I have been a faithful disciple of the Band Evangelist for over half a decade and have him to thank for my introduction to and increased appreciation of Andrew Bird, Band of Horses, Lou Barlow, The Birthday Party, Department of Eagles, Jeremy Enigk (sans SDRE), Frightened Rabbit, The Kinks, Lift to Experience, Neutral Milk Hotel and Teenage Fanclub.
As a disciple I’d like to spread the gospel of some upcoming releases myself (hopefully we can count on apostolic succession):
- Interpol Interpol (7 Sept) – Their first record since 2007’s Our Love to Admire. It has potential…
- Sleep Forever Crocodiles (14 Sept) – Last year’s Summer of Hate wasn’t my favourite record, but I always have high hopes for noisy/shoegazey music.
- Tidelands Moondoggies (14 Sept) – Seattle-based folk rock band Moondoggies’ new release should prove fun.
- The Trip Lætitia Sadier (21 Sept) – Sadier, lead singer of Stereolab, appeared on Atlas Sound’s excellent record Logos last year, singing the lead beautifully on ‘Quick Canal’.
- Halcyon Digest Deerhunter (28 Sept) – Deerhunter, who was evangelised to me by Annette, is an excellent and innovative group fronted by Bradford Cox (Atlas Sound). Their last record, 2008’s Microcastle, was one of my favourites from that year.
- Belle and Sebastian Write About Love Belle & Sebastian (11 Oct) – I had the opportunity to hear the band share two songs from this record a couple of weeks ago in Glasgow. Incredibly catchy and beautiful – they are still stuck in my head. This will likely be in my top ten of 2010.
- The Age of Adz Sufjan Stevens (12 Oct) – This will be Sufjan’s first LP in over five years! He wetted our appetites with last week’s release of the All Delighted People EP and The National have helped been a part of recording this new one. I except good great things. Could he take the number one slot of the Best of 2010?
Preview the new Sufjan Stevens track, ‘I Walked’, here:
As for music thus far this year (in addition to the Band Evangelist’s list), if you haven’t heard the following, I suggest you do:
- The Suburbs Arcade Fire
- King of the Beach Wavves
- This Is Happening LCD Soundsystem
- Crystal Castles (II) Crystal Castles
- Teen Dream Beach House
- Crazy For You Best Coast
- Looks Like a Flood, Feels Like a Drought Preacher’s Sons
- Hidden These New Puritans
- Boys Outside Steve Mason (singer of the now-defunct Beta Band)
- I Heart California Admiral Radley (featuring the singer and drummer of the now-defunct Grandaddy)
- Daughters Daughters
Musical blessings unto thee.
Today marks what would have been Elliott Smith’s 41st birthday and I’d like to share a brief thought.
Think about some of the most influential popular musicians from the last 50 years. Perhaps Bob Dylan, The Beatles, Pink Floyd, Michael Jackson, Nirvana, Creed [followed by an audible laugh] and so on. Perhaps we could come to a consensus and say that these names (with the exception of one) are legendary. Dylan, McCartney, Lennon, Gilmour, Waters, Jackson, Cobain. We could continue the list for ages, but what I want to point out is that I’ve listed surnames and readers who are familiar with popular music in America and Britain probably knew exactly whom I was referring to. When I write ‘Paul and John’ you probably realise that I am referring to the principle songwriters (though George is clearly the best) of one of the most influential bands in history and in the proper context we will often call Michael by his forename without too much confusion. This is probably due to the fact that Michael Jackson and The Beatles are very much household names. Still, taken on their own we’ll more typically employ the surname.
Now, I am not suggesting that somehow Elliott Smith might someday be recognised among these greats. He’s been grossly underrated and ignored in the public, but such is the lot of a shy and reclusive indie songwriter who killed himself at 34. Regardless, I find it quite interesting that when I write about Elliott Smith I cannot write, ‘Smith recorded his debut record while still fronting Heatmiser.’ It feels unnatural and impersonal. Elliott wouldn’t want to be talked about that way (although he probably wouldn’t want to be talked about at all). (This is all apart from the fact that ‘Smith’ is one of the most common surnames in the English language.) Perhaps the same can be said of Sufjan Stevens, but we all know that writing/saying ‘Sufjan’ is a billion times more pleasing than writing/saying ‘Stevens’. When we write or talk about Elliott it is as if we are talking about an old friend. I never knew Elliott. I never met him and I never saw him in concert, but his music reaches out to listeners like me and each listen becomes a very personal encounter. Elliott shares his soul with us and—as I’ve written about before—he shares our souls for us.
