As you might have noticed, we have had a wee bit of a redesign here at Lost in the Cloud. But how you would have noticed, I am not sure, since any visits to this blog in the last year or two will have proven generally underwhelming (even more underwhelming than when we post more often). Thanks to Greg’s posts John Stump, composer of Faerie’s Aire and Death Waltz and Moby Books Illustrated Classic Editions (both published in 2010), we still receive between 100 and 200 views on any given day. But those views are the result of a couple of brilliant niche subjects and not the steady traffic that results from consistent and thoughtful blogging, the initial challenge we set for ourselves here at LITC.
Granted, Greg and I are quite busy with relationships, our respective church ministries and life in general, but this is my formal recommitment to Lost in the Cloud and the first order of business was the redesign. It seems like the last design update was only a few months ago, but looking back at my records I realised that the blog hasn’t had any design changes since September 2011, which, in graphic designer terms, is ancient.
I’ve always aimed to make the aesthetic of the blog efficient, playful and thoughtful. Those values played a significant part in the inspiration for my original ‘yod cloud’ design back in 2004. Since those initial doodles I have employed the wee cloud in a large number of designs, including this painting with the full Tetragrammaton, the Hebrew name of God (יהוה or YHWH) which was commissioned for a church in 2006:
Later on in 2006 I was part of a mix CD club with Greg and some friends and for my round I decided to make a mix that was a playful reflection on the mythical history presented in the Christian Bible called Die Geschichte (The Recapitulation). This was when I discovered the versatility of the yod cloud design:
The playfulness of the design is made quite obvious in these illustrations and it was this yod cloud in the Transfiguration that most captured my imagination. I began to use it obsessively. I even designed a book stamp featuring it:
In 2007 I devised and led an art project made up of a group of university friends that formed a small orchestra and theatre/dance group and performed a theatrical and orchestral version of Sufjan Stevens’ ‘The Transfiguration’ at Biola University in La Mirada, California. The programmes featured the illustration from the Transfiguration above:
The iconic clouds played a very prominent role in the performance, adorning dancers as well as musicians. So two years later, when Greg and I were first inspired to start our own blog the name, taken directly from the coda of the song above, came rather quickly, and the yod cloud was sure to be a design feature. So here’s a wee walk-through of the header designs we’ve employed in the last four years.
Our first header was rather simple, featuring the yod cloud prominently:
As with many of my designs, looking at it now I see it as cluttered, boring and lazy, but I think we really liked it at the time. The second design was introduced in November 2010 and was nearly identical, but with a few changes:
One cloud was added and each cloud employed finer lines, which tidied up the look a wee bit. Also, the text was brought out to the foreground. Nothing too major until July 2011, when the third overhaul took place:
For some reason I went back to my early design days and employed a whole lot of drop shadow and opacity. Making two dimensional designs ‘appear’ to have three dimensions was all the rage. Not long after this design I realised that the white background was looking very boring, so in September 2011 I added the sea foam hue:
I would consider this a definite improvement, but it frightens me that I went more than two years without altering the design. That is a reflection of how much (or how little) attention I’ve paid to Lost in the Cloud, and for that I apologise (although I suspect that most folk pay no attention to the design and those that do probably never thought of our blog’s aesthetic as much to look at).
This leads me to the current design:
The Andersonian echoes should be screaming at you (though I assure you, it was subconscious). I’ve decided to really shake it all up. The hallmark yod cloud is there, but I’ve actually finally tailored it into a nice, clean, modern design. The hand-drawn element of the previous designs had its own charm, but I’m in the mood for this streamlined cloud. Flanking the redesigned cloud are navigatory motifs (left) and cloudy-scientific motifs (right). And yes, I think I just invented the word ‘navigatory’, but I’m pretty sure you know what I mean. We’ve got the text in a cleaner, modern typeface (the old stenciled typeface was really getting on my visual nerves) that stretches across the whole of the header and below it you may notice nine wee symbols. These are actually international weather office map code for describing different types of high clouds. Along with ditching multiple clouds and the old typeface, I also flattened everything. I think this might be related to the rekindling of my love for printed media and classic branding (see a series of redesigns of professional Scottish football badges I attempted over the last five months).
If you have stuck it through and are still reading this post, let me both apologise for my self indulgence and extend a hearty thank you to you! Greg and I are back to post more regularly and we hope it’s as exciting for you, our readers, as it is for us. And maybe I’ll finally get around to manufacturing some merchandise (like this yod cloud badge) for those eager to rep LITC…
It’s been over a year now since I wrote my last chapter of “Band Evangelist.” How is that even possible? Well, I suppose that sometimes there are periods of silence between the testaments, right?
In any case, here’s a run down of some of the really amazing music that is already available, or is coming out this year. So far, I think it’s going to be a banner year for us indie-disciples…and here’s the why and what for of the first part of 2013 in music (skip to the end to start playing some tunes as you read along!):
- Pedestrian Verse – Frightened Rabbit (February 1): Will definitely end up on my top 10 of the year. These guys are reaching a level of infallible music-making that should secure their place in the pantheon of rock demi-gods (though I’m a strict indie-monotheist–as in “Glory be to S-FJ-N”–there is a certainly room for a henotheistic heavenly council). Speaking of gods, FR are a bit rough on us believers on this album, as in MULTIPLE tracks talking about how hypocritical, naive, and oppressive Christians can be (a bit of cliche by this point, no?), but man can these boys write a beautiful song full of disdain. Talent oozing like oil slicks on the North Sea. Maybe the Prophet (Elijah) can give some insight into the Scottish Catholicism (?) that has turned these boys’ stomachs so deeply against Mother Kirk. PS The deluxe version of this album has some solid bonus tracks and concert DVD material.
