A Depressing, Albeit Beautiful, Concept

A few years ago, I happened upon The Antlers’ album, Burst Apart. I’d never heard of them, but I gave the album a go and was haunted by the lovely and melancholy tunes. It haunted me in the best way that music can. And for whatever reason, it took another few years before I finally said to myself, “Why in the world have I not tracked down more of their stuff?” So I did, and their 2009 release of Hospice melted my face upon the first listen.

It was everything I liked about Burst Apart: mellow yet heartfelt, beautiful but haunting, and lyrics that forced you to pay attention to them.

What made this album work even more for me, though, is that it’s best taken as a concept album. As the title suggests, Hospice, the lyrics and stylings surround those on their way out, the loved ones and the ones doing the loving, and those that we love that have already been lost. From their tribute to Sylvia Plath to the simple guitar and vocals of the final track, “Epilogue,” to the sobering tones of “Kettering,” the whole album feels like an exit soundtrack, one telling the story that all of us must undergo: the death of those we love and our own place beside them.

At times, it almost evokes lullabies, like “Bear,” but the lyrics keep us grounded in the emotions of what’s going on in the story of each song, the way we simply give in or rage against that dying light. Always, though, it’s beautiful, especially on the slow build tracks like “Atrophy” and “Wake.”

It might not be for everyone, as it is extremely somber and the lead singer’s, Peter Silberman’s, voice could be an acquired taste. But for those that feel the heart within his higher pitched tones and don’t mind a little rumination about death, you won’t do much better than Hospice.

This is Happening... Even if You Didn't Know It

There are so many bands and artists that I’ve been incredibly late to the party for. Beyond fashionably and well into the realm where everyone is already passed out, kicked out, or having gone home to enjoy themselves long ago, and the host of the party takes one look at me and is like, “Why weren’t you here ages ago?”

But one of the best parts of this day and age is that the party never truly ends. Even after a band has broken up or gone on to different things or--on the sad occasions--has passed on, there is a fandom out there still making like Wayne and Garth and partying on. This is definitely the case with LCD Soundsystem.

For reasons unbeknownst to me (though it was probably my own musical prejudices, caught up in such albums by Portishead, Mellowdrone, and the soundtracks of Clint Mansell), I never really heard them until a few months ago. Their song, “All My Friends,” popped up on an Amazon Prime playlist, and I was instantly enthralled by the extended build, the lack of a true chorus, and the way the song simply went on and on, and I never wanted it to end. Who IS this? I thought. And soon enough, I’d tracked down their album, Sound of Silver, devoured it, and moved on to the rest of their slim discography, ending--accidentally, albeit appropriately--with This is Happening.

This album has infiltrated my soundbar and won’t seem to leave. I’m always trying to explore and take in as much music as possible, but in between the new-new and new-old discoveries, This is Happening is happening at my place.

From the get go, the album is nothing short of perfection. “Dance Yrself Clean” drops a simple beat and transforms into a song that builds and fluctuates between loud and quiet; it ultimately sets the tone for the album--like the best first tracks should. Afterwards comes one of the most upbeat, rockish--and shortest--tracks, “Drunk Girls,” that not only demands movement from you, but it also is so tongue-and-cheek-wonderful lyrically that you’ll be cheering right along.

The rest spins out LCD’s signature mix of dance and funk and rock goodness. “One Touch” is stuck in my head more often than a song should be and is most excellent to let that bouncing bass hit your eardrums via some killer earbuds. “I Can Change” is another notable, capturing the truths of any relationship, while the track that follows, “You Wanted a Hit” is so self-reflexive of their career that you can’t help but laugh while shaking your booty. And yes, such shakes of booties happens. (I can’t dance, but so help me, I’m bobbing and weaving while grooving out to this album--and it does make doing the dishes both more fun and more complicated.) All of this tops off with such a bubbly and catchy song, “Home,” that you can’t help but wonder if the band members simply looked upon this album and said, “Welp… there’s no way we can top this. I guess we better disband.”

Hopefully, you made it on time to this LCD party, enjoyed the show, and returned home, caring for these wonderful tunes since their initial release. However, if you were an unlucky person like me and didn’t even see the party from the street or even hear about its epicness the day after, do yourself a favor and check them out. They might not be a band that instantly clicks for you, but if you give them a few spins--especially this album--you won’t mind picking your way over the Phils, the ones already partied out, to enjoy what’s left of this shebang.

It's Different... But There's Something Kinda Fantastic About That

The first Wes Anderson film I ever saw was The Royal Tenenbaums, and I was instantly smitten. I loved the humor. I loved the characters. I loved the acting. And even more, I loved the visual style.

From that first love, which included three visits to the surrounding theatres to re-watch Gene Hackman steal the show, I went through the rest of Anderson's short filmography. Since then, I've seen each new film and have anticipated the release of the next. With each one, I've continued to be astounded by Anderson's specific style, tone, and aesthetics--which I think many others are in love with as well. But I haven't heard many people talk about the soundtracks.

