Crack-Up by Fleet Foxes

Describing music with shimmering instrumentation and rich vocals as ‘beautiful’ is easy. But rare is music that sounds beautiful, as much as it feels beautiful – music that captures the many intricacies of our world and emotions in its own flourishes. This music is not superficially pleasant – often, it might deal with powerful themes that ordinary men and women are left to grapple with. But the result is immensely evocative, vivid in its detailing.

Musicians that can create truly beautiful music, then, are to be treasured; Fleet Foxes is among them, and Crack-Up is a stunning work of music, and art. Robin Pecknold is a wonder – his esoteric, poetic lyrics are incredible in their ability to defy the rigidity of time and place. His vocals resonate through every emotion he can capture. The band’s music takes instruments that so many others have used, and conjures new soundscapes with them; their sound is gorgeous and soaring, and the arrangements immaculately conceived.

Album opener I Am All That I Need / Arroyo Seco / Thumbprint Scar is a sprawling song that unravels in the manner of an internal monologue, tugging between doubt and faith, shifting between hushed-up whispers and exuberant proclamations. Third of May / Ōdaigahara, the lead single and one of the band’s best songs, is similarly a journey all in itself, contemplating nearly every nuance of relationships through grand swells and falls of music.

Kept Woman is ethereal, the kind of song that leaves you with a lump in your throat for no discernible reason other than being struck by its beauty. Fool’s Errand plays like a melancholy anthem, with driving percussion but strings that make each step forward feel a tad too heavy – “It was a fool’s errand/Waiting for a sign/But I can’t leave until the sign comes to mind,” Pecknold rues.

True to its name, album closer Crack-Up acts as a microcosm of the album – a jigsaw puzzle of a song that would sound disjointed in the hands of lesser bands. Much like the introductory track, it’s a meditation on the chaos of our self reflected in the song’s structure. According to Pecknold himself, “the beginning presents a question that is briefly solved and then there’s this sort of ecstatic burst of energy at the end like enlightenment or something and then it all kind of cracks up but in this really ecstatic way and then it kind of closes into closeness.” It might seem like a wonky explanation coming from the man who penned such evocative lyrics, but that’s the beauty of the music he helped create.

Crack-Up reveals a depth of humanness in our lives that might seem mundane if described any other way. Each track on here is worthy of praise in its own way, tied by the sentiments that bind us all. Fleet Foxes are the tools to coax these sentiments out of us – and for that, I am eternally grateful.

 

Crack-Up by Fleet Foxes

FIVE SONGS FOR THE WEEKEND – VII

A weekly series where we pick 5 songs that we think you’d like to listen to over the weekend

#1. I Promise – Radiohead

Listening to an album for the first time and realizing it will end up being one of your favourites is an astonishingly wonderful feeling. That’s what I felt with OK Computer, and to relive that wave of emotions with I Promise, a track tellingly recorded between The Bends and OKC is something a fan usually only dreams of experiencing. With melancholy strummed guitars and marching percussion, Thom brings us back to the delicate and intimate promises of a relationship in danger of tearing apart. It’s an emotional, beautiful track. And it’s quintessentially Radiohead.

#2. Perfect Places – Lorde

Pounding kicks open the track, followed immediately by the existential lyric  “Every night I live and die;”  akin to Green Light, this is a complex song, juxtaposing a dance-y electronic instrumental with exploratory lyrics. Tackling the escapist party culture of alcohol and casual sex with a nuance that acknowledges both the desire for mindless euphoria, as well as the resultant ennui, Lorde once again captures the seemingly-contradictory dichotomy of our youth like few artists do.

#3. Run – Foo Fighters

Given how long the Foo Fighters have been around, there isn’t much in the way of surprises they can throw at you – but that doesn’t mean they can’t make some damn good music their own way. Run begins with Dave’s voice – melodic, yet tinged with a growl bubbling underneath – before launching into classic Foo; the aggressively infectious guitar riffs, driving drums and snarling vocals. It’s a mosh-pit worthy fireball of energy that belies the musicians’ age (which is also the theme of the music video). Thank the musical gods for it.

