On Rejection and Feist’s New Album

There’s something arresting about Feist’s haunting voice. Her new album Pleasure (with lead single of the same name) was released earlier this year. It’s edgy and raw featuring her signature sweet vocals. Also, it’s like 2007 all over again.

The Reminder was released in 2007. It’s hard to believe that was 10 years ago and we were just getting to know Facebook. I was sitting in an open plan marketing office, listening to the record when I received a notification that my half-brother would like to be Friends. I’d spent my entire late childhood and teenage years daydreaming about him and my half-sister. I’d met him once, a handsome young man studying something important at University, but she’d remained a faceless stranger. I knew that she worked in advertising because my mom once gave me a torn out magazine article. It described her as an independent female Mover and Shaker at a sought after agency, which fanned the flames for storylines over years of only-child daydreaming. And then just like that, there was a friend request from someone I didn’t really know but shared a surname and some DNA with. I didn’t breathe for a minute. Accept.

We made plans to meet up and before I knew it I was on my way to a Wimpy in a small farming town. That month I was listening to Feist a lot. Universal had just released my flavour-of-the-month record, and the fact that I was working on it made it that much better. It’s funny how memories get associated with music. The Reminder was supposed to be that great award-winning Indie record I forgot about and rediscovered one day. But just hearing her voice takes me back.

That day was overwhelming. I spent hours speaking with my brother. We danced around the issue of my dad and tried to find things we had in common. It was good. We both tried. And then around lunchtime, my half-sister showed up. I was ecstatic, so bright-eyed and bushy-tailed. And in hindsight, such a fucking n00b. I wore all of the cozy family fantasies on my sleeve, and even though she kicked back skepticism at every opportunity, I soldiered on, trying to build that relationship. I drove the 2 hours back that day a little sedated and misty-eyed. Like a big secret had just been let out.

Over the next few months, I got to know my brother and his lovely wife. I introduced them to my husband and met my nephew. The blossoming romance was beautiful, we had heart-to-hearts about things that mattered in our lives and shared everything from painful experiences to the shape of our fingernails. I put together a pack of CDs for them because sharing music is a privilege that brings people closer together. It’s so personal, and getting a new music recommendation right is the kind of curatorship victory I thrive on. Of course, I added Feist into my sister’s hamper. Because Indie is badass and you know, Fearless Female, etc.

My sister, on the other hand, remained aloof. My Friend Request was met with silence. Her Twitter profile was full of talk about forgiveness and change and empowerment. We Facebook Messaged a bit and there was a phone call or two. I can’t remember how, but she told me that she didn’t like the Feist album. She thought it was too girly, and not upbeat enough. I thought that was weird. It was such a cool record and practically everyone liked it. And just like that, The Reminder became an allegory for my relationship with my estranged siblings.

About a year later at their family farm, my half-sister insulted my husband. To be fair she didn’t insult him directly, but rather our relationship, saying that we’re together because I had father issues (there’s an age gap). I drove home disappointed and hurt, and the road was long. She’d made all sorts of assumptions about my life, from which she’d been absent, but I had done the same. My mind switched between self-doubt (why doesn’t she like me), and self-hate (why do I care). I visited my brother but stopped asking about her. We saw each other at my brother’s birthday party a few years later. It was awkward, but she was friendly. We talked a little after that, and then one day she told me that she didn’t want to know me.

It’s astonishing how you can let one person hurt you so much, without them even knowing. My half-sister doesn’t want to know me because we share the same father, something I literally have no power to change. My father has been trying reach out to them for years, with mixed success. He is a difficult and complex man, but his relationship with them has nothing to do with me.

I still love Feist but can’t listen to The Reminder in one sitting. Her new album Pleasure is superb though. It seems to have gone relatively unnoticed as there aren’t enough reviews for a Metascore rating despite an April 2017 release date. If you’re in a quiet mood you should definitely listen to “A Man Is Not His Song”. This year I’ve been slaying a few dragons in my life. I’m also trying to listen to more Feist.

“Sealion” is track 6 on The Reminder and is a super-classy, catchy AF cover of Nina Simone’s “Sea Lion Woman.”

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Best Records of 2016 and a Rad Playlist

Whew, 2016. This year of musical loss has been a one where complex records have connected most with me. On the theme of death, David Bowie’s Blackstar, Leonard Cohen’s You Want It Darker and Nick Cave’s Skeleton Tree were the most prophetic. Sometimes they were a little too sad for me, so I return to them in small doses.

At the top of the year I loved Gallant’s great debut, and the rest of it continued with interesting alternative R&B/Pop releases from Rihanna to Frank Ocean. The production on records from Beyoncé, Radiohead, and Bon Iver fascinated me. It seemed perfect for Radiohead to bring out the sonically mature album that A Moon Shaped Pool is, and I reconnected with my once favourite band again on it. My record of the year is Bon Iver’s 22, A Million with its’ intimate tone and constant unraveling. It has a puzzling sense of timing and I kept returning to it, the one album that always had me putting the volume up, no matter how loud it was (I actually just want to inhale this record).

