FLAK

“What a pleasure to be on my own / What a pleasure to be coming home.” This twin-statement sung by The Mary Onettes on “Juna” rang true when I popped Lizzie’s mix into my parents’ familiar CD player. I had just returned home after spending six months in Washington, D.C. – my first time living on the East Coast, and my first time living in a city where I had no close friends or family. It was an intense and liberating experience; I could readily relate to the pleasure of being on one’s own, just as strongly as I understood the pleasure that is coming home. The Mary Onettes build up New Wave-y grandeur on this song. With curtainous cascades of synthesizer and burbling melodies, “Juna” hits that note of ‘80s-style lushness that I am an unabashed sucker for. Given all this, the first track on Lizzie’s JUNE mix seems destined to become one of those iconic selections from our storied history of musical exchange. I’m sure that in future years, hearing “Juna” will fully transport me to Summer 2017.

It’s an auspicious start for a mix that manages to just keep ratcheting up the awesomeness quotient from there. The Dig’s “Simple Love” is another new favorite for me – a chill tune distinguished by a strikingly baroque organ riff. Exactly what about this melody makes it sound redolent of European chamber music? I couldn’t say, but whatever is giving this song its 17th century swag is perfect. Pop/rock hasn’t sounded this effortlessly Bach-y since “Whiter Shade of Pale.”

The train of musicians I would not have heard of without Lizzie continues with Lola Marsh. The vocal stylings on “Remember Roses” are striking, but what draws me into this track even more are the lyrics. In just a few lines, Lola Marsh manages to not only conjure up a distinct image, but also to infuse it with the wistful hue of childhood memories: “I remember roses in the garden / And my mother walking with her tray / I was washing our car with my brother / It was a lazy sunny Saturday.” Beautiful and appropriate images for summer, as it slips on toward eternity.

The next song continues the emotional onslaught and brilliant storytelling. I have only become consciously aware of Jens Lekman as of his most recent album, “Life Will See You Now.” What I’ve heard makes me want to check out his whole body of work. He seems to focus on lyrics that skillfully conjure up characters and narratives. But what’s more, these stories don’t just stand on their own--as great as the words are, the music is still integral to the overall effect of Lekman’s songs. This is certainly true of “How Can I Tell Him,” in which the tale of a man admitting that his feelings for his male best friend are more than platonic is made heart-wrenching by both Lekman’s attention to detail (“we’re on a train, zig-zagging”) and the melancholic quality of the mandolin that opens the song. I can listen to this one over and over and swoon each time.

Australian group Alpine take us away from the wordier side of sound, and into the realm of dynamics. I’m not sure what “Standing Not Sleeping” is about, but I am sure it uses crescendos and sudden shifts from delicacy to pulsing urgency to great effect. It makes for a dramatic song – which binds it well with “Don’t Sit Back (Frankie Said)” by Dutch Uncles. This group is adept at using tricky rhythms and tempo shifts to give their songs an off-kilter kick, which sets them apart from other art-y electro/indie/rock bands.

“The Man” is the latest single from The Killers, and it soars to gloriously glam heights that are as outlandishly enjoyable as any past peaks this band has hit. There’s even a cash register noise amidst the glittering wall of synths, strutting guitar, and shining back-up vocals. Go on, just give yourself over to the song’s bombastic boasting.

As much as I wholeheartedly love sing-shouting “I’M THE MAN,” it’s refreshing to transition from this song to a couple of excellent female musicians. Lizzie and I have both been very taken with Mitski, so her track “A Loving Feeling” was a welcome addition to this mix. And the punnily-named Peaness are a perfect follower with “Summer Song.” The stripped-down catchiness of this track instantly had me nodding my head and feeling as if I was catching a great set at an intimate rock club. Though I’d never heard of them before, Peaness reminds me of a lot of lo-fi, riot grrl-inspired modern bands I love, such as Chastity Belt, Bleached, and many of the artists associated with Minnesota’s own She Rock She Rock organization.