Because I'm such a visual person, the cinematography and set / costume designs always took the forefront, but it was somewhere during an umpteenth viewing of RT that I realized how perfect--even if a bit off--his musical selections were. It clicked for me when Royal and Margo are sitting in the ice cream parlor, the Charlie Brown Christmas song playing in the background. It seemed so bizarre but so incredibly right. The rest of the music opened up, then, and I realized that Anderson had as impeccable of music selections as any Tarantino film. Apparently, I'm not the only one to discover this, as American Laundromat Records put out a compilation called I Saved Latin!: A Tribute to Wes Anderson.

I stumbled across this compilation when researching the band Telekinesis (one of my personal favs), who did a cover for "This Time Tomorrow." The album seemed like such a wonderful idea, and I can't believe it took me so long to find out about such things--since there are volumes of these things dedicated to Tarantino. But much as I love the original versions of the songs, as Anderson uses in the films, I like that this compilation is all covers by up and coming bands.

For the most part, the tracks are solid. If you like the originals, you'll like the covers. There are some that definitely take a departure--like Tomten's "30 Century Man" and Freelance Whales' "Let Her Dance," which are both highlights of the collection. But all in all, it stays true to its roots while creating something uniquely itself.

To me, the highlights are the aforementioned Telekinesis cover, PHOX's "The Way I Feel Inside," The Ghost In You's "Oh Yoko," and Solvents' "Nothing in This World Can Stop Me Worrin' 'Bout That Girl."

Honestly, it's an all around great collection for a Wes Anderson fan, and with the limited vinyl pressing, the sooner you snatch one up--if vinyl is your thing--the better.

A Musical Train

For as much as we love music, we're both a bit behind when it comes to the new technologies. Friends and family both seem to scarf up Spotify and let Pandora take their musical tastes to new places and destinations. However, we've still relied on the old ways of personal recommendations and stumbling upon some new sound that catches us. (It seems to be more kismet that way, and what's music and our connection to it but an aligning of guitar and heartstrings?)

Recently, though, Amazon's addition of Prime music to their membership has suckered us into new albums and new playlists. Using the "Other Customer's Also Listened To..." as a guide has led us to some excellent tunes. But the pre-made playlists have also opened up our ear holes. Admittedly, yes, many of the playlists contain the same tracks / types of songs--especially from familiar / popular artists--but they also slip in a few lesser knowns, many of which become our favorites from the list. Lord Huron and his recent release of Lonesome Dreams is one such newfound favorite.

After hearing "Ends of the Earth," we were hooked, both humming the melody and chorus before we even fully new the words. It's a fantastic track to be sure (and the video is pretty cool, too, yes?), and an excellent opener to the album. Between it and the album artwork, a "journey" of sorts is established and carries through the whole of the album. Many of the songs--similar to "Ends of the Earth"--have a strumming pattern or percussion style that echoes the chug-chug-chugging of a train. And, of course, many of the lyrics reflect this idea of a cross-country trek. The whole thing becomes an anthem for a train trip, riding the rails with Lord Huron, learning of his love, dreams, and aspiration as the journey presses on.

If you like what you hear here, you'll enjoy the rest of the album, too. And if you don't want to take our word for it, feel free to move beyond us and our technological hesitance and give this a go via Spotify. It's a great ride to take and one that will be carrying these two listeners towards Lord Huron's next release.

If You Like This, Then Try... Snow White and the Huntsman and Holly Black

Most of remember last summer’s blockbuster, Snow White and the Huntsman (SWatH), if for no other reason than it caused the breakup of K-Stew and Robert Pattinson. But for the rest of us that didn’t give two shits about the relationship status of the aforementioned A-listers, we might remember the film for different reasons.

For me, it was a film with potential that, sadly, went underdeveloped. In particular, the plot and world suffered from the film’s pace. When I wanted the film to linger, it moved too quickly, and when I wanted it to speed up, it dragged. However, what compensated for all of its faults--including Stewart’s lackluster acting (if one can even call it that)--are the visuals. Hate on that movie all you like, but you have to admit that it is one of the most stunning films, aesthetically, to come out in recent years. (While I might question director Rupert Sander’s choice in lovers, his vision embraces the grotesque and makes it gorgeous.)

If you happened to be like me, not outright hating the film but wishing it could’ve been more, there’s a solution for you: Holly Black. Best known for her middle-grade chapter books, The Spiderwick Chronicles, she began her career in YA and still cranks out some great material for an older audience. (Just check out her most recent Curse Workers series and tell me I’m wrong.)

In particular, though, Ms. Black retains very similar aesthetics to Sander’s dark vision for SWatH. She takes the frightening and horrific and--often--turns it into something both disturbing and beautiful.

Her first novel, TITHE, is a perfect example of what Black is capable of. She takes the faerie stories of old and gives them a much darker, sinister take. (And she was doing this long before the resurgence of fairy-tale retellings by way of Grimm and Once Upon a Time and other such nonsense.) This story follows an outcast of a teen as she comes across a wounded knight. After this chance encounter, she’s soon sucked into the world of the fey, a place much darker than the chipper and technicolor presentation of Disney’s Tinkerbelle and crew. Black’s faeries are frightening creatures, full of sinister plots and working towards humanity’s destruction.