#4. Everything Now – Arcade Fire

The sunny,  melodic production – co-production credits go to Daft Punk’s Thomas Bangalter – and the indie everyman vocals of Win Butler on the title track of Arcade Fire’s upcoming album, Everything Now, offer an essentially personal narrative in the overwhelmingly populist reality of the world, where the human struggle is lost to consumerist, majoritarian agendas. It’s a bleak message, and more relevant than ever.

#5. 4 AM ft. Travis Scott – 2 Chainz

2 Chainz has come a long way – his flow’s gotten better, there’s some substance to it, and he sounds more reassured and confident in his rapping. With a smooth banger of a beat and a trademark Travis hook adding to the concoction, this has the potential to be a hit. Either way, it’s a legitimately great track.

 

FIVE SONGS FOR THE WEEKEND – VII

Five Songs for the Weekend – VI

A weekly series where we pick 5 songs that we think you’d like to listen to over the weekend

#1. Rollin ft. Future, Khalid by Calvin Harris

(full track on Spotify) 

Calvin Harris is on a roll (pardon the pun). With this track, he continues to bring together artists you might not have expected to hear together over warm, bouncy production that is a far cry from his past of big room EDM. Khalid reaffirms his place as a musician to keep an eye on, with an insanely catchy hook that’s a perfect fit for this beat, while Future brings his signature melodic flow and warbly vocals to keep the danceability quotient high. If you’d told me a couple of months back that I’d be heaping such high praise on a Calvin Harris song, I’d laugh; but here we are.

#2. Wildfire by blink-182

Ah, 90s bands that attempt a comeback. They’re always hit-or-miss, and for a while it seemed blink-182 would fall on the side of the misses, which might’ve been a little saddening (All the Small Things is still a great song). But Wildfire is a pretty great track – it’s got the relentless energy of classic blink, but with production and vocals that sound like a band realizing they grew up. Here’s to them finding their place in a new musical landscape.

#3. Shreddy Krueger by MANWOLVES

It’s rare to find a band that makes rap work with live instrumentation – but when it does work, it can make for pretty great music. MANWOLVES takes instrumentation you wouldn’t expect backing most rappers – trumpets and percussion that’s more snares than deep kicks or hi hats. The vocals aren’t the focus – this is truly a band. With that said, they sound at home with the production, and the hook makes for a good sing-along. They might not be the next Twenty One Pilots yet, but MANWOLVES are worth your time.

#4. Whatever It Takes by Imagine Dragons

It’s hard to call Imagine Dragons great – their hits are inconsistent, and not particularly outstanding musically. But every once in a while, they put out songs that are inescapable – epic tracks with anthemic hooks and rousing production. Whatever It Takes is such a record – Dan Reynolds is an accomplished vocalist who knows exactly what the song requires from him, and the electronic-tinged instrumental drives the powerful pre-chorus and chorus to soaring high. They may not make the most innovative music, but they definitely make some of the most memorable mainstream electro-rock.

#5. The System Only Dreams in Total Darkness by The National

It’s been a while since The National put out new music, and it seems like something’s changed in the intermediary years – The System Only Dreams In Total Darkness seems to leave behind the subdued, atmospheric sound of Trouble Will Find Me for a more aggressive, driven sound. Even Matt Berninger’s signature one-liners sound more purposeful – The National seem to have a more definite path ahead, as opposed to the melancholy abstractness of their previous work. I cannot explain it any other way.

 

 

 

Five Songs for the Weekend – VI

Five Songs for the Weekend – V

#1. call the police  by LCD Soundsystem

LCD Soundsystem are finally back, and their melancholy dance rock sounds particularly apt for a time “we all know […] is nothing.” The kraftwerkian grooves are as catchy as ever, in contrast to the ponderous brevity of frontman James Murphy’s politically-tinted lyricism. The creators of the perfect soundtrack to dance  away one’s worries are truly back; the new album cannot get here fast enough. 