Compared to the minimalist punk ethos of the last two artists, Blind Pilot offers a very orchestrated take on indie rock. With “Packed Powder,” we ascend slopes of jangly guitar, horns, piano, group vocals, and layer upon layer of percussion. Our mix-journey then take a sharp swerve to Kamaiyah’s “How Does It Feel,” which Lizzie says in her liner notes might be an “odd inclusion.” While Kamaiyah certainly moves in a different sonic sphere than most of the preceding artists, this still feels like a good summer-y track for this vibrant collection of music. Kamaiyah raps and sings speedily, and the song’s chorus gets me singing along--even though I just discovered that I severely misheard the lyrics! Turns out she’s asking, “How does it feel to just live,” not “How does it feel to get laid.” Um, whoops. Guess I’ll just have to go back and listen again with that in mind now!

Finally, JUNE draws to a close with a familiar favorite off of Sufjan Stevens’ “Michigan” album. Hearing “For the Widows In Paradise, For the Fatherless in Ypsilanti” in the context of this mix feels perfect, as I spent the end of May exploring some of the countryside that Sufjan sings about while roadtripping through the Upper Peninsula on my first-ever visit to Michigan. This eternally beautiful banjo-fest marches steadily along with mournful horns until its abrupt end--as if both it, and Lizzie’s June mix as a whole, were a sweet midsummer dream from which the listener has just awoken.

Instant Favorites: “Juna,” “Simple Love,” “How Can I Tell Him,” “The Man,” “Summer Song”

Coincidentally, neither Nicole nor I named our June mixes.  “June” itself signifies multitudes, I suppose.  For most, it’s the true start of summer.  For me, June was an absolute blur—in the best possible way.  When I wasn’t wrapped up in film productions, I was buried in a book or wedged between bullet journal spreads.

Unlike previous mixes, I set aside time to soak this particular mix in via my new retro boombox, gifted to me by the beloved Svitlana before she moved back to Ukraine.

This whole June mix feels complete.  You feel, reaching its end as if you’ve been gently accompanied down a stream of lovely music.  It’s a cycle.  Cohesive.  Re-listening back to my own, I was surprised (and let’s be honest, impressed) at how well the last song reflowed back into the first.  And I guess what I’m trying to say is I appreciate that regenerative sentiment for this month as I usher in the new amid recycling out the old.   

Call me up so you can feel good again makes an excellent mantra from the first track, “She Goes By“ by indie darlings, Girlpool.  Everyone and their brother have a story of seeing Girlpool live.  I personally associate their sound with touring around Nicole and Alyse’s apt on Grand.

“How to Boil an Egg” from Courtney Barnett, while not memorable, does seem promising for her next release.  I haven’t heard much of The Mountain Goats, either.  This song, “Andrew Eldridge Is Moving Back to Leeds,” off their latest EP, however, convinces me to seek them out more, and I know their discography is vast.  A persistent bassline and drums underscore a relatable tale of nostalgia.  Sing along, friends.  After several listen throughs, I can always pick this one out from the bunch.  It’s like a compass guiding me on my river journey.

This song blends seamlessly into Oh Pep!’s “Wanting”, the music video of which matches the idealized, breezy summer aesthetic: windows down, lake-side views, and aimlessness.  Also, there’s something deeply intimate about seeing the women cut each others’ hair in the backseat of a car.

Yet another flawless transition into “Stormy Cloud” by DJ Krush!  I enjoyed the instrumental interlude this provides amongst bouncier summer anthems.  Speaking of, “No Big Bang” by Priests feels exactly like it sounds: rambunctious, intellectual, big.  Listening to this song is akin to listening to the epic monolog of someone’s existential crisis- when your mind becomes a rocket.  I mean, you know the lead singer is not talking directly to your soul, but somehow they totally are?  Kudos, Priests, for tapping into everyone’s fears and making it sound super hip.

And you know what starts with a big bang?  “Love Hate” by Joey Joey Michaels!  This short track instantly charmed me.  They sound an awful lot like Phoenix, which is only a huge compliment.  Everything about this song works for me: the horn, the lyrics, the vocals, etc.

Okay, Nicole is seriously KILLING it with the transitions!  Ibibio Sound Machine’s “Give Me A Reason“ starts precisely where “Love Hate” left off.  And what a cool music vid!  I’m digging the motion graphic/animations for sure.  Next, Mac Demarco comes into the fold with his crooning “My Old Man”.  I swear this will be used in Richard Linklater’s next film.  Calling it now.

