I should wait and put a proper set of thoughts together on the new David Bazan album, Strange Negotiations, that comes out on May 24 for regular folks, but which I received early due to the fact that I’m among an elite corps of Bazan supporters who actually chipped in some cash to finance the recording of this album (thanks to Glen of Someone Tell Me the Story for the heads up on this opportunity). However, I’m not seeing much time in the weeks ahead for anything much more than a rather random collection of thoughts after about 5-6 full listens…so why not just put it out there now?
A brief background on Bazan: he had a band called Pedro the Lion back in the 90’s-00’s that was pretty much the coolest thing in the world for a young evangelical Christian to like, though you were never sure if you were supposed to think of them as a “Christian band” or not (which, ultimately, is a good problem to have–DEATH TO CCM). Bazan’s songwriting was always pretty cutting toward the church and hypocritical Christians, but there was a latent tenderness and spiritual longing underneath (see “The Secret of the Easy Yoke”) along with clever storytelling and wordsmithery (all of Control), and an ear for the lovely juxtaposition of vocal & instrumental melody. Plus, some of his songs REALLY indie-rocked unbelievably much (see “Magazine”) and he would cuss with great aplomb (most brilliantly on “Foregone Conclusions”). But his voice was rather sleep-inducingly mellow, his wit often a bit too acidic, and he seemed like his prophetic voice could often switch into Pharisaic condemnation or just plain whiny petulance. Then, he killed PTL and did an electronic album called (and by?) Headphones that had some great cuts…and some not so great. Finally, he came out under his own name with an EP (Fewer Moving Parts) that was all depressingly navel-gazing and narcissistic fantasy–I wondered if this would be the end of David Bazan…self-implosion.
Yet he came back with a full-length album Curse Your Branches in 2009 that was a masterpiece of him losing his faith; it is well worth the purchase & repeated listens, not only for the masterfully poignant/angry way he processes the experience of divorcing himself from God/Christianity, but also for his return to all the great songwriting and musicianship he’d evidenced in the past. And that, in short, brings us to his second solo LP: Strange Negotiations.
Some random observations:
- Bazan’s voice is no longer sleep-inducing…it’s a sleep-DEPRIVED and mildly intoxicated growl and rasp (like a philosophical Kenny Rogers gone to seed) with certain words carrying a whiskey-flavored drawl that is becoming a Bazan trademark
- I once heard it said that Bob Dylan wrote two kinds of songs: one for Him (God) and one for “her” (the elusive love interest, I took it to mean). I think Bazan writes one kind of song: for himself. His songs have become a Molotov cocktail of art therapy, bully pulpit, and bipolar self-aggrandizement/self-loathing. He is a one-man 12-step group, endlessly telling his own story to himself and we just happen to be passing by the room. Or he’s like a prophet who grew to love the taste of fiery denunciation, but forgot his audience and wandered off into canyons muttering woe and condemnation to the walls. I remember thinking a few albums back that Bazan needed to get out of his own head, seeming like he was on an infinite, introspective spiral, destined for a solipsistic hell consisting of his own echo in an empty bottle. I’m not sure in this album if he’s still heading there or on his way back, yet I still sense that damning self-absorption. And yet, somehow, in the midst of all of that, he still sees things and says things in such a powerful, brilliant, and infectious way that I can’t help but listen.
- I wondered if this would be his “post-Christian” album and a number of songs confirm this, but I am hesitant to read that into every song. It will be interesting to see if he will ever make an album that contains no reference to his disdain for faith, conservatives, or his upbringing. He definitely seems to want to alienate the final remnants of the old Christian music store fan-base with the naked chick on the cover, his transition in one song from the lyrics of “Be Thou My Vision” (which PTL covered on one album) to the line, “Fuck the gatekeeper, cause I’m fine outside the gate”, and repeated references to his new found way of seeing the world, free from the provincial boundaries of Christianity. Again, it’s legitimate for him to process his rejection of faith, but he does it with such monomania. Encountering the story of Captain Ahab’s hatred of & fixation with the white whale in Moby-Dick is powerful, but you probably don’t care to read sequel after sequel telling the same story, right?