I’ve been compiling a list of my ‘Top 50 Elliott Smith Songs’ for several months now. As Greg so conscientiously shared his ‘Top 50 Sufjan Stevens Songs’ in order based upon his preference, I had hoped to do the same for Elliott. But Elliott’s work is quite different from Sufjan’s and I found that after arranging the first few songs on the list in preferential order it became very arbitrary – I am in love with different tracks for different reasons. So, like my ‘Top 50 Albums’, I am going to organise these songs by title. These tracks (as well as many many others) are all gems and if you don’t own any of the official releases I suggest you look into making some purchases immediately. Enjoy.
- ‘2:45 A.M.’/Either/Or, 1997
- ‘Angeles’/Either/Or, 1997
- ‘Baby Britain’/XO, 1998
- ‘Between the Bars’/Either/Or, 1997
- ‘The Biggest Lie’/Elliott Smith, 1995
- ‘Can’t Make a Sound’/Figure 8, 2000
- ‘Christian Brothers’/Elliott Smith, 1995
- ‘Coast to Coast’/From a Basement on the Hill, 2003
- ‘Dancing on the Highway’/Basement era sessions, circa 2003
- ‘A Distorted Reality Is Now a Necessity to Be Free’/From a Basement on the Hill, 2003
- ‘The Enemy Is You’/Either/Or era, circa 1997
- ‘Everybody Cares, Everybody Understands’/XO, 1998
- ‘Everything Means Nothing to Me’/Figure 8, 2000
- ‘Going Nowhere’/Either/Or era, circa 1997, officially released on New Moon in 2007
- ‘Good to Go’/Elliott Smith, 1995
- ‘Happiness’/Figure 8, 2000
- ‘High Times’/Either/Or era, circa 1997, officially released on New Moon in 2007
- ‘How to Take a Fall’/Either/Or era, circa 1997
- ‘I Better Be Quiet Now’/Figure 8, 2000
- ‘I Can’t Answer You Anymore’/3 Titres Inedits (French promo), 2000
- ‘I Didn’t Understand’/XO, 1998
- ‘In the Lost and Found (Honky Bach)’/Figure 8, 2000
- ‘King’s Crossing’/From a Basement on the Hill, 2003
- ‘L.A.’/Figure 8, 2000
- ‘Last Call’/Roman Candle, 1995
- ‘Let’s Get Lost’/From a Basement on the Hill, 2003
- ‘Miss Misery’/Good Will Hunting (soundtrack), 1997
- ‘Needle In the Hay’/Elliott Smith, 1995
- ‘No Name #2’/Roman Candle, 1995
- ‘O So Slow’/Basement era sessions, circa 2003
- ‘Oh Well, Okay’/XO, 1998
- ‘A Passing Feeling’/From a Basement on the Hill, 2003
- ‘Pictures of Me’/Either/Or, 1997
- ‘Pitseleh’/XO, 1998
- ‘Pretty Mary K’/Figure 8, 2000
- ‘Roman Candle’/Roman Candle, 1995
- ‘Rose Parade’/Either/Or, 1997
- ‘Say Yes’/Either/Or, 1997
- ‘Shooting Star’/From a Basement on the Hill, 2003
- ‘Son of Sam’/Figure 8, 2000
- ‘Southern Belle’/Elliott Smith, 1995
- ‘Splitsville’/Southlander (soundtrack), 2001
- ‘Strung Out Again’/From a Basement on the Hill, 2003
- ‘Stupidity Tries’/Figure 8, 2000
- ‘Sweet Adeline’/XO, 1998
- ‘True Love’/Basement era sessions, circa 2003
- ‘Twilight’/From a Basement on the Hill, 2003
- ‘Waltz #2 (Xo)’/XO, 1998
- ‘The White Lady Loves You More’/Elliott Smith, 1995
- ‘You Make it Seem Like Nothing’/Either/Or era live recording, circa 1996
(For the sake of space I’ve omitted anything Elliott did with other musical acts, otherwise I’d certainly include ‘Plainclothes Man’ and ‘Half Right’ from Heatmiser’s 1996 album Mic City Sons and the rare recording from a French radio broadcast of ‘The Machine’ from Elliott’s high school band Stranger Than Fiction.)