#2. Glam by Walrus

This hazy, psychedelic track with a contemporary indie bent harkens back to the glory days of glam rock – think Queen meets Daughter – with its earworm guitar riffs and drawling vocals, making it perfect for a sunny afternoon.

#3. Bimmer Music by Ishmael Raps

A high-energy, exuberant track whose aim is to simply be as fun as possible. As evidenced by the title itself, this is made to bump while driving, with its booming production and hyped-up flow. A true banger.

#4. Thinking of a Place by The War on Drugs

Guided by the bittersweet ruminations on life of frontman Adam Granduciel, The War on Drugs’ sprawling new single is a self-contained journey through the many crests, troughs and bends of thought, gliding on ethereal instrumentation that flows with Adam’s vocals to create an experience of a song that transports one to the place he seems lost in.

#5. Intoxicate by ZHU

ZHU is one of the most interesting producers out there right now, with a sexy, sleek aesthetic that is as much electroncia as it is modern RnB. He continues this genre-melding with Intoxicate, combining his own falsetto vocals with his subdued brand of EDM. This one’s for the dark club corners that ZHU owns.

Five Songs for the Weekend – V

5 Artists Who Prove the Future is Genreless

With the way music is consumed continuously changing, the way it is created changes too – artists have found new and exciting ways to destroy the limitations of genre, meld an array of sounds together and shape it into music that pushes boundaries, while still retaining the core of musicality. This charge into a genreless future is being led by a few stellar artists, each in a class of their own while defying categories.

#1. Danny Brown

Danny has been a flag-bearer of irreverence since his breakout XXX mixtape, melding punk rock aggression and energy with hardcore punchline rap over harsh electronica. His drugged-up vocals had no real melody to them, but he flows over any instrumental through a form of controlled chaos, like a hulking rugby player bouncing off the punches of a musical pinball machine. His form of vocal delivery might be rapping, but his music has brought together aspects from an array of genres – from EDM to industrial to electropop – to form a genreless hybrid.

Also listen to: Dip25 Bucks 

#2. Bon Iver

Bon Iver began as Justin Vernon’s intimate acoustic project, expanding his sound on the next album with more layered production, alongside delicate, beautifully measured vocals. But the biggest left turn came with his decidedly weird 22, A Million. Legitimizing ‘folktronica’ with an unconventional blend of acoustic guitars and soft keys with ambient synths and electronicized percussion, the album is this generation’s Kid A. It’s quintessentially indie in its disdain for mainstream genre conventions, and Bon Iver has thus made music all the better for it. 

Also listen to: Skinny LoveHolocene

#3. Flying Lotus

FlyLo is the definition of a musical autuer – he can envision cohesive, stunning genre-melding like few other musicians can, and reject every notion of genre to create niche subgenres all his own.  From instrumental hip-hop, to IDM, to ambient electronica,  to contemporary jazz, he takes existing sounds and infuses them with his own contrarian tendencies, creating experimental music that is never comfortable sticking to established tropes. Flying Lotus represents the rebellious voice of this generation of music, thus laying the foundation for the future.

Also listen to: MmmHmmPutty Boy Strut

#4. Young Thug

Young Thug is a divisive figure, earning as much hate from hip-hop purists as love from the newer generation of the genre’s fans. But restricting him to the genre of hip-hop itself might be a mistake – his singsong voice is unlike any other, and he modulates it to be hilariously fun, a crooner or noticeably sneering. The production matches his tone – fromn trap bangers to smooth, glittering pop and RnB jams, Thugga’s repertoire of musical talent defies every box fans and critics alike have tried to put him in.

Also listen to: Best FriendDigits

#5. Kaytranada

Kaytranada, unlike FlyLo, has a definite sound – dominated by deep bass and hip-hop sensibilities, his base template acts as a blank slate into which Kay paints in strokes of a number of genres. He draws from soundscapes that date back decades, and brings them into contemporary music in a decidedly revisionist manner – he doesn’t assimilate funk, RnB and soul into his music as much as breathe new life into it while respecting its roots. Kaytranada makes music like a true fan – acknowledging the past while looking firmly towards a creative future.