In any case, this is supposed to be thoughts about the album, not a psychological study of Bazan. The songs basically have two modes on Strange Negotiations: crunchy electric guitars chording over a tight and driving rhythm, or reflectively quiet/ethereal, with the record heavily leaning to the former. I offer below some thoughts on most of the tracks on the album, somewhat ordered according to how much I liked them:
- “People“–a hybrid of the two song modes, this is one part acoustic wistfulness looking back on a childhood in the church and one part scorching rocker about how he’s moved beyond all of that. Besides being a beautiful tone/mood contrast, I think I love this because it’s about coming to terms with one’s heritage as a conservative evangelical Christian (“you are my people”) even as he talks about the cost of being a “truth-teller” in that community (which strikes one as rather patronizing, but still authentic to his experience). It’s pretty judgmental overall, but it still captures that old balance between longing and disappointment that he had with PTL.
- “Level with Myself“–covering some of the same ground as the previous song, this melodic rocker pokes at the image of waking up in the morning and having a “quiet time” reading Scripture, but feeling like you have to “sell it to yourself.” In contrast, he says he wants to “level with myself…my friends…and my kin…and be at peace with them”–which I take to mean that he’s trying to come to terms with the fact that he doesn’t believe anymore and he needs others to accept this as well.
- “Don’t Change“–this is an example of when I think Bazan dips into self-loathing, mocking himself and his efforts at self-improvement. It’s got a lovely vocal and guitar melody over a molasses thick bass line.
- “Strange Negotiations“–haunting (ethereal mode), timeless ballad with echoes of Scripture (prodigal son, writing on the wall, cutting off one’s limb) about inter-personal conflicts. Includes a lovely acoustic breakdown with Bazan’s lonely howl wordlessly communicating the pain of relational struggle…
- “Won’t Let Go“–what does Bazan have now that he’s chucked his faith and alienated himself from “his people”? This song points to his marriage as the new anchor in his life. Another ethereal mode with the EBow all over it.
- “Virginia“–this is the most poignant song on the album, looking back from a position of having lost faith at someone else in the family who was “unsaved” (“we wondered about your personal salvation/was it heaven or hell you saw when your eyes closed?”), but who modeled a transcendence beyond religious categories (“you smiled at us/floating high above the question/like you knew something we didn’t know”) that Bazan now has an appreciation for. This is a delicate piece, full of deep regret at time wasted on such pettiness (from his new perspective)–which you can hear most tenderly when Bazan’s voice cracks at 3:36…
- “Wolves at the Door“–this seemed to be about religion again, but it could also be more broadly about conservative values. This opens the album and sets the condemnatory/accepting synthesis with the line, “You’re a goddamn fool…and I love you.” This is the last of the songs that I actually liked…but that makes 7 out of 10, which sounds like a pretty strong record if you ask me!
If these comments seem very critical, let me balance them all by saying that I think Bazan is one of the best living songwriters and generally a brilliant thinker and lyricist. I will keep buying his work as long as he puts it out, but I also need to be honest to vocalize my concerns about his self-destructive fixation on himself. Perhaps this is one of those cases where unhealthy neuroses lead to great art. I don’t know, cause I can’t do what he does.
However, I need to end my ruminations here…but I would love, so very much, to hear YOUR thoughts on this album when it comes out (or if you already have it).
Here’s the actual tracklist…
1. Wolves at the Door
2. Level With Yourself
3. Future Past
6. Eating Paper
8. Don’t Change
9. Strange Negotiations
10. Won’t Let Go
BEHOLD, the kingdom of heavenly music has come near!! I come to you once again with the proclamation of good taste, so that you may keep your ears open for bands that are bearing good fruit–and I’m talking about music that will baptize you with the Indie Spirit!!