The genre-bending D.D Dumbo doesn’t sound like anything I’ve heard before. It’s organic, wise beyond it’s years and Australian. Pop music is again moving towards a more alternative space where it challenges the boundaries of genre… Except for the good Rock, which went back to basics this year with flame-bearers Car Seat Headrest, Lucy Dacus and Margaret Glaspy. I was fortunate to see Lucy Dacus live and her debut No Burden is a calculated statement of captivating stories, live and on the record. Shrug Rock is now definitely a movement and dammit, it sounds great! Car Seat Headrest’s Teens Of Denial is one of the most badass statement-making Rock ‘n Rolling albums of the decade. Angel Olsen made a deft move from a shy singer-songwriter to time-traveling rocker and LVL UP made the most infectiously noisy lo-fi Indie Rock record. Beyonce, the titan of Pop that she is, used all the genres in her album and got away with it because LEMONADE is a masterpiece.

At the most difficult times I returned to simpler, singer-songwriter records. Chris Staples put out the most reassuring lyrical album with gentle storytelling and humour. whilst Pinegrove’s confessional debut Cardinal is a sing-along record that is as relevant playing in the background when entertaining as it is if you’re crying into your whiskey. Don’t judge me.

There are releases that just didn’t make the top spots or that I need more time with: Mitski, Kyle Craft,Michael Kiwanuka, Wilco, A Tribe Called Quest, King Gizzard & the Lizard Wizard, Frank Ocean, Big Theif and Solange.

1. Bon Iver – 22, A Million

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2. Car Seat Headrest – Teens Of Denial

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3. D.D Dumbo – Utopia Defeated

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4. Lucy Dacus – No Burden

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5. Pinegrove – Cardinal

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6. Beyoncé – LEMONADE

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7. Radiohead – A Moon Shaped Pool

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8. Angel Olsen – MY WOMAN

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9. Chris Staples – Golden Age

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10. LVL UP – Return to Love

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I also made two playlists this year of Best Of tracks, or the best of what I’m listening to. You can listen to the first playlist in the previous blog post. The latest playlist is the 2016 Best Songs of the Second Half-Year, which is below. It’s 30 tracks/2 hours of the best songs I’ve found from June/July till now, available on Tidal, Apple Music, iTunes, Google Play and Spotify; and as a best effort (not all tracks) on YouTube, Deezer and Soundcloud.

Looking on the bright side of 2017, I’m thinking of how much great new protest music there will be coming out of the States…

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The Best Music of 2015

Like last year, my year has been framed more by songs than full albums. Lyrically it was a magnificent year, and one where so many established greats quietly released new records (Decembrists, My Morning Jacket, Wilco, Low). It was also a rocking year for female vocalists and bands, and my Top 30 Best Songs Playlist reflects that.

1. Sufjan Stevens – Carrie & Lowell

sufjan

Sufjan Stevens released the most moving record of the year, a devastatingly sad and beautiful return to his singer/songwriter roots. Stevens unpacks issues surrounding mental illness and the reasons his mother abandoned him with ice cold honesty. Becoming a parent opens up all sorts of emotional vulnerabilities and at least for me, seeing this record performed live was a life-changing experience. For further reading you can’t do better than this Pitchfork interview.

2. Courtney Barnett – Sometimes I Sit And Think And Sometimes I Just Sit

courtney barnett

Courtney Barnett released the best debut album of 2015, a confident and casual authentic celebration of rock. The raw guitars and basic progressions are the best thing to happen to Garage Rock in a long time. Barnett’s thick Australian accent and direct lyrics encourage the most unlikely singable moments (and my favourite lyric of the year) “I think you’re a joke but I don’t find you very funny.”

3. Ryan Adams – 1989

1989

Ryan Adams’ cover of Taylor Swift’s 1989 is the best guilty pleasure of 2015. When he sings “That’s How You Get The Girl,” he’s really saying how he lost the girl, and much of the album is this kind of antithesis/call and response that plays with Swift’s original. It’s basically the best pop record turned into the best breakup record.

4. Kurt Vile – b’lieve i’m going down

b'lieve

Kurt Vile is the most sophisticated slacker on this list. He ditched his electric guitar for a more mellow sound incorporating piano and banjos. It’s a perfect alluring record that balances fun and soothing in a lazy acoustic fashion.

5. Father John Misty – I Love You, Honeybear
6. Alabama Shakes – Sound & Color
7. Olafur Arnalds & Alice Sarah Ott – The Chopin Project

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Father John Misty’s cheeky and wry record was constant positive highlight of the year, filled with love and a healthy dose of cynicism. Alabama Shakes’ second record turned out to be a ballsy swamp-Rock statement that they’re edgy and soulful and ready to experiment. Olafur Arnalds and Alice Sarah Ott released the most inviting Classical Pop album of the year. The simplicity in their approach to Chopin come across as effortless and familiar while the acoustic detail they capture with their instruments is an audio feast.