Minneapolis local duo Finesse intrigues me with “Into the Night”.  I don’t quite know what they’re all about yet I’d listen to more.  C’mon, folks, update your Bandcamp!  While “Into the Night” oozes hopefulness, “Er Ra” by Alice Coltrane haunts listeners (read: me) with melancholic chords.  Then, without warning, this magical mix slowly fizzles into the mist, the air.  

The world continues on.

Thank you, Nicole, for being the best musical partner I could ever want/have/need.

Nicole and I started Word of the Hour REDUX to fill a void we felt upon leaving our beloved Macalester radio station and show behind.  While maybe one day the dream will be to have a show back on the WMCN airways as community members, we’ve cobbled together another solution in the meantime.  Click below for an 8tracks version of the shows we’ve recorded transnationally thus far.  Expect about an hour of tunes intermixed with our commentary.  Enjoy!

Word of the Hour - "Start" from Higgs2013 on 8tracks Radio.

Word of the Hour - "Yes" from Higgs2013 on 8tracks Radio.

"Let Me Get There" from Hope Sandoval & The Warm Intentions (feat. Kurt Vile) feels like a pleasant mist settling in over my face.  I recently also heard this song on The Current--an amazing omen.  Follow that up with lattice moore's fuzzy track "talk" and I'm buzzing.  Halfway through, the song shifts to supplying a meandering and desperate vocal.  Vocals being one of my favorite aspects delivered by this hyper-local artist (read: Nicole knew him from our alma mater's radio station).

I can't classify "Harriets 1 & 2" by Wolvves. And that's okay; it can defy description.  Hell yeah to the drums at the end.  At the end of "Place I Belong," meanwhile, Michael Kiwanuka's chanting sucks me in as any good cult would.  Seriously, who wouldn't want to belong?  Deerhoof's "Criminals of the Dream" lives up to its name, peddling a dreamscape-esque beginning.  Once vocals and guitar swoop in, you're hypnotized further.  

Up next, "Sleep to Dream" by prolific artist Fiona Apple oozes angst.  The linked late-aughts music video sums it up well.  I'm not sure how it elicited these comments but what do I know?

"New Song" by Warpaint strikes me as the perfect song to dance to at the club.  (This comment doesn't mean much because I don't hit the clubs ever.)  I detect odd parallels to Selena Gomez's "Love You Like A Love Song" but I doubt that was the vibe that Nicole was aiming to convey here.

I'm gonna bet Nicole read the Pitchfork writeup on the Colin Stenson and Sara Neufeld's album Never Were the Way She Was.  Pitchfork writes, "Virtuosic saxophonist Colin Stetson teams with Arcade Fire violinist Sarah Neufeld for an album of inspired minimalism. The eight pieces on the album feel simultaneously contemplative and busy—the sound of active minds idling in a lower gear. "Inspired minimalism is the name of the game!  I've been digging tons of instrumental and lingering tracks like "With the Dark Hug of Time" and I'm happy to have another one in the rotation.

Now I was thinking what kind of wonky, hip™ band is naming their songs with the file name included.  In the context of knowing it's from the soundtrack from, Mr. Robot, "1.0_8-whatsyourask.mp4" is appropriate.  Gotta watch the show!!

Subpop darling, Heron Oblivion, make their mark with "Sudden Lament".  I get the sense this was recorded in the West, specifically near mountains, and that's cool, haha.  Very sophisticated critiquing going on here... Follow that up with, my favorite part of Cass McCombs's "There Can Be Only One" are his "whoa-oh-oh-ha" flourishes that trail off sweetly at the end.  

Deerhoof strikes again.  Is Nicole trying to fill a void left behind after burning through the entire Carseat Headrest discography??  Jokes.  Two completely different bands.  "The Devil and his Anarchic Surrealist Retinue" leaves me spinning (in a good way).  Listening to "a surprise" by Minneapolis local act, wetter, while riding the city buses helped liven my commute.  

OMG THAT TRANSITION. <3  My favorite lyric from "Somewhere Along the Way" is I finally felt connected to the Continental Drift, although the whole song feels meant to be sung aloud. This Dawes album remains unlistened to in my iTunes.  I ought to rectify that...and hopefully find myself singing aloud more.