–The Dears/Degeneration Street (February 15): The Dears are among that coterie of artists whom I will probably always follow, based upon the brilliant songsmithery of Murray Lightburn (the Afro-Canadian Morrissey), most gloriously displayed in their impeccable 2006 album Gang of Losers. Their last outing, Missiles, was a bit hit-and-miss, but I have greater expectations for this new album based on what I’ve heard so far. Download free song here, along with pre-order information. [UPDATE: The whole album is streaming here!]
–Bright Eyes/The People’s Key (February 15): Supposedly, this may be one of Conor Oberst’s greatest albums, solo or with Bright Eyes (I am partial to their 2002 masterpiece Lifted). I am going to wait to hear this when I get the physical CD in my hands (I’m old-skool like that). You can stream the full album at NPR’s webpage.
–Elbow/build a rocket boys (March 7): Ah, there is an eternal soft spot in my heart for this band…their last album, The Seldom Seen Kid, was a masterpiece, though previous efforts have been spotty. I have no idea what this album will sound like, but on faith, I’ve ordered the deluxe import edition on Amazon. Not sure if there will be an American release or what…
–Josh T. Pearson/The Last of the Country Gentlemen (March 29): Pearson was the genius behind the one-album legendary band Lift to Experience (The Texas-Jerusalem Crossroads was #2 on my top albums of the 2000’s). This guy has a haunting magnetism in his voice, lyrics, composition, and instrumentation that is rare as a blue rose–I’m hoping to see him live in Scotland at the end of March as his shows are apparently life-changing. You may get a free download of an alternate take from the album here for the simple price of your email address. [Update: there is a version with bonus CD available on Rough Trade! And here‘s another free download.]
–Cass McCombs/Wit’s End (April 12): This guy always intrigues me–I can’t quite place his genre–it seems at moments that he belongs to another time–but I am fascinated by the unique and enigmatic work he consistently puts out. You may check out a track here.
–Low/C’mon (April 12): Slowcore gods (they’re Mormon, so I guess that’s not as blasphemous to say) that have long been able to produce hauntingly beautiful songs with nary an excessive note in the mix. Download the lovely track “Try to Sleep” here.
–Panda Bear/Tomboy (April 12): I’m not quite sure if this will live up to some of the work he’s done in the past & most likely cannot touch his contributions to Animal Collective‘s albums (if you’re unfamiliar with them, I’d recommend Feels & Merriweather Post Pavilion). I’ve got the title track and it has a fun groove, if not rather loose and loopish.
–Fleet Foxes/Helplessness Blues (May 3): After all the hype died down, I found that I really did like these guys quite a great deal (as well as side projects White Antelope & J. Tillman). From the sound of it, this is going to be lush lovely in the same vein as their eponymous LP. Download the title track of the new album here.
There you have it, 8 amazing releases in just a few months time. I really couldn’t be happier for the state of music in 2011 (supposedly Radiohead has a new album that should be coming out this year, as well as a new U2 album–don’t roll your eyes, and a new Coldplay album–ok, you can roll your eyes now, but I’m sure I’ll still buy it).
Any other impending recommendations that I’ve missed?
[Update: The Low Anthem, whose previous album Oh My God, Charlie Darwin was brilliantly lovely and intriguing, has a new work, Smart Flesh, coming out on February 22, which can be streamed in full here]
I have made a commitment/resolution not to buy any non-required books in 2011, being that the number of volumes I bought in the last quarter of 2010 ought to provide me with enough reading material for this entire year (you may find my current reading list here) and I was finding that my ongoing Amazon book purchases were becoming a sort of addictive behavior (experiencing a little dopamine hit at the click of “Add to Cart”.)