These themes and tropes follow through a number of Black’s other writings as well, from her other self-dubbed modern faerie tales VALIANT and IRONSIDE, to her graphic novel series THE GOOD NEIGHBORS. (The latter is gorgeously illustrated by the super talented Ted Naifeh.)

So if you loved the darker and--dare I say--grim stylings of SWatH, you’ll no doubt love the equally creepy and beautiful worlds Black offers. Better still, you’ll come away satisfied.

Awkward Book Review: ELEANOR & PARK by Rainbow Rowell

It's that time again! We've tried a new format, again, and hope you like the new style. Let us know what you think!

If You Like This, Then Try... Deltron 3030 and READY PLAYER ONE

Chris: Stay with me for a moment; I’m about to rant.

[Rant start]

I’ve always loved albums, their wholeness, even if I don’t like every track. I love their organization, when you see the purpose behind a slow song sandwiched by two blazing tracks, when a fantastic first track opens the door to this music hall, when a closing track completes your audio journey and--hopefully--forces you to hit play once again. Much as I’ve grown to embrace the digital world, to me, the biggest loss is that of the complete album. Now, you can simply purchase the track(s) you like and never even listen to the rest. I’ll admit, for most artists, that’s not a big deal. But with less folks purchasing full albums, the less likely an artist will put out a concept album--something already sparse. And I don’t know about you, but I love concept albums, and I’ll be sad to see a rarity become endangered in this digital age.

[Rant end]

Deltron's first album, "3030," released in 2000, is the mutated, hip-hop offspring of Del the Funky Homosapien, Dan the Automater, and Kid Koala, and is one of my favorite concept albums around.

The whole of the album paints a picture of the future, in the year 3030, as it follows the life of a upcoming emcee who wants to participate in an intergalactic rap battle. It tells his story from start to finish, taking an occasional detour for a skit or song that fleshes out this futuristic world. From homeless rantings to public service announcements to ads promoting colleges, these tracks build a bleak world, which shares enough similarities to today, that you can not only relate with, but it also becomes a viable future.

In between the world building, we follow Deltron 0, a former “mech-warrior that didn’t respect orders,” who dreams of winning the "instupicuous," Fantabulous Rap Battle Extravaganza. It’s a battle of “man vs. machine, machine vs. computer, computer vs. woman, woman vs. child.” The songs' story carries us through to the battle itself and the aftermath. It’s a technological rap through the future, with Del referencing Transformers, Strange Brew, MicroMachines, and countless other bits of pop culture. And the beats range from the traditional to the bizarre to the digital noise and quirks of the electronic world.

It’s been 13 years since its release, but it’s still as solid as ever. Even better, this past week, those of us waiting for the next album, “Phase II,” were given the first single, “City Rising from the Ashes.” So now is the perfect time to catch up with the Deltron world before the new album drops. And if you like it, you’ll also like READY PLAYER ONE by Ernest Cline.

Set in a much nearer future, 2044, the novel paints an even grimmer picture of what's to come. The general populous lives in the digital world of OASIS, an MMORPG (think World of Warcraft but not only for fun but how you also go to school, shop, work, etc.). Wade, the protagonist, spends his hours on the OASIS trying to solve the game creator’s puzzle. Years ago, the creator started a contest whose winner would inherit his mass wealth and control over the OASIS. Now, Wade must dodge evil-global corporations trying to win the contest while sifting through massive amounts of 80’s pop culture--from “Family Ties” to Oingo Boingo and Billy Idol to heaps of classic arcade games--to solve the creator's enigma. (The author even created his own soundtrack for the novel that you can find with a quick Google.)

While both READY PLAYER ONE and Deltron are very different in topic and execution, they share many similarities. Both have unlikely heroes trying to accomplish impossible tasks. Both are chock full o’ pop culture references to build their futuristic worlds. Both create their own vernacular for the future. And best of all, both are a shitton of fun and never take themselves too seriously.

If you’re a fan of Deltron, give READY PLAYER ONE a shot. And if you’ve been reading this and wondering what in the hell I’m even talking about, do yourself a favor and take a quick listen, and then go grab this novel from your local bookstore--especially if you’re into sci-fi, videogames, humor, and pop culture.

Awkward Book Review: Book vs. Movie - THE PERKS OF BEING A WALLFLOWER

Time for another dose of awkwardness! And today we discuss the wonderful PERKS OF BEING A WALLFLOWER by Stephen Chbosky. Enjoy!

THE BOOK:


THE FILM:


(We're still playing with the format for these, so don't be surprised if/when the video style changes. And if you have any suggestions/recommendations for what program we can use to record a chat between the two of us, we'd be most appreciative.)

Awkward Book Review: THE EVERY BOY by Dana Adam Shapiro

Hey, All! Here is the first of what will--hopefully--be many Awkward Book Reviews. This one is fairly straightforward, but be on the lookout for reviews in song and other non-traditional forms in the future.