- Country Sleep – Night Beds (February 1): I have to give full credit to my boy Wade for turning me onto this gorgeous album out of nowhere. I told him that they sounded like the prettiest of Ryan Adam’s mellow songs (at which point, he began playing a new Ryan Adams album I hadn’t heard…losing my prophetic edge here!) mixed with kind of a Bon Iver frozen hauntedness. Highly recommend a full listen to this!
- Us Alone – Hayden (February 5): I always say that Hayden is an acquired taste, so this album is not for everyone & probably not even for his fair-weather fans. More the real followers–the kind for whom his music is almost everything. But great, mature songwriting, tasteful little jams, & uniquely clever musings all around.
- The Lives Inside the Lines in Your Hand – Matt Pond (February 5): He lost the PA that used to follow his name, but he’s written an album that holds up to the best of his earlier work (Several Arrows Later, for my money). If you can’t take lovely-throated, hook-filled indie-pop with sunny melodies covering dark lyrical waters, then look elsewhere.
- guessing the others – swimming in speakers (February 5): I can’t tell you how this strange, lo-fi, folky-electronic outfit with a whimsically beautiful female lead voice came to my attention, but it has become a go-to mood elevator in the same way watching Amelie can change my perspective from cynical to wonder-filled.
- Days Into Years – Elliott Brood (February 28): Interestingly, though I am not a tremendous Ryan Adams fan, this band also reminded me of his smoky voice over Neil Young crunchy guitars and often a Band of Horses retro-rock cool. I still need to sit with this album more, but I’d give it a solid recommendation already (also thanks to Wade).
- Sub-Verses – Akron/Family (April 30): I would call myself a casual fan of this band–I have most of their albums and enjoy some tracks immensely while others are more solidly moderate. But the two songs I’ve heard from this new release (below) produced a Pavlovian reaction of aural drool leading to one-click ordering.
- Modern Vampires of the City – Vampire Weekend (May 7): I think there’s been sufficient backlash against VW that we can look past the hype, calculated affect, and branding to simply listen to some lovely tunes that integrate things like the harpischord and loopy bass lines with fragile, self-consciously hi/low lyrics that nevertheless pluck at the heartstrings.
- Trouble Will Find Me – The National (May 21): Some of you will not like Matt Berninger’s voice. That’s ok. I do & I love everything else about this fraternally-formed, preternaturally talented group. They have a musical golden touch. If this is for you, it will be the kind of trouble you would want to find you. If not, just keep walking.
- Currents – Eisley (May 28): Now I’m getting into murky waters. I haven’t followed this band of mostly female family members for a LONG time (sorry Wesley Chung), but something in me feels like this may be the album that brings me back. But don’t take my word for it–just an intuition.
- The Weight of the Globe – Lily & Madeleine (June 11): This find came to me via the Asthmatic Kitty email update (an epistle from the indie One’s priestly cult) & if the beauty of these two young ladies’ voices, melodies, and ageless lyricism doesn’t merit a head-shaking double take in any listener, then I have no ear, no eye, no soul.
- Overseas – Overseas (June 11): This is a new project with David Bazan (former frontman for Christian indie-heroes Pedro the Lion & a talented, but faithless solo performer in his own right) and some other hipster guys from bands that exceed my coolness pay-grade. Don’t know that I’m recommending this, as much as just putting it on your sonic radar.
- Kveikur – Sigur Ros (June 18): Sadly, I was not among the admirers of their most recent release, Valtari, which felt rather aimless and amorphous to me; however, supposedly they are moving to a more “direct, aggressive” style–which I’m not totally sure what that translates to (the video below doesn’t bode terribly well for me). I am a Takk/Hvarf man myself, so that’s what I’m secretly hoping for a return to.
There are a few other upcoming releases I have no details on, but believe should be amazing: a new Arcade Fire album, surely one by Neko Case, and one by the lesser known but charmingly gifted Jeremy Messersmith.
Some misses of the year so far: Josh Ritter‘s The Beast in it’s Tracks (a middling effort of post-divorce woe & rebound that’s mostly just depressing); I was utterly bored with the Thom Yorke project, Atoms for Peace; and don’t anyone tell my dear friend Matt Clatterbuck, but I sadly do not like the new Yo La Tengo either!
Question: Did anyone get the new My Bloody Valentine? Low’s The Invisible Way? The new Strokes? Iron + Wine? If so, what do you think? I’d love to hear your thoughts and recommendations!!
swimming in speakers:
Lily & Madeline:
Dear faithful LITC readers,
Our favourite post of the year is here! We apologise that it’s taken so long, but think of it as a late Christmas gift. As with previous years, we’ve included our respective Top 10 Albums of the year as well as some honourable mentions and some not so honourable ones. Feel free to share your favourite records of the year in the comments section. Maybe you’ll even discover some unknown treasures within our lists. Take care, readers. See you in 2013.
Elijah & Greg
Elijah’s Top 10 Albums of 2012
10. Valtari Sigur Rós — Whilst I loved 2005’s Takk…, I found that 2008’s Með suð í eyrum við spilum endalaust left much to be desired. Valtari leans more toward Sigur Rós’ earlier style, a more ambient and reflective record although I’d hesitate before calling it ‘samey’. Incredible tracks like ‘Varúð’ and ‘Varðeldur’, some of the finest I’ve ever heard from the Iceland post-rock legends kept me from pushing this record out of the top ten. For this record the band also came up with they’ve called the ‘Valtari Mystery Film Experiment‘ in which they employed twelve filmmakers to make music videos for the album based upon what the song brought to their minds and without the final approval from Sigur Rós. See ‘Varúð’ below, created by Inga Birgisdóttir, who designed the album cover and also directed the video for ‘Ekki Múkk’:
9. Gentle Stream The Amazing — This was the first record of 2012 that really caught me by surprise. Released in Sweden in 2011, Gentle Stream proves to be just that, a gentle yet wide stream of quality, what I would describe as a subtle mixture between Simon & Garfunkel and Dinosaur Jr. Like their previous releases, The Amazing and Wait for Light to Come, there are still hints of psych rock (influenced by the presence of various members of Dungen) and classic rock and the finished product it is most satisfying.
8. All We Love We Leave Behind Converge — Before I listened to this record, I didn’t want to include Converge in this list because it’s starting to look like whenever a few of my favourite artists make a new album they inevitably end up on my ‘Best Albums’ list. For those who know how I rate music, it’s unlikely that the top four will come as any surprise this year. But give me some credit; I can betray bands I love when they make subpar records – like Animal Collective’s Centipede Hz or my ‘dishonourable mentions’ below. Or last year when I resisted We Were Promised Jetpacks’ In the Pit of the Stomach, Atlas Sound’s Parallax, David Bazan’s Strange Negotiations, DeVotchKa’s 100 Lovers, Danielson’s Best of Gloucester County, etc. See, so when I include one of my favourite bands in my top ten I really mean it!
All that being said, I didn’t want to include Converge this year, so when I heard the first track, ‘Aimless Arrow’, I was relieved and heartbroken simultaneously. I would consider the track their weakest opener to date (especially compared to their last record’s first track, ‘Darkhorse‘), and with its hints of ‘screamo’ and melodic hardcore (don’t worry, there’s no ‘singing’ on this track), I was fearful of listening to the rest of the record. But the eight tracks to follow are all heavy, quality tunes! The rest of the record features some spoken word, which works on top of the slow, thoughtful guitar work by Kurt Ballou. But my heart was nearly torn in two upon listening to the tenth track, ‘Coral Blue’. It’s not all that frightening until the chorus, which isn’t quite ‘screamo annoying’, but more confusing for those who listen to Converge. Thankfully, that’s the extent of this ‘singing’ charade on All We Love We Leave Behind. It closes out with the sufficiently epic title track and sufficiently heavy ‘Predatory Glow’. No, on the whole this was no serious transition for Converge, but I wouldn’t have it any other way. They tried that on You Fail Me and they failed me indeed.
7. Sweet Heart Sweet Light Spiritualized — I know, great cover, right? OK, it’s probably one of the worst album covers this year, but don’t let that put you off! This here is an excellent record. Jason Pierce, also known as J. Spaceman, the creative force behind all of Spiritualized’s incarnations over the last 22 years, wrote the album whilst undergoing serious medical treatment for his liver, which was left in a sore state as a result of many years of drug use, both prescribed and recreational. But unlike 2008’s Songs in A&E, which was also inspired by a serious medical emergency (aspiration pneumonia and periorbital cellulitis), Sweet Heart Sweet Light is a much more hopeful, inspiring record, somewhat in the vein of 1997’s Ladies and Gentlemen We are Floating in Space.
6. ‘Allelujah! Don’t Bend! Ascend! Godspeed You! Black Emperor — This is the Canadian post-rockers’ first record since 2002’s Yanqui U.X.O., and whilst I found Yanqui rather uninspiring after 2000’s masterpiece Lift Your Skinny Fists Like Antennas to Heaven, ‘Allelujah! is a return to form and then some. Godspeed has a rare skill (shared with Sufjan Stevens) for making 20+ minute songs engaging throughout. The tracks are engrossing and become, as the album title suggests, transcendent objets d’art, ushering the listener into heavy aural ascension.
5. America Dan Deacon — I appreciated Dan Deacon’s music before (his 2009 release, Bromst was among my honourable mentions that year), but this record caught me by surprise. The opener, ‘Guilford Avenue Bridge’, is a buzzy digital number, which flows into the two subsequent tracks until Deacon decided to change the pace with ‘Prettyboy’, which seems to ruin the rhythm of the album, that is until we’re brought back into the jam with ‘Crash Jam’. The highlight of the album is the four-part ‘USA’ opus below:
4. Lonerism Tame Impala — Tame Impala’s last record, Innerspeaker, which came to me as such a surprise thanks to Greg’s preaching of the gospel, ranked 6th on my Best Albums of 2010 list, so in my desire to not be let down, I was suspecting that the follow-up wouldn’t be as good. As with their previous material, Lonerism draws much from the past (‘Feels Like We Only Go Backwards‘ could’ve been part of Magical Mystery Tour, right between ‘Blue Jay Way‘ and ‘Your Mother Should Know‘, or it could’ve totally replaced the latter and I wouldn’t have minded), but always with a sense of artistic integrity and completeness. Thank you, Tame Impala, for defying the awfulness of your band name yet again and coming up with another excellent piece of psychadelic groove rock! Oh and isn’t it groovy!