However, I am going to break my vow for one book that is coming out in June of this year, entitled God Behaving Badly by David Lamb. I took a course with David this past summer at Fuller Seminary on the book of Genesis that somewhat revolutionized my view of “the God of the Old Testament” and even my approach to Scripture as a whole. David has a contagious passion to help people understand Scripture (from his days on staff with InterVarsity), but also open-mindedly engages critical issues and theological tensions in the Bible (from his time at a little school across the pond called Oxford University).
In the course I had with David, we were able to read some of the early chapters from this work and the content is outstanding. You may check out the many endorsements at the IVP page on the book, including ones from Scot McKnight (who is making this required reading for undergrads), John Goldingay, and Alan Hirsch. I’ve included a brochure for the book below that has a pre-order code for 40% off which can be used from now until April 30, 2011. If anyone wants to do a reading group on the book, I’m game! Here’s to breaking my vow!!
Recently, I had the opportunity to read the autobiography of the late British biblical scholar, John Wenham, entitled Facing Hell: The Story of a Nobody. I had tracked down this out-of-print book largely because I was under the impression that it focused on the development of Wenham’s doctrine of hell. For most of his adult life, he was an outspoken (though soft-spoken) proponent of a view called ‘conditional immortality’, sometimes referred to as annihilationism, to which I also subscribe. This view, in short, holds that those who are not saved by Christ’s work are not punished eternally in hell, but are eventually destroyed there as the consequence for their sin and rejection of God’s offer of eternal life.
Because it is such a minority view in evangelical circles, I was interested in observing how Wenham’s adherence to this position practically impacted his pastoral ministry and I also wanted to learn how he responded to those who held to the traditional Augustinian view of eternal conscious torment. Alas, Facing Hell turned out to be somewhat falsely advertised. Though his developing views on the topic of judgment occasionally come up in the course of Wenham’s life story, it is not until page 229 that conditionalism becomes a central focus, and then, the section only lasts for 35 pages. The author had described the genesis of this book in the preface as arising from the following intention:
I believe that endless torment is a hideous and unscriptural doctrine which has been a terrible burden on the mind of the church for many centuries and a terrible blot on her presentation of the gospel. I should indeed be happy if, before I die, I could help in sweeping it away.
Sadly, I would say that this intention failed to guide the book that resulted from it, though his short defense of conditional immortality in Facing Hell is quite cogent and well-stated, and will accordingly serve as an asset in the history of theological support for this position. However, what I did discover in this book is the story of a wonderfully earnest Christian thinker, who played an important role in the history of evangelical movement in the 20th century, and whose example deserves to be commemorated by subsequent generations of Christ followers.
At one point in the book, Wenham says, ‘I have felt at times that I am a forgotten man’ and in the preface, he describes himself as ‘a person of most limited gifts, a mere nobody’, ‘an ordinary person’, and ‘third rate’. After reading this book, I would disagree with his humble self-assessment, though I do admire the spirit in which he offers it. In the following post, I would like to highlight some of the many extraordinary facets of the life of John Wenham that I discovered in his autobiography.
First, it must be pointed out that it certainly makes sense that he considers himself ‘forgotten’ when compared to some of his friends and colleagues, since he served alongside some of the greatest names in 20th century evangelical thought:
- Along with John Stott, J.I. Packer, and others, Wenham founded the Latimer House, an evangelical research center near Oxford University, designed to promote conservative Christian views in the midst of the liberal theological intelligentsia and to advance the evangelical voice in the Anglican church (thanks to Dom Vincent for the explanation of the purpose of the Latimer House, which I had a difficult time discovering!).
- While serving as Warden of the Latimer House from 1970-73, Wenham had the opportunity to influence many students at Oxford. At one point in his book, Wenham writes, “Tom Wright says that it was I who suggested that he should take up academic work-though I don’t in the least remember the occasion.” Many readers may recognize ‘Tom’ as N.T. Wright, one of the most influential evangelical voices in our time.
- Wenham was also good friends with F.F. Bruce and taught at various times with R.T. France, Colin Brown, and Anthony Thistleton.