Happy birthday, Elliott.
1969 – 2003
The other day my friend Erin Hennessy saw you on the F train in NYC, but she couldn’t get up the nerve to say anything to you. That got me thinking of what I would say to you if I ran into you (even though I never would, as I live on the other side of the country). The first thing that came to mind was to talk to you about your 50 states project, which you began so beautifully with Greetings from Michigan: The Great Lakes State and Illinois/The Avalanche.
Now back in the day (the early two thousands or so), I took your proclamation to make an album (or EP, maybe?) for each one of the 50 states seriously, even though some of my more cynical friends would mock me saying it was impossible for you to do in your lifetime (they would start with some calculations, ask your age, etc. PS We share the same birthday!). The reason I believed you was because I saw this limitless sort of creative genius in you, and even beyond that, it was as if you were the Emersonian “Poet” for this generation of Americans–seeing and showing us the beauty and agony and the divine in the everyday, transforming the mundane into the sublime, telling us stories full of wonder and longing and brilliant details from towns like Ypsilanti and Holland and Romulus.
You made me suddenly attentive to the people and places of America: you imbued them with a magical luster simply by naming them in the midst of your deeply moving, melancholic, and rich melodies and arrangements, or by inserting them amongst such evocative mystical lines of verse:
When the revenant came down
We couldn’t imagine what it was
In the spirit of three stars
The alien thing that took its form
Then to Lebanon, oh God!
The flashing at night, the sirens grow and grow
(Oh, history involved itself)
Mysterious shade that took its form
(Or what it was!), incarnation, three stars
Delivering signs and dusting from their eyes
-“Concerning the UFO Sighting Near Highland, Illinois”
All that to say that I really, really wish the 50 states project would continue–I think it could become one of the national treasures of our country for centuries to come, a Leaves of Grass for the 21st century that American kids would listen to to understand where they’ve come from and what kind of people we are. I heard at one point that you said the 50 states project was “such a joke,” but I would challenge you in earnest, if only for the sake of those future little kids, to reconsider abandoning this momentous endeavor.
Realizing that it might very well be impossible for you to write and record all of the albums yourself, what if you instead became the director of the project–you have set the standard quite high with your first two albums–and with the profound respect you have from your artistic peers, I honestly believe you could rally together the best artists from each state to collaborate with to make this happen, creating a kind of ark of American culture.
Here are some suggestions to begin with (I admit some may be wishful thinking) & I call on any reader to add to/better the selection of songwriters for any state (I have put brackets around bands with whom I have only a cursory familiarity & some states I have absolutely no idea about):
- Alabama = The Snake the Cross the Crown
- Alaska = Portugal The Man
- Arizona = Calexico
- Arkansas = ???
- California = Elijah Wade Smith, Beck, Stephen Malkmus
- Colorado = DeVotchKa, The Apples in Stereo
- Connecticut = Rivers Cuomo?
- Delaware = The Spinto Band
- Florida = Iron & Wine, Aaron Marsh
- Georgia = Deerhunter, Of Montreal, Bill Mallonee
- Hawaii = Mason Jennings
- Idaho = Built to Spill, Finn Riggins
- Illinois = Sufjan Stevens
- Indiana = Mock Orange
- Iowa = Caleb Engstrom
- Kansas = Drakkar Sauna, Mates of State, The New Amsterdams, The Appleseed Cast
- Kentucky = Bonnie “Prince” Billy, My Morning Jacket
- Louisiana = Jeff Mangum, Mutemath
- Maine = [Phantom Buffalo]
- Maryland = John Vanderslice, Wye Oak
- Massachusetts = Lou Barlow, Winterpills
- Michigan = Sufjan Stevens
- Minnesota = Low, Cloud Cult, Lucky Wilbur
- Mississippi = ???
- Missouri = [Someone Still Loves You Boris Yeltsin]
- Montana = Colin Meloy
- Nebraska = Cursive, Bright Eyes
- Nevada = The Killers?