3. Bloom Beach House — After their excellent third album, Teen Dream (which ranked 8th in my Top 10 Albums of 2010), I expected Beach House to lose steam. Every subsequent record was getting better and no band can keep that up. Well, this loss of steam will have to wait until their next record, because I’d say that Bloom might very well be their best record to date. Whilst their sound remains distinctively ‘Beach House’ (those keyboard and guitar-driven dream pop soundscapes and that husky female voice), the songwriting in Bloom has taken a step forward. And even though this record demands more time and attention than their previous releases, the payoff is tenfold. And how amazing is this Ghostbusters-inspired video for ‘Lazuli’?
2. Dept. of Disappearance Jason Lytle — This was an exciting year for us Grandaddy fans: the band reunited after six years apart! And very fortunately for us, the excitement didn’t end there. Grandaddy principal songwriter, lead singer and guitarist, Jason Lytle, has kept busy since the break up in 2006. In fact, Grandaddy’s final record, 2005’s Just Like the Fambly Cat, was written and recorded entirely by Lytle. After the break up, a move inspired by lack of commercial success, Lytle relocated from California to Montana and toured with Rusty Miller in support of Just Like the Fambly Cat. In 2009, Lytle released his first solo record, Yours Truly the Commuter and followed that with an EP, Merry X-mas. Lytle and former drummer of Grandaddy, Aaron Burtch, joined with members of Earlimart to form the band Admiral Radley, who released their debut record, I Heart California, in 2010. Each of these incarnations were superb (I Heart California was an honourable mention in my Best Albums of 2010 list), but none seemed to capture the magic that Lytle’s earlier work possessed in great measure. Until now. It’s safe to say that Dept. of Disappearance is a grower, but there was enough of pure goodness present from the first listen to keep me going. Each track is excellent, and some are among the best Lytle’s ever written, such as the title track, ‘Matterhorn’, ‘Last Problem of the Alps’, ‘Somewhere There’s a Someone’ (below), ‘Gimme Click Gimme Grid’ and ‘Elko in the Rain’.
1. Shields Grizzly Bear — I won’t make excuses or defend my pick despite the fact that Grizzly Bear’s previous record was my number one album of 2009. Shields is just that good. Still present are the Grizzly Bear trademarks we know and love, but this record is the band’s most aggressive and coherent to date. At times it is far darker than their previous material (‘Speak in Rounds’), yet it still takes the listener into the clouds (‘Half Gate’). In the midst of this more aggressive direction, Grizzly Bear also ventures into the realm of more accessible pop music, music that isn’t as dissonant as their previous releases yet retains its creative bearings. On top of all of their unique qualities as proficient musicians and songwriters, Grizzly Bear demonstrate a continuing process of maturation, one that solidifies them as—in this listener’s opinion—one of the best bands of their generation.
Elijah’s honourable mentions
- Silver & Gold Sufjan Stevens — A massive five-disc, 58-song, 2.7-hour Christmas feast!
- Shrines Purity Ring
- Fear Fun Father John Misty
- Information Retrieved Pinback
- Cancer 4 Cure El-P
- Love This Giant David Byrne & St Vincent
- Tramp Sharon Van Etten
- The Seer Swans
- Tempest Bob Dylan
- Coexist The xx
Elijah’s dishonourable mentions
- Mirage Rock Band of Horses
- Silver Age Bob Mould
Greg’s Top 10 Albums of 2012
Another conflicted year of listening for me: some of my favorite bands put out albums I thought were shite (Animal Collective, Sigur Rós) and other bands that I expected more from turned out mediocre fare (Passion Pit, The Avett Brothers). Then there were the albums that had real moments of brilliance on them…but which couldn’t sustain that level of greatness throughout the entire record. The following albums didn’t break into my top ten, but you should definitely check out the songs indicated:
- Bloom Beach House — ‘Myth’, ‘The Hours’, ‘Irene’
- Charmer Aimee Mann — ‘Labrador’, ‘Soon Enough’, ‘Slip and Roll’
- Confess Twin Shadow — ‘Golden Light’, ‘Five Seconds’, ‘Be Mine Tonight’
- Lonerism Tame Impala — ‘Feels Like We Only Go Backwards’, ‘Elephant’, ‘Sun’s Coming Up’
- Shields Grizzly Bear — ‘Yet Again’, ‘Gun-Shy’, ‘Half Gate’
- Time Capsules II Oberhofer — ‘HEART’, ‘I Could Go’, ‘oOoO’; also did a great cover of Kanye West’s ‘Runaway‘
10. Young Man Follow Future of Forestry — I don’t mind if I lose all indie credibility for putting a Christian, anthem rock band on my top ten. This album falls somewhere in between Delirious?/Phil Wickham and post-Pop U2/Snow Patrol (right now, Elijah is raising his eyebrows/giving me a look of consternation/experiencing a slight taste of bile in the mouth). I know that there’s a strong hint of songwriting formulae, mixed with sentimental emotionalism, strategic falsetto insertion, and derivative production sleight-of-hand, but I can’t help it…I eat it up. This is my sonic Kryptonite. It moves me and I can’t help loving it. So there you go.
9. Milk Famous White Rabbits — This was a late addition to the list. I had loved the track “Everyone Can’t Be Confused” earlier in the year, but never got around to purchasing the whole album. Two weeks ago, I finally got it and have enjoyed the carefully orchestrated arrangement and production of each song immensely. As I began reading reviews, many of which were not kind, there was some talk about the band selling out and transforming into Spoon-lite (one of that band’s members produced the album). I actually can’t stand Spoon, but I love these guys!
8. The Idler Wheel Is Wiser Than The Driver Of The Screw And Whipping Cords Will Serve You More Than Ropes Will Ever Do Fiona Apple — I’ll be honest, I’m not such a fan of the craziness that exists inside this woman’s head, but her startlingly stark songwriting, passionate confessionalism, and uncompromising originality make this album a work of undeniable greatness.
7. Port of Morrow The Shins — There may be some measure of sentiment and nostalgia in this pick. The 2001 album Oh, Inverted World was a life-changer for me (a moment captured and corrupted in Zach Braff’s film Garden State) and I can hear echoes of those glorious times in songs like “It’s Only Life,” “No Way Down,” and “For a Fool.” For those purists who find this a shameless exploitation of The Shins brand (being that only one member of the original band plays on this album), a stance which I myself initially considered, I respectfully disagree. The magic is still here…
6. Adventures in Your Own Backyard Patrick Watson — Watson is one of those artists whose voice alone puts him into a category of talent and beauty that should earn accolades–but he is also a brilliant songwriter and musician whose idiosyncratic vision comes into its own on this release. If you’ve never listened to his work before, his catalog is well worth exploring, including his work with The Cinematic Orchestra.
5. Heaven The Walkmen — This band has been loitering in the periphery of my musical tastes for a while–a great song here or there, but no album that absolutely blew me away. Until now…you MUST listen to this record.
4. Tramp Sharon Van Etten — Such fine, delicate songwriting; beautiful, haunting, and frequently spare instrumentation to accompany her striking, melancholy voice; and brilliant production & instrumental assistance from The National’s Aaron Dessner (who better be working on a new album himself!). I love so many of these songs with an affection that is reserved for a select few artists. Listen to the song belong and try not to simultaneously smile AND ache:
3. Break It Yourself Andrew Bird — I wrote about this album earlier in the year, wondering if it would grow on me more and more. Boy, did it ever. As I said before, Andrew Bird cannot make a bad album, but here, he’s certainly made a great one. I think it really comes alive after the first 1/3 of the album is over, so don’t give up on it if you don’t immediately sense the genius.
2. Silver and Gold Sufjan Stevens — I’m considering this a 2013 release, even though it is a collection of EP’s that Sufjan had privately given out to friends and family over the last five or six years. Of course I love it—I’m a Sufjanite through and through. But beyond my dedication to the man, this really is a beautiful collection of 58 songs that I think transcend the holiday season itself and act as a meditation on the human condition as a whole, refracted through the hopes and disappointments that we connect to a particular time of year and experience of faith, family, community, and tradition. There are haunting covers of Christmas & holiday classics (“I’ll Be Home for Christmas,” “Joy to the World,” “Let It Snow!” and “Silent Night”), worshipful church hymns simply arranged and devoutly performed (“Ah Holy Jesus,” “Lift Up Your Heads Ye Mighty Gates,” and “Break Forth O Beauteous Heavenly Light”), and Sufjan originals or adaptations that stand up to any of his other records (“Justice Delivers Its Death,” “Christmas in the Room,” “The Midnight Clear,” “Angels We Have Heard on High,” and “The Child with the Star on His Head”) along with a myriad of lovely instrumental meditations (my favorites include “Make Haste to See the Baby,” “Go Nightly Cares,” and “Even the Earth Will Perish and the Universe Give Way”), crazy experimental electronica (not my favorite genre but occasionally delightful), and simple fun communal musical merry-making. It’s also fun to view the collection in tandem with the albums he was working on during these years (The BQE and The Age of Adz). You can actually download some of the best tracks for free on Sufjan’s Noisetrade page—and that is a truly wonderful gift from the greatest artist of our age.
1. Fear Fun Father John Misty — One day this year, I was listening to an unbelievably compelling live set of songs on KCRW by a band whose name I somehow kept missing. I finally went onto the station website and discovered that it was Father John Misty. This is the first release under this band name by J. Tillman, former drummer from Fleet Foxes. I had some of his previous solo releases post-FF, which were pretty average folkish meanderings. But this! On this album, Tillman discovers some kind of alchemy that turns his melancholy into the rarest kind of beauty and wonder. His songs sound like they were written 40 or 30 or 20 years ago—any age but now, yet they simultaneously capture the hidden spirit of some mystical contemporary world surrounding us that we may not perceive. Even the songs I don’t absolutely “like” have a tangible genius to them. I didn’t want to like this album—the creepy cover, the hipster pedigree, the critical darlingness of it. But, for me, in 2012, this was it.
Greg’s honourable mentions (albums)
- Among the Leaves Sun Kil Moon — Such lovely instrumentation and melodies; such bothersome narcissistic lyrics
- Born to Die Lana Del Rey — I think one is not supposed to like this album due to its contrivances, over-production, other myriad reasons—nevertheless, I found it strangely compelling in a fashion from start to finish
- Lonesome Dreams Lord Huron — Quality folk/Americana
- Strange Land Yellow Ostrich — This ended up on exactly no one’s top ten—yet really quite a solid indie rock record!
- Who’s Feeling Young Now Punch Brothers — Not enough substance to crack the top 10, but some real winning songwriting here, with a eminently listenable sound throughout
Greg’s honourable mentions (EPs)
This afternoon the Detroit Tigers will take on the New York Yankees at Comerica Park in Downtown Detroit. I know that some of you are thinking, ‘Oh no, another baseball post…’ But hear me out. A Tigers win in today’s game [UPDATE: The Tigers won!], which was originally scheduled for last night but was postponed due to adverse weather conditions, would seal a few things:
- The Tigers have stopped the Yankees in each of Detroit’s last three postseason appearances (2006, 2011 and 2012).