- He is also the father of Old Testament scholar, Gordan Wenham, whom Tremper Longman has described as ‘one of the finest evangelical commentators today,’ as well as New Testament scholar David Wenham.
However, though many of these names may be well known, Wenham does not lavish attention on his connection with them. Rather, he praises a number of men whose names may be obscure to us, but who deserve tremendous recognition for the influence they had on men like Stott, apologist Michael Green, and many others. For instance, a leader in Wenham’s Inter-Varsity Fellowship, Douglas Johnson, is described as ‘though almost unknown to the world at large was one of the great influences on the church in the twentieth century–perhaps the greatest.’
Another significant figure in Wenham’s life, Eric Nash, who was called ‘Bash’, was characterised by Alister McGrath as having an evangelistic ministry to young men that ‘laid the nucleus for a new generation of Evangelical thinkers and leaders’. As we have seen in the influence of Wenham on N.T. Wright, I believe that John Wenham is one of these figures who may not be remembered by large numbers of people, but who has had a tremendous influence on Christian history in the 20th century.
Some of Wenham’s writings are still held in high esteem within the evangelical community, including his Greek textbook, The Elements of New Testament Greek; his conservative defense of Scripture, Christ and the Bible (which was recently touted by Thomas Schreiner as being a “classic work on the authority of Scripture”); his harmonization of the gospel resurrection accounts, Easter Enigma; and Redating Matthew, Mark and Luke, which supports patristic views on the authorship of the gospels and a very conservative dating of their order of composition.
This man was a classic conservative Bible scholar, well-regarded by some of the most traditionalist Christian thinkers, yet when he diverged from the party line on the subject of hell, somehow all of those conservative credentials and his profound understanding of Scripture vaporized into thin air and he became an antagonist against authentic evangelicalism, which is how he is portrayed in Al Mohler’s article in Hell Under Fire (where Mohler calls Wenham’s views on hell “hysterical”).
There, Mohler quotes from an article by John Ankerberg and John Weldon that lists out a number of annihilationists, such as John Stott, Philip Hughes, and Wenham, and follows with the tag: “and other well-known and reputedly evangelical leaders.” These writers actually claim that “the doctrine of eternal punishment is the watershed between evangelical and non-evangelical thought.” I’m not sure who elected these individuals to be the border guards of evangelicalism, but maligning men like Stott and Wenham as being “reputedly” evangelical in light of all that they have done for conservative Christian thought is a tactic that is not worthy of any true believer (see how I can use the same insinuating maneuver that they have?!).
Given what I have learned about John Wenham, his status as an evangelical is undeniable, his contribution to contemporary Christianity is invaluable, and I hope that his memory and influence will be lauded long after the Mohlers and Ankerbergs of Christianity have been revealed as the Joe McCarthy’s of a sad era in evangelical history. I am proud to keep Wenham company in the ranks of a minority view on hell and I hope that I may in some small way help to contribute to his goal of sweeping away the traditionalist view of eternal conscious punishment in honor of the deeply thoughtful and fearlessly honest life that this man led for Christ and the truth.
UPDATE: I just came across an excerpt from John Stott’s biography which reveals a bit about the influence of John Wenham on Stott!
Being that this is the time of year when we celebrate the birth of Jesus by giving one another all sorts of things that we don’t really need (check out the Advent Conspiracy for a counter-consumerist idea of Christmas), I thought it right to offer a small gift to you all…in the form of two versions of a song CALLED “The Gift (I Burn for You)” which has something of a fun history behind it.
In December 2007, Sufjan Stevens created what was called “The Great Sufjan Song Xmas Xchange,” which was basically a contest where anyone could submit a Christmas-themed song to Sufjan’s label, Asthmatic Kitty, and there would be a process of judging the songs with the winner being given the rights to a holiday song that Sufjan had composed.