Also listen to: Holy Hole Inna DonutDrive Me Crazy

5 Artists Who Prove the Future is Genreless

Five Songs For The Weekend – IV

A weekly series where we pick 5 songs that we think you’d like to listen to over the weekend

#1. 3WW by alt-J

alt-J could’ve stuck to their indie art-rock vibe for another album, and most fans would’ve loved the album nevertheless. But this gorgeous, subdued track sounds like nothing they’ve ever done before, while reminding the listener in subtle ways that this is the band so many of us fell in love with – the gentle folktronica, Joe Newman’s unmistakable voice all remain. Few bands do esoterica that remains immensely enjoyable like alt-J does, and this track gives us plenty of reason to be excited for Relaxer. 

#2. Third of May / Ōdaigahara by Fleet Foxes

It’s been 6 long years since Fleet Foxes came out with an album, and no band has quite been able to fill the gaps they left behind. But Third of May / Ōdaigahara makes the worth seem wholly worth it. The sprawling track is a poetic masterpiece, a meditation on life’s ups and downs in a musician’s voice, with a warmth that feels like the quiet woods on a cloudy day. The instrumental outro section might be one of the loveliest pieces of music Fleet Foxes have constructed, and it’s a great sign of the music to come.

#3. Meditation ft. Jazmine Sullivan, KAYTRANADA by Goldlink

Goldlink is master of the bounce – he’s been making dance-floor rap for a while now, without having to resort to generic trap or club bangers. Meditation is mellower than his usual offerings, but thanks to a deep, bass-heavy instrumental by the incredible Kaytranda, it’s bound to get you vibing along nevertheless. Add in Jazmine Sullivan’s jazz vocals, and you have a smooth track more than worthy of a dance.

#4. Liability by Lorde

After the upbeat and bittersweet Green Light, the piano ballad that is Liability is a tidal wave of insular melancholy. It wears its sadness on its sleeve, exploring parts of Lorde’s psyche that she herself admits to have not written into her music before. As with so much of her music, it feels like it’s written for her audience as much as for herself. This is beautifully simple, moving song – if Melodrama sounds like this, it will cement Lorde’s status as one of the best musicians of our generation.

#5. Red Mercedes by Aminé

Red Mercedes is definitely not the song you’d have expected from Aminé after Caroline – this is a more traditional rap track in terms of melody, but it certainly retains the light-heartedness of the first track, albeit with an audible sneer post the success of Caroline. Aminé’s flows on the track with ease, the grimy production appropriate for the track’s mood. It’s going to be interesting to see where the budding artist goes next.

 

 

 

 

Five Songs For The Weekend – IV

Life Will See You Now by Jens Lekman

My introduction to Jens Lekman came with the first single to this very album – What’s That Perfume That You Wear? – a discovery that instantly made me regret not finding his music earlier. The catchy, upbeat track with vibrant production masked a wistful recollection of a lover past. The remainder of Life Will See You Now adopts a similar formula, with production that is guaranteed to  (at the very least) get you moving in your seat, contrasted with lyrics that contemplate losing one’s people in shades of melancholy, hope and nostalgia.

 

The uniqueness of Jens’ songwriting lies in his ability to wring humour out of often sad situations and instances – Evening Prayer, for example, begins with an anecdote about a 3D printed model of a cancer tumour (you can’t make this up) and evolves into a rumination on emotional intimacy.  Wedding in Finistère is bittersweet, painting a (very possibly real) scene of a bride unsure of her future, and the uncertain territory of marriage, juxtapositioned with an instrumental that would sound right at home at a beach wedding’s dance. Album closer, Dandelion Seed, is possibly the most heartfelt and downtempo song here, contemplating the pace of Jens’ life, paralleling an actual journey.

Jens Lekman perfectly encapsulates the saying, “brevity is the soul of wit,” his music offering meditations on life that are assured to bring a half-smile to your face, while taking you to times and places in your memories, all while setting a summery groove to the words. Life Will See You Now is sure to be a 2017 favourite.

 

Life Will See You Now by Jens Lekman