- The Yankees have been swept (losing a series with no wins) in a seven-game postseason series for the first time since their 1976 loss to the Cincinnati Reds in the World Series.
- The Motor City Kitties have won their eleventh American League pennant. (*For those of you who are not baseball fans, Major League Baseball is divided into two historic leagues: the American League [AL] and the National League [NL]. When a club wins the championship in either league they receive what is called ‘the pennant’.)
- The Tigs will compete in their eleventh World Series, hoping to earn their fifth World Series victory (1935, 1945, 1968, 1984 and 2012?).
Five out of eleven? Even if the Tigers make it to the World Series and even if they win they will still only have a 5/11 (.455) record when it comes to World Series appearances. The individual games (out of ten World Series) breaks down to 26 wins and 29 loses, or .473:
- 1907 – L 0-4 (Chicago Cubs)
- 1908 – L 1-4 (Chicago Cubs)
- 1909 – L 3-4 (Pittsburgh Pirates)
- 1934 – L 3-4 (St Louis Cardinals)
- 1935 – W 4-2 (Chicago Cubs)
- 1940 – L 3-4 (Cincinnati Reds)
- 1945 – W 4-3 (Chicago Cubs)
- 1968 – W 4-3 (St Louis Cardinals)
- 1984 – W 4-1 (San Diego Padres)
- 2006 – L 1-4 (St Louis Cardinals)
So the Tigers aren’t the strongest club as far as World Series victories are concerned. After a quick glance at their World Series opponents two stand out: the Chicago Cubs and the St Louis Cardinals. As can be seen above, the Tigers have faced the Cubs in four World Series, splitting their crowns 2-2 (although the Cubs have won more games in the four: 13 Cubs wins vs 9 Tigers wins). Unfortunately for Chicago, in their ten World Series appearances they have only won two: their 1907 and 1908 victories against the Tigers. In fact, the Cubs haven’t even been to a World Series since 1945. Poor lads.
So if we’re looking for an exciting, historical, cross-league rivalry for the Tigers (since AL clubs very seldom face NL clubs outwith the World Series), which is what I’ve decided that we’re doing now, then the Cards are a better candidate than the Cubbies. [Oddly enough, I referenced this rivalry in this tribute to Steve Jobs last October.] The Cardinals have only played the Tigers in three World Series, but we’re talking about a range from 1934 until 2006 – 72 years! And the Tigers are the underdogs, having only beaten the Cards once in three World Series. The Cards are the reigning World Series champions and rank number two (behind the Yankees) in most World Series appearances (18) and victories (11). AND there is a decent chance that 2012 will give us another Tigers-Cards World Series.
Of course, in baseball there’s no telling who will be going to the World Series until both leagues have awarded their pennants [UPDATE: The 2012 AL pennant belongs to the Tigers!]. The Tigers had a mediocre season, finishing with a .543 record, the lowest of any team in the postseason, even the wild card clubs! They’ve turned things around in the postseason, especially during this series against New York. But the Yankees have their southpaw ace CC Sabathia on the mound tonight. That being said, it should be a good match-up between CC and the Tigers’ ‘other ace’ (the ‘ace’ title being given to the venerable Justin Verlander), Max Scherzer. Scherzer has had a great season and a great postseason, so I have high hopes. [UPDATE: Scherzer and the Tigers defeated Sabathia and the Yankees 8-1.]
Whilst trying to avoid sounding like the Kitties have this one in the bag (OMG, TIGERS GONNAE GO TAE THE WORLD SERIES THIS YEAR!!! [UPDATE: Seriously.]), it will be a great challenge for the Yanks to pull out of this 0-3 deficit given the poor state of their would-be power hitters like Teixiera, Cano, Swisher, A-Rod and Granderson (the latter three will sit out today’s game) and without their injured captain Derek Jeter. (*On a side note, these four players have receive a combined $93.075 million salary this year, which accounts for nearly half of the entire Yankees payroll and is a higher figure than the entire payroll of 16 of the 30 Major League Baseball clubs.)
The Cardinals’ fight to clinch the NL pennant looks a wee bit more difficult. The Cards finished their season with the same mediocre Tigers record, .543. Unfortunately for the Cards, the NL Central Division also featured the Cincinnati Reds, who boasted the second-highest record in all of baseball this season. But the Cards won the wild card playoff game against the Atlanta Braves and went on to defeat the winningest team in baseball, the Washington Nationals (.605), in the best-of-five National League Division Series.
They’ve done well in their uphill battle, but the National League Championship Series between the Cards and the San Francisco Giants is looking even more competitive. The Cards are up two games to one, but who knows what will happen…
As far as any true rivalries go, it’s fair to say that the Cards have a much stronger World Series history than the Tigers. The Yankees seem like the natural cross-league rivals for the Cardinals (or any club, for that matter). As mentioned before, the Cards are second both in World Series appearances and victories to the Yankees. In addition to this, the Cards have played the Yanks in five of their 18 World Series appearances (1926, 1928, 1942, 1943 and 1964). Like the Tigers, the Boston Red Sox have faced the Cards in three World Series (1946, 1967 and 2004). But both the Yank and Sox rivalries with the Cards lack the longevity of the rivalry I’m proposing.
If both the Tigers and the Cardinals make it to the World Series we’ll be looking at their fourth meeting and an opportunity for the Tigers to level the score (2-2) in what would then be a World Series rivalry spanning 78 years. That would be a match-up for the ages. A less gentle man might propose that the Tigers rip the throats out of the Cardinals and make their children weep for generations. But that wouldn’t be very nice of me to write. So let’s go Tigers and let’s go Cardinals! (But mostly, let’s go Tigers!) [UPDATE: The San Francisco Giants beat the St Louis Cardinals in seven games to clinch the National League title and reach the World Series. This will be the first ever Tigers-Giants World Series meeting.]
[Updated on 24 October 2012.]
Sometime in late 2004 or early 2005, a girl whom I barely knew (Annabelle Feeney anyone?) made a mix for me that included a song called “Who Could Win a Rabbit” from a band called Animal Collective. There have been few times in my life when I’ve been as startled, baffled, intrigued, and delighted by a song as I was upon listening to this collage of idiosyncratically rhythmic acoustic guitars, punctuated by driving tribal percussion and entwined with whimsical vocals and found audio samples. I knew straightaway that I had discovered one of the greatest and most indelible indie bands of the 21st century.
Of the 8 Animal Collective albums that I have, at least 3 of them would rank on my top 100 albums of all time. Though the band has moved into a more electronic mode on their last few albums, their experimental songcraft, eclectic instrumentation, earnest, impressionistic lyrics, and the alternately child-like and ecstatic vocals have rarely faltered to produce incredible albums. That is, until now.
On September 4, 2012, Animal Collective’s latest album, Centipede Hz, was released. Earlier in the year, the band had issued a double A-side single “Honeycomb/Gotham” that did not bode well for the album with its weak vocal lines and repetitive lyrics. So as it came closer to the album’s release, my expectations were lowered from the height of anticipation built upon their last album from three years ago, the melodically rich and propulsive Merriweather Post Pavilion.
As I listened to Centipede Hz, the first few songs gave me some hope—there were new sounds (thick, metal guitar chording; layers of bleeps and bloops) combined with some familiar ingredients (Avey Tare’s distinctive vocal tics; hypnotic synth lines reminiscent of Philip Glass scores), but as the album wore on, it became clear that this was going to be a miss. After I listened to the album 10 or so times, I then ranked the songs: the first 4 songs were three stars each, then 1 star for the fifth, and two stars for the rest. My favorites would probably be “Today’s Supernatural” and “Applesauce,” followed by the opener, “Moonjock.”
It breaks my heart to say this, but there were times that I thought I was listening to a more indie version of the rap/alternative rock band 311 (“Amber is the color of your energy”…[shudder]), especially on the song “Rosie Oh.” It truly is quite sad for me to give this album a negative review, considering how much I’ve loved the work of Animal Collective, but I honestly have to say that it’s not worth adding to your record collection.
After making my assessment of Centipede Hz, I looked up some online reviews and found that the album is actually faring rather well with a variety of critics—I think Pitchfork even gave it an 8 out of 10! However, I can only credit this to an “emperor’s new clothes” phenomenon: when a band as talented and with as much indie cred as Animal Collective puts something out, it’s hard to believe that it could be this bad, so you praise it so that you don’t find yourself the only naysayer among the sycophants. I think that Panda Bear, one of the founders of Animal Collective, also had this phenomenon occur with his last two solo works—they were highly praised, but seemed pretty minor works to my ears (his album Young Prayer, however, is one of the most earnest and poignant albums I’ve heard).
In any case, here is my nearly comprehensive ranking of Animal Collectives albums:
- Merriweather Post Pavilion (2009): Just because this was their most popular album doesn’t mean that it isn’t their best. It has its share of flaws (“Guys Eyes”) but the first four songs are beautiful bliss and the rest are consistently strong. “In the Flowers” has practically become my life motto; even after being tragically overplayed, “My Girls” remains the apotheosis of AC songs. Cloud Rank = MUST OWN WHOLE ALBUM
- Strawberry Jam (2007): This album has actually grown on me quite a lot over the years (at first listen, I put it beneath Sung Tongs). Seeing them perform songs from this release at a show was one of the most transcendent experiences I’ve ever had (if you ever have the chance to see them live, you really must go), so that may have added to its lustre. The first five songs are genius (a trend that’s become obvious to me is their tendency to frontload their albums with the strongest material), but overall, it is aging terrifically. Cloud Rank: MUST OWN WHOLE ALBUM
- Sung Tongs (2004): This album represents the heights of joyful creativity and experimentation, not only for this band but in the history of humankind. Again, first five songs are absolute delight, but the sonic flops here are worse, making for a lesser album altogether. “We Tigers” and “Leaf House” never fail to make me smile with crazy delight. Cloud Rank: MUST OWN WHOLE ALBUM
- Feels (2005): My favorite AC song (and among my favorites ever) “Banshee Beat” is found here; other classics include “Did You See the Words” and “Grass” but there’s some real unpalatable music on here as well. Cloud Rank: MUST OWN CERTAIN SONGS
- Centipede Hz (2012): See above. Cloud Rank: SHOULD LISTEN TO, PERHAPS DOWNLOAD CERTAIN SONGS
- Campfire Songs (2003): A lo-fi recording from a front porch, this captures some beautiful moments of creativity, youthful exuberance, and natural talent. Cloud Rank: MUST OWN FOR FANS ONLY
- Hollinndagain (2002): Pretty experimental and frequently minimalist with some crazy loud crescendos (one of which startled awake my friend Jess on a plane ride to Honduras!). “Forest Gospel” may give you a heart attack. Cloud Rank: SHOULD LISTEN TO, FOR FANS ONLY
- Here Comes the Indian (2003): I don’t like this album. Cloud Rank: SHOULD AVOID UNLESS A COMPLETIST
Albums I’ve Never Heard/Questionable Whether They are Truly Animal Collective Albums or Just Attempts to Cash In on Later Popularity:
- Spirit They’re Gone, Spirit They’ve Vanished (2000)
- Danse Manatee (2001)
- Fall Be Kind (2009): Two strong songs, “Graze” and “What Would I Want? Sky” with some ok b-side worthy material
- Water Curses (2008): Mostly screwing around, but occasionally of interest
- Prospect Hummer (w/ Vashti Bunyan) (2005): I like “I Remember Learning How To Drive,” but otherwise, her voice was grating on my cochlea
- People (2006): The title song had me for a bit, then lost me. The rest is painful.