Instant favorites: "talk," "With the Dark Hug of Time," "Somewhere Along the Way"

The mix begins on an unusual note.  Well, unusual to me.   John Luther Adams is no stranger to Nicole, who often spoke of his art on her radio show Soul Tones.  This particular song, "Where the Waves Splash, Hitting Again and Again" washes over me.  Are those the effects of minimalism at work?  I think this sonically matches the subject matter, which is to say it also transports me to the coast of Florida.  Nicole may have sensed that; following this atmospheric gem with "The Coast" by Grandad.  I had never heard of the band before this, but this song is so darn catchy that I feel as though I've been listening to it for years.  The line--"Home isn't where you grew up/But where you find the people you miss the most"-- summarizes how I feel about the Twin Cities, my home, even beyond graduation. This song glides into Júníus Meyrant's "Neon Experience" so well.  I cannot emphasize enough how the transitions meld perfectly on this mix.  It's as if they don't exist!  I enjoy that I was able to write a whole separate post about this song and yet Nicole introduced me to this "Icelandic soul" again with new appreciation.  Furthermore, our mutual friend Svitlana had deep musings upon her first listen.  (I promised I wouldn't quote her here, though.) "Skiptracing" by Mile High Club mellows the mood significantly.  And then suddenly Seu Jorge's signature voice comes in over marching bass chords providing enjoyable yet unintelligible lyrics for "Tive Razao [voltair mix]".   Infinity Crush's "Mirror" sports lovely melodies as it sprawls to a short end.  The most jarring transition occurs here as Nicole ushers in her musical muse, Will Toledo (Car Seat Headrest) once again.  "Destroyed by Hippie Powers" marks the fourth CSH song I've received, and this is not a complaint or criticism.  This should send an empowering message to us all: share what you love.  Nicole's also responsible for bringing Mitski to my attention.  What a radical artist.  "Once More To See You" is equal parts menacing and aching.  The drum beat at the start and the organ(?) at the end complete me. Okay, I'm mildly obsessed with "Days" by Minneapolis local Ego Death.  I'm kicking myself for not seeing them live when I had the chance.  Phew, I see they are playing another show soon.  Alexis Taylor's "I'm Ready" sticks out although I'm finding it difficult to pinpoint why.  That is until Elton John's iconic "El Dorado" kicks in and all bets are off.  There is no "normal" for anything to stick out from.  Nicole has gifted me some great songs to walk around industrial/urban landscapes with lately, but this one might take the cake.

1. “Crunches” // Alpine

Alpine is a band that I initially heard on one of Lizzie’s mixes, back in our first fateful year of music exchange! I’m not sure what they’ve been up to in the past 3(ish) years, but I’m happy to say they still focus on close female harmonies and dreamy guitar melodies, which are foregrounded by a stompin’, poppin’ beat on this new track. If you’re a fan of Lucius, I think you’ll dig it.

2. “Gravel to Tempo” // Hayley Kiyoko

A hook-filled song with poppy beats, breathy vocals...and a biting bassline. Perhaps an apt word for the bass is “gravelly”? I’m not actually sure what the title means, though (it probably doesn’t mean that). The music video is a wild take on teen high-school drama; Hayley’s dancing in the cafeteria is my favorite part, especially starting around 2 minutes in!

3. “Helden” // Nena

Bowie’s ‘Heroes’ sung in Danish. What more do you want to know. Just enjoy, it’s genius.

4. “Columbus” // Snowmine

“Columbus” starts off with strings that swoop in parallel with falsetto “oohs” and opens up expansively, with elastic synth stabs that hit like blows in a pillow fight. Snowmine has a subtle way of transcending their sound: at first, they seem to have a lot in common with other (better-known) chamber pop indie bands, with the cooing vocals of Fleet Foxes and the orchestration of Grizzly Bear. Closer listening, however, reveals depths that imitators of those bands lack. The omnipresence of strings in Snowmine’s songs goes beyond mere decoration, and is instead a vital part of their songwriting. Their melodies are slightly unexpected, with slippery verse-chorus structures. Aside from the merits of the song itself, however, what makes this one a real treat is watching the “unofficial music video” that Lizzie herself created quite by serendipity (see link).

5. “School Friend” // Now, Now

The first of several Twin Cities bands on this mix! I must admit that I did not recognize Now, Now on my primary listen, even though a couple songs from their release “Threads” have got significant play in my iTunes library. This one has a catchy keyboard melody with some fuzzy guitars that provide pleasant tension by staying in the background. The lyrics paint an intriguing portrait of relationship malaise.