I had written a number of songs in the past (30 or so) and felt like I could possibly come up with something creative enough to submit, and I had a few wonderfully talented friends whom I thought I could bring together to play/sing on the song in order to make it sound much better than I ever could myself. So, I began brainstorming ideas for this submission.
I am embarrassed to admit that I believe it was the movie, The Holiday, with Kate Winslet that actually planted the seed of a song idea in my mind. My wife was watching it and I caught just a glimpse of a scene where the character played by Ms. Winslet was giving a present to a man who was something of an unrequited love (if I’m remembering correctly). I started thinking of how painful it would be to have put a great deal of time and energy into finding a present, which represented the deep affections in one’s own heart, and giving it to a person who could/would not appreciate what it truly meant. So I started thinking of a story that would become the song I submitted.
The melody and structure of the song came to me quite easily, but it is a rather simple composition (verse/pre-chorus/chorus repeated three times with no bridge). I asked one of my RA’s at the time (and a dear friend ever after), Erin Hennessy, to sing the song, as it was written from a female perspective and she has an eminently lovely voice, and I tried to form a one-off band with the ever talented Josh McBride, Jon Crosswhite, Justin Botz, and the one-and-only genius wunderkind, Elijah Wade Smith.
Well, as the deadline approached, my superband did not pan out, but Elijah did record Erin and I playing the song the night before the contest deadline and so we submitted it to Sufjan as “Erin Hennessy & Sgt. Grumbles,” which was my pen name at the time (though due to a technical glitch, it was a mono recording and could only be heard from one side of a stereo system…Randall Wetzig later used some connections to fix this problem for your listening convenience).
Did we win the prize? Nope. Did we win an honorable mention? Nope (though my friend Wesley’s band Boris Smile did!). However, as Sufjan was writing about the over 600 submissions that he received, our song DID get a little shout out in this paragraph:
There were songs with banjos and ukuleles, songs with synthesizer strings, songs with Casio beats, techno beats, beat boxing, sugary shaker sounds and tambourines. There were songs in Latin, songs in Danish, songs in multiple key signatures, songs with vocoders, songs with Rhodes pianos, toy pianos, multiple xylophones, precious songs with Midwestern accents, sardonic songs with English accents, whistling songs, songs with wrapping paper as metaphor for an overbearing lover, songs as advice columns to Santa, as advice columns to ex-lovers, songs with reed organs and mouth organs and pipe organs. Songs with references to Henry James, in-laws, more ex-girlfriends, abstract ambient songs with twinkling bells and silver glitter, no-nonsense songs with the curmudgeon-y sneer of a Grinch, songs about innocence and forgiveness, songs about spite and regret, songs with great big bear hugs and songs with wintry gazes, songs with reminiscent, sentimental choruses, songs with the names of soccer players and American tycoons, songs with sleigh bells and happy rapping, songs with the thumping back beats of reindeer hooves, screaming children, bumbling boo hoos, bah-humbugs, songs with the beating hearts of all mankind. These were the generous songs of many creative voices participating in the convoluted mysteries of the Christmas tube sock! Yes!
So although we did not win the prize, just knowing that Sufjan had listened to a song I had written & upon which I was (weakly) playing guitar made all of the effort worthwhile! (Also, the reference to Henry James in the song is meant to allude to his novella, “The Beast in the Jungle,” which deals with a story of unrequited love.) But the story doesn’t end there…
Last Christmas, I received one of the best Christmas gifts ever, as Josh, Erin and Jon re-arranged and recorded “The Gift” and sent it to me, complete with banjo, sing-along “la-la” parts, and most cleverly, Josh’s voice singing the parts spoken by the man in the song under Erin’s lead vocal. While I’m sure you will enjoy their rendering of this tune, because of the sweet friendship and affection which I hear in every note, I think it is simply one of the most lovely things I’ve ever heard! I’ve included the original version here so you can hear Erin’s beautiful voice more clearly (the new version was recorded via the mic on a laptop) and to see the brilliance of the re-arrangement!