- New Hampshire = [Wild Light]
- New Jersey = Sufjan Stevens (?), Danielson, Yo La Tango
- New Mexico = The Shins, Beirut
- New York = The Magnetic Fields, Sonic Youth, Interpol, The Walkmen
- North Carolina = The Mountain Goats
- North Dakota = [The White Foliage]
- Ohio = Robert Pollard, Over the Rhine, The National, Mark Kozelek
- Oklahoma = The Flaming Lips, Kings of Leon
- Oregon = Laura Veirs, M. Ward, Miles Benjamin Anthony Robinson, The Decemberists
- Pennsylvania = The Innocence Mission, Denison Witmer, Matt Pond PA
- Rhode Island = The Low Anthem, Death Vessel
- South Carolina = Band of Horses
- South Dakota = Haley Bonar
- Tennessee = Derek Webb
- Texas = Josh T. Pearson, Ramesh Srivastava (formerly of Voxtrot), The Polyphonic Spree, Okkervil River, Devendra Banhart
- Utah = [Joshua James]
- Vermont = Anais Mitchell
- Virginia = Thao Nguyen, Hush Arbors
- Washington = David Bazan, Damien Jurado, Jeremy Enigk, Fleet Foxes
- West Virginia = ???
- Wisconsin = Bon Iver, Marla Hansen
- Wyoming = ???
With the deepest respect & admiration,
I recall when the first iPod came out in 2001. It was revolutionary – 1000 songs on a portable and extremely attractive hard drive! Less than two years after the release of the iPod, Apple launched the iTunes Store. It was one thing to fit [a portion of] your CD collection onto an iPod, it was another to be faced with the reality that said CDs were no longer useful; one can simply purchase and download digital files which would be synced up with your iPod in minutes. One need not drive to the record store only to find out that the record they intended to buy was no longer in stock (and would, say, Best Buy even carry a Danielson record?!). Soon the iPod (or any MP3 player for that matter) would be easily adaptable to all settings: one’s car or one’s living room, through a portable stereo in the park or strapped to one’s arm during a workout. The sale of CDs has steadily dropped since the introduction of the iPod and similar devices and CDs are quickly becoming a thing of the past.
Although I often despise the association, I am of the CD generation. My family made excessive use of cassette tapes (especially my father’s Van Halen and Eric Clapton and my mother’s Fleetwood Mac and The Beach Boys), but CDs were around for four years before I was even born. I remember my first two CDs: Weezer’s first self-titled record (aka The Blue Album) and Mellon Collie and the Infinite Sadness by The Smashing Pumpkins. Since then, my collection has grown considerably. Still, even with the hundreds of CDs I’ve collected over the last fifteen years, I can fit four times as many on my 120 GB iPod. With services like iTunes, eMusic, Lala, Amazon, etc., complete MP3 albums can be downloaded for a fraction of the price of a new CD, and unless one has some high-end headphones or a high-end stereo system (a lot of $, £, €, ¥,…) the difference between a standard MPEG audio file (160 kbps) and a standard CD (1200 kbps) is rather unnoticeable.
With all of this technological allure some people are still unsettled by the change. I myself prefer to have the album in my hands because I appreciate creative packaging design to a near-obsessive degree. Any look inside a [post Pablo Honey] Radiohead album booklet would quickly convince one of the inferiority of an exclusively digital musical experience (even such an experience with a picture of an album cover on a computer screen). And while we already have the platform for digital music (computers and MP3 players) couldn’t we save on so much physical consumption by switching exclusively to digital music? Even when considering environmental issues like the possibility reducing the production of plastics and paper, I find this option difficult to stomach for the same reason that I find digital books difficult to stomach. There’s something to having a physical CD/package and a physical book in one’s hand…or is there?
Mass production of recorded music didn’t exist until about a quarter of the way into the 20th century. At that time the vinyl phonograph record was the standard and it could only play from two-to-three minutes of music per side. By 1949, vinyl records were in 12-inch LP (45-minute long play) form. This became the standard length of a record. Eventually this was followed by the use of magnetic tape: the 8-track cassette in the late sixties and early seventies followed by the compact cassette, which could generally play up to 45 minutes of music.
In a recent interview with Paste, Sufjan Stevens expressed his own crisis with regard to this whole shift in the way we can experience music:
I’m wondering, why do people make albums anymore when we just download? Why are songs like three or four minutes, and why are records 40 minutes long? They’re based on the record, vinyl, the CD, and these forms are antiquated now. So can’t an album be eternity, or can’t it be five minutes? … I no longer really have faith in the album anymore. I no longer have faith in the song.