- Honeycomb/Gotham (2012): Avoid.
Thank you Annabelle Feeney, wherever you are. Thank you Josh, Jess, and Erin for the shared experience of a live show (remember Wizard Prison? Josh: Oh, what a prison it was.). Thank you Elijah, because I always must thank you.
Last night I had the pleasure of viewing Tony Kaye’s third and most recent ‘talkie’, Detachment. The film was shot beautifully and acted brilliantly, and for those qualities alone it is worth seeing. But the content is yet more intriguing. Detachment follows a few weeks in the life of a substitute teacher Henry Barthes (Adrien Brody) as he takes up a temporary post at a New York state school in decline. But the film could take place in any school. In the New York Times review of the film from 15 March 2012, the film is ‘about the failing public-education system [in the United States].’ I would agree with this claim in part – yes, prominent in the film is this portrayal of the dysfunctional education system. But it’s so much more than that. I’d argue that the entirety of the film represents a microcosm of society at large.
This isn’t me dropping a shameful reference to my doctoral research, but I think a strong case could be made that Detachment is actually a parable. By this I mean that the film is using the raw material of every day life to tell a bigger, more disturbing yet more hopeful story. Just as Christ told parables the audience in the Gospels, the film is tied together by a loose narration from our Henry Barthes, with close-ups of his unkept face in a dark room (perhaps during a counselling session). We’ve got representatives from various levels of society and various levels of engagement with and detachment from their current situations. At the very heart of this parable is not ‘education’, for education is merely an outflowing of the deeper social illness. The parable takes society back to the most basic social framework, a framework we all encounter by virtue of being born – family.
To quote the oft-quoted Larkin poem, ‘This Be The Verse’, They fuck you up, your mum and dad. Most of the great conflicts in the film are rooted in family and parenting, just to name a few:
SPOILERS TO FOLLOW, SKIP TO THE NEXT SECTION TO AVOID THEM
a girl is expelled from the school after she threatened and spat upon Ms Madison (Christian Hendricks) and her similarly-tempered mother storms into the school hurling yet more abuse at the harmless Ms Madison.
Mr Wiatt (Tim Blake Nelson) takes up an odd stance at a school fence every afternoon hoping to be noticed by anyone as a result of being ignored constantly by his family members when he returns home from work every day.
Meredith (Betty Kaye, daughter of the director) is discouraged in her artistic endeavours and told that she ought to lose weight and conform to social norms by her father and ultimately decides to kill herself as a result of her extreme sense of rejection and isolation.
Erica’s (Sami Gayle) lifestyle as a teenage prostitute and her great distress when she is removed from Henry’s care by social workers.
During ‘parents’ night’ at the high school, virtually no parents show up, demonstrating a lack of both the parents’ concern for their children’s education and appreciation of the teachers.
And ultimately, Henry’s sense of detachment from being abandoned by his father as a toddler, losing his mother to a lethal combination of drugs and alcohol when he was a small child and caring for his dementia-stricken grandfather, whose abuse of Henry’s mother led to her substance abuse.
END OF SPOILERS
Like a parable, the characters are universal (as opposed to cliché) in order to open the eyes and ears of the audience to the deeper level of meaning. In addition to his ‘counselling session’ narrative, at different points in the film Henry also tells the audience (by way of telling his students) the root of these social ills, calling on his students to avoid the ‘ubiquitous assimilation’ of oppressive values being shoved down their throats by a constant barrage of bull shit that has not only broken into media and culture, but has also infiltrated the very fabric of their family lives.
During the opening sequence we are given a quotation from Camus’ The Stranger, concluding with ‘And never have I felt so deeply at one and the same time so detached from myself and so present in the world.’ Throughout the film Henry is challenged to break down his wall of ‘compassionate detachment’. The blurb from the official website states, ‘Kaye has molded a contemporary vision of people who become increasingly distant from others while still feeling the need to connect.’ Does that wall ever break down? Well I’m not going to include any more spoilers – you should see it for yourself.
The aforementioned New York Times review concludes with, ‘Is it really this bad? Or is “Detachment” a flashy educational horror movie masquerading as nightmarish reality?’ No, it’s not really this bad – it’s worse. As I mentioned before, I believe that the film is using the façade of the educational system (severely broken as a result of the deeper problem) to tell a bigger, more disturbing yet more hopeful story. In a recent Guardian interview, Kaye states, ‘We live, we go through these realms, we learn, we figure out where we went wrong. That’s what living is.’ Detachment won’t be tearing down the power structures built up in our society to control, but perhaps it can help inspire us to fight harder with all that we have in hopes that we might chip away at the foundations of such oppression.