6. “Drifting” // Mutual Benefit

LOVE THE SAW THING. Just gotta say that. It sounds like there’s one of those singing saws on this track, but in any case, whatever instrument is providing that delightful wavery tone is doing a fine job of elevating this brief, fanciful song to an otherworldly dimension of haunted bliss.

7. “Street Joy” // White Denim

The only song on this mix I had previous familiarity with – it’s a great one! Not as psychedlic or prog-y as the sound I usually associate with White Denim, it’s more mellow and folky. One you’ll be pleased to continue humming after the song ends.

8. “The Gardener” // Tiny Deaths

Another group with Minnesotan ties! Apparently, Tiny Deaths is a collaboration between New York-based producer Grant Cutler and singer Claire de Lune, whom Twin Cities music fans may be familiar with through her soulful solo releases or her work with female hip-hop trio The Chalice. This song is a pleasant and low-key indie-electro-pop jam.

9. “Loud(y)” // Lewis Del Mar

An immediately striking song that has a lot of fun with dynamics. The crescendos, pauses, and swells not only add gleeful drama, but also reinforce the lyrics, which pose a critique of internet commenting culture and the deafening effects of online anonymity. The clattering percussion definitely reminds me of alt-J, but it’s also clear that Lewis Del Mar is interested in carving out its own sound and doing some experimenting to get there.

10. “Turning Tides (By Your Side)” // Step Rockets

Back to the MN artists! Step Rockets complete the trifecta of Minneapolis bands on Lizzie’s mix. I was not previously too familiar with their work, but they’ve made fans on a local and national level for their unabashed love of power pop. Their synth-driven sound reminds me of Panama Wedding, a group Lizzie and I got to discover together when they opened for Dan Croll at the 7th St. Entry. Seeing the Twin Cities streets used at the start of this video was especially fun for me. *memories*

11. “Amerika” // Young the Giant

Put your fists in this air ‘cause here comes an ANTHEM. Big and bold and the kind of rock song that the ‘80s wish they could have made. It also made me think of this Kate Beaton comic (the second one, on Kafka, though they’re all great). I’m not sure why I like it as much as I do...but no reason to question it, GO WITH IT.

12. “Freedom 1313” // Cayetana

I love this closer: all female, stripped down but fierce, emo-tinged, GREAT.

Tonight I experienced the film Moonlight (dir. Barry Jenkins, 2016).  “Saw” would be too passive a description.  A quick synopsis: “Told in three episodes, Moonlight follows the story of a young black man growing up in a rough Miami neighborhood. Based on Tarrell Alvin McCraney’s play In Moonlight Black Boys Look Blue, writer-director Barry Jenkins’s adaptation explores a young man’s struggles to navigate his fragmented family and budding sexuality. The intensely personal poetry of Jenkins’s direction and the powerful performances elevate Moonlight beyond a simple coming-of-age narrative to a cinematic treatise on life and identity.” Okay, okay, but why am I talking about this film on this music blog?

1. Janelle Monáe.  Every moment the Queen is on screen it’s electric.  Her character embodies love and patience, both supremely admirable qualities in my book.  She says so much in one look and slight grimace.  In that moment the whole audience erupted in laughter, catching the subtext.

Now here’s another story about Janelle Monáe.  Sophomore year of college Nicole scored tickets to her tour.  Sadly I was busy that night.  (What could I have been doing that was more important!?)  However, Nicole went with our mutual friend David and in my perception (which is just that, and nothing more) that cemented their friendship and again, to me, that is so beautiful.  I’m so happy they were able to share that experience.  It’s fascinating to know I’ll never understand what they felt in that moment but I was/am shaped by their reverberations back. 2. The power of the song.  In a key moment of the film which I won’t spoil, a song plays and the scene EXPLODES with subtext, nuance, and feeling.  That’s exactly what happens every time I listen (or often re-listen) to Nicole’s mixes.  I search for symbolism/meaning in practically everything and one of the MAIN things is music, hands down, so this cinematic rendering of its significance hit home.  What songs trigger memories for you? There is so much more to say another time, another place, but, for now, I’ll end this post how I started it... Love.  Love is the question.