Perhaps we find ourselves in this crisis with Sufjan, but while he remains skeptical, I remain hopeful. From 2006 to 2007, vinyl record sales jumped more than 85%, and from 2007 to 2008 vinyl record sales jumped another 89%. Yes, collecting vinyl records is extremely trendy and hip at the moment, and yes, when these hipsters accidentally become parents or are forced into real life via some other circumstance they might realise that investing their money in vinyl records solely for the propagation of their hipster image is not very hip after all. But I still believe that these market figures are indicative of a basic human need for ritual and tradition of some sort.
It is true that there is nothing particularly sacred about the length of an LP or a cassette or a CD, but does the freedom of the age of digital music distribution and consumption require that we abandon the [recent] traditions we’ve grown up with? Just because the technology moves along and just because we move along with it doesn’t mean that we can’t slow down and savour the beauty and simplicity of the traditional way we experience recorded music, packaging included. After all, music is art and art is aesthetic and aesthetic is beauty and beauty, as Kant has defined for us in the Third Moment of his Critique of the Power of Judgment, “is the form of the purposiveness of an object, insofar as it is perceived in it without representation of an end.”
I see great correlations between this issue, ritual, and Church tradition, but that’s for another post.
[Elijah adds: Pet Sounds added to Listening]
It’s about time! Greg and I have been waiting for this for two years!
Back in 2007 our friend Sufjan Stevens made a short film/musical score called The BQE, a “symphonic and cinematic exploration of New York City’s infamous Brooklyn-Queens Expressway.” Since his last release way back in 2006, The Avalanche, Sufjan fans have been thirsty for more, having to settle for his excellent Christmas albums and contributions to various compilations (covers of Joni Mitchell, Bob Dylan, Castanets, etc.). Even last month Sgt Grumbles and I had a conversation expressing our frustration over the non-release of The BQE, but come October 20 we shall be frustrated no more!
“The double-disc album will include the original film on DVD, the original soundtrack on CD, a 40-page booklet (with photos and liner notes), and a stereoscopic image reel (aka View-Master®), created by illustrator Stephen Halker…The limited edition vinyl is available as a double gatefold and includes the soundtrack on 180-gram vinyl, a large-scale 32-page booklet with liner notes and photographs, and a 40-page Hooper Heroes comic book.”
How exciting. Take a look at this clip to wet your appetite…
Vodpod videos no longer available.
Greg has done an excellent job of raking in this year’s best (at least in his highly-informed opinion) albums. That’s great stuff (I’m only speaking generally because I think Coldplay’s Viva La Vida is mostly rubbish), but how much of it will we be listening to in two years? Because music is in-and-out so frequently I’ve composed what I consider the best albums of 2008, though none of them were released this year. Lend me your ear eye.
If you or I were to look at a list of our favorite albums from two years ago it would probably be different than the list we would make today. I’m suspecting a lot of the albums that I considered my favorite from two years ago have lost ground in my personal rating and that is not to say that the latest albums have replaced them. What I’ve found is that through recycling the music I listen to I sit with an album longer and it really grows on me. For instance, I first heard Elliott Smith’s Figure 8 in 2001. Since then this album has been climbing its way up my list and I considered it my favorite album of 2005 (even better than Come on Feel the Illinoise!, the quintessential indie-folk hit that year). If Greg’s picks were subjective, mine will likely be hyper-subjective. This whole thing also has to do with the fact that the music I listen to usually gets to my ears one of three ways: by way of NPR/KCRW, by way of associated acts (i.e. I heard of Sufjan Stevens because he once played in Danielson, an earlier favorite of mine), or by way of a highly sophisticated (and elitist) filtration system consisting largely of Greg Stump.
With all of that said, I must also add that I have not purchased much new music from this year. In fact, as I look at my computer the only albums I see in my iTunes library from 2008 are Ratatat’s LP3, Danielson’s Danielson Alive EP (free online), and Danielson’s Trying Hartz. I’m not against new music, but I suppose that after sampling I wasn’t compelled to buy many new full albums this year. That is not to say that I’ve not grown in my musical breadth: according to my “date added” information in my iTunes library I’ve added more than forty albums to my iTunes this year (and it’s not over), thus I’ve purchased more than forty albums this year (buying used music on Amazon is incredible). So out of the albums that I’ve purchased this year here are my top ten.