Hope you enjoy this “gift” dear friends and readers…
Download: “The Gift (I Burn for You)”
The Gift (I Burn for You)
It’s dark outside, my hands are cold from pressing against the window pane
And a fire burns as I wait for you as if all my waiting was through.
My gift to you sits next to the tree, boxes in golden paper:
A record player and 40 LP’s—I searched hard for your favorite bands.
I know that this will give me away, but I don’t care at all…
The time has come to open my heart and accept whatever may happen or not.
I burn for you
Like the star shining over the manger
To direct you to
My heart lying quiet
Like Jesus the savior of men.
When you show up and take off your jacket, you’re wearing the sweater I gave to you.
I make myself wait ‘til we’ve finished dinner to show you the present, but then you say
“Did I tell you that my ex-girlfriend’s back in town from Colorado?”
Then you look away, I go make some coffee.
You ask me to borrow some Henry James.
I tell you to take whatever you want and you say that you’ll take it all
And then you ask, “Who’s that present for?” and I say, “It’s for my brother.”
It’s dark inside, my face is warm from shame and from tears and a hope that’s lost.
The fire dies, I cover my eyes but see through my fingers your present there—
Should I give it away? I know it can’t stay, but I spent all my money on it.
I open it up and take out one record—of course, it had to be “Hey Jude.”
I hold it in my hands like it was my life they were singing about…
I kneel by the fire and then throw it in so that no one can ever hear it again.
SO, we are almost to the point where there are only TWO MONTHS left in 2010! Which means, most importantly to those of us here at LITC, that Elijah and I have but two months to put the finishing touches on our annual “best of” lists (music, film, what-not).
In anticipation of that great day when we post aforementioned lists, I have put together a little “mix CD” with what I feel is some of the best music of the year–no guarantees that ALL of these bands will be on the list, but there are good “odds” (you might say) that some of them will certainly take their place on that hallowed post. (Note: there is one track not from a release this year, a rare Jeff Buckley/Elizabeth Fraizer collaboration that I only recently came across…so it’s NEW to me!)
I have entitled the mix, “Two Months,” which I only the moment I began writing consciously realised was the amount of time left in the year. I have included my stab at a cover for the mix (artwork from Craig Thompson), as well as the playlist so that you may recreate the song order on your own music management software.
I have posted the songs here in my “Dropbox”–I suppose you will have to download the program to access them (I’ve officially been told you do not), but I’ve found it quite a handy way to shar–um, access my own files from separate computers. I do present these songs with the intention of promoting the artists & always encourage true music fans to obtain the original release if they find themselves in love with the songs.
1. “I Think Ur A Contra”–Vampire Weekend/Contra
2. “Tyrant Destroyed”–Twin Shadow/Forget
3. “See How Man Was Made”–Josh Ritter/So Runs The World Away
4. “We Used to Wait”–Arcade Fire/The Suburbs
5. “Sweet Talk, Sweet Talk”–The New Pornographers/Together
6. “Heart to Tell”–The Love Language/Libraries
7. “FootShooter”–Frightened Rabbit/The Winter Of Mixed Drinks
8. “I Walked”–Sufjan Stevens/The Age Of Adz
9. “Solitude Is Bliss”–Tame Impala/InnerSpeaker
10. “Never Before”–The Guggenheim Grotto/The Universe Is Laughing
11. “What Do You Think Will Happen Now?”–Owen Pallett/Heartland
12. “The Owl And The Tanager”–Sufjan Stevens/All Delighted People EP
13. “Acid Love”–Sleepy Sun/Fever
14. “All Flowers in Time Bend Towards the Sun”–Jeff Buckley & Elizabeth Fraizer/Rarities from NYC
15. “Sorrow”–The National/High Violet
16. “The Last One”–Au Revoir Simone/Still Night, Still Light
17. “Before You Go”–Sarah Jaffe/Suburban Nature
18. “Victory”–The Walkmen/Lisbon