8. Sleater-Kinney – No City To Love
9. Godspeed You! Black Emperor – Asunder, Sweet And Other Distress
10. Torres – Sprinter

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Sleater-Kinney reformed this year to release a tight collection of hooks and melodies. I don’t know their back catalogue but this record starts, goes determinedly forth and conquers in just over 30 badass minutes. The new Godspeed album is the most succinct record of their sound to date, immediately recognisable but more refined. It’s beauty lies in the band favouring a more subtle classical approach rather than their familiar Noise Rock style. Torres released an impressive debut album filled with honest songwriting and raw emotional delivery. She keeps it mature though and along with her minimalist band she created the best Grunge song ever (see playlist).

There are still many of this year’s releases that I’m listening to. I’m not quite into the Wilco yet but I’m a big fan and I’m trying. I’ve just discovered Youth Lagoon and Rhiannon Giddens, both of whom may have made the Top 10. Finally it’s long overdue but I’m also getting into these artist’s records: Natalie Prass, Shamir, Fred Thomas, Joan Shelley, Julia Holter.

Below are the Spotify, Apple Music and iTunes playlist versions of my top 30 Best Songs of 2015. I did sequence them but feel free to hit shuffle if that’s how you roll. Some are from my best albums, most are songs that consistently had me turning up the volume.

Here’s the Apple Music playlist, I’ve just noticed that “Harrison Ford” by Darlingside isn’t available on Apple Music or iTunes but you can listen to it here on YouTube. I’ll add a Youtube playlist next year when all of the songs are available or have videos.

Update: Here’s the Soundsgood player with all the tracks across various platforms.

Best Music Of 2014 (a little more, a little less)

 There are so many firsts for this year. This is the first year that I’ve felt really overwhelmed with the number of albums I didn’t get a chance to listen to. This is the first year with a with a toddler in the house. This is the first year I’m posting a Best Songs playlist (see the end of the post), and in some respects, I feel like I had more time for songs than for albums.

So with that introduction, the 2014 albums that went from a blossoming romance to lifelong partners are:

1. The War On Drugs – Lost In The Dream

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2. Angel Olsen – Burn Your Fire For No Witness

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3. Ryan Adams – Ryan Adams

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These albums got under my skin. Ryan Adams was
the incredible soundtrack to my first trip to the US (where I also saw him live). Angel Olsen’s beautiful voice held my hand while I made some difficult decisions this year. The War On Drugs was my constant companion through my most challenging professional, and most rewarding personal year. I bought all these albums on vinyl.

All the runner-up lovers, in no particular order

  • Beck – Morning Phase
  • Hozier – Hozier
  • Sylvan Esso – Sylvan Esso
  • Elbow – The Take Off And Landing Of Everything
  • Sturgill Simpson – Metamodern Sounds In Country Music
  • Weezer – Everything Will Be All Right in the End
  • Sharon Van Etten – Are We There

The nice albums that just didn’t stick

  • Jenny Lewis – The Voyager
  • First Aid Kit – Stay Gold
  • Rosanne Cash – River & the Thread
  • Jack White – Lazaretto
  • Conor Oberst – Upside Down Mountain

Albums that went over my head

  • St. Vincent – St. Vincent
  • FKA Twigs – LP1
  • Lana Del Rey – Ultraviolence
  • Thom Yorke – Tomorrow’s Modern Boxes
  • The Black Keys – Turn Blue

Albums I still need to listen to. Some of these may have made THE list, but…toddler

  • Lucinda Williams – Down Where the Spirit Meets the Bone
  • Swans – To Be Kind
  • Sun Kil Moon – Benji
  • Luluc – Passerby
  • Rodrigo Amarante – Cavalo
  • The Antlers – Familiars
  • Tweedy – Sukierae
  • Hurray for the Riff Raff – Small Town Heroes
  • Flying Lotus – You’re Dead
  • Alvvays – Alvvays
  • Thurston Moore – The Best Day
  • Ty Segall – Manipulator
  • Leonard Cohen – Popular Problems
  • Against Me! – Transgender Dysphoria Blues
  • Bruce Springsteen – High Hopes
  • Mogwai – Rave Tapes
  • Eagulls – Eagulls
  • Robert Plant – Lullaby and… The Ceaseless Roar
  • The New Pornographers – Brill Bruisers
  • Damien Jurado – Brothers And Sisters Of The Eternal Son
  • Foxygen – …And Star Power
  • The Flaming Lips – With A Little Help From My Fwends

For the rest, here’s my Best Songs of 2014 playlist

I leave you with a 2-hour playlist of my Top 30 Tracks. Technically a Top 29, because GRMLN’s “Of Nothing” isn’t available on YouTube (yes, this is still happening). You can, however, listen to it on Soