparks. I didn’t like this one. Given what I’ve come to expect from Sparks this was just too generic. It sounds like almost any band in the seventies could’ve made it. And from what I’ve read they also felt it lacked personality, which led to the recording albums like No. 1 in Heaven and Terminal Jive, albums I vastly prefer.

2/23: No Doubt's No Doubt: The album doesn't quite reach the awesome heights funky "Let's Get Back" promises, but it's a decent debut.

- One of those records I’ve been meaning to get to for ages, so I just picked it out of one my Spotify lists. I have a big weakness for anything with a horn section or great bassline, so much of this record is laser-targeted for me. I also really liked the tracks “Paulina” and “Sometimes,” which are complete opposites of each other in terms of tone. That said, it might not be for you unless you’re a hardcore No Doubt completionist or you’d like to hear them sound like a band again.

2/24: MisterWives' Our Own House: Sunny & purposely optimistic (ex:"Reflections"), which makes somber moments like "Coffins" more powerful.

- A Tuesday release, which I chose based on the coolest cover art. But, man. This. Album. I really wanted to love this album. The music’s on point. The lyrics are on point. The vocals grate at me way too often and it just kept pulling me out of it. But honestly, that’s probably just a matter of personal taste and how certain voices or types of voices hit me. Maybe with more listens it will grow on me. I hope so.

2/25: George Harrison's Thirty Three &1/3: For better or worse, he had his own style, which mightn't be for all. "This Song" is fantastic.

- This record was chosen in honor of dear George’s birthday. As I said, George had a very distinct style, in terms of both music and lyrics. As someone else put it, he had an “aural fingerprint” and you know George Harrison guitar when you hear it. It’s so distinct that it’s also quite easy to pick out those inspired by him. George’s style also consisted of his own “pet” themes and topics and a not-unnoticed tendency to get blunt and preachy in his lyrics. Not a style for everyone, but I don’t think this particular record falls prey to those faults quite as much. And even though he’s not everyone’s cup of tea, it’s a good thing that George was around to do what he did, because again, it was special and uniquely him.

2/26: Sparks' Introducing Sparks: The album's best summed up with one of its lyrics: "I'm not at my best today." (Except for "Goofing Off.")

 - Somehow even more bland than Big Beat, but at least it has “Goofing Off.” “Goofing Off” is the wonderfully ridiculous stuff I love and expect from Sparks. Also, it kind of reminds of “The Mamushka” from The Addams Family and anything that conjures images of Raul Julia dancing is just delightful.

2/27: The Killers' Day & Age: I thought Sam's Town killed my interest in the band, but songs like "Spaceman" and "I Can't Stay" may reignite it.

-  I still have to give Battle Born a listen, but I think I might be back on the Killers’ train. I have some friends who are diehard Killers fans and I got to thinking that I wasn’t being fair in letting Hot Fuss loom so large and just writing them off as I did. Musically the album is fantastic, but still exhibits the lyrical weaknesses the Killers have had from the beginning. Far back as “All These Things That I’ve Done,” they know how to make music that sounds moving and emotional, but write lyrics too vague to mean anything clear or substantial (as Pitchfork put it: “[S]ignifying everything but saying nothing.”)  As I’ve said before there’s nothing wrong with being obtuse, abstract, or surreal, but Flowers obviously wants these words to have a resonance that they don’t often live up to. Maybe he does put much of his heart and his experience into his words, but for me at least, it’s detached and distant. But, like Hot Fuss, everything else works so well here that I can forgive any weaknesses.

2/28: Vampire Weekend's Modern Vampires of the City: Engaging, contemplative, and fun without feeling overly dreary or careless.

- For the sake of completion I wanted to listen to this record, but I wasn’t itching to do so anytime soon. But, after Day & Age proved I could dig another Killers’ record, I figured why not? And I was pleasantly surprised. Maybe it’s because I have a soft spot for existential contemplation with a great beat, but I loved this album. It’s a big departure from Contra and that is a great thing. When I expanded on Contra earlier I said that it didn’t have life or personality and I think most of that was due to the vocals. In his video on Bruno Mars’ “The Lazy Song” Todd-in-the-Shadows explains why he hates white dudes with acoustic guitar music, in part, because it “is music made for and by people without any problems.” Ezra Koenig’s vocals on Contra embody exactly that for me and they bring down the entire thing. On Modern Vampires of the City, he sounds engaging and engaged and dynamic, like his vocal “Diane Young” has a goofy, Buddy Holly sort of vibe. Also, with "Hannah Hunt," I feel like I could probably write an entire essay just on the line, "As we made our way from Providence to Phoenix." I don’t know that Vampire Weekend’s other two albums really warranted the hype around the band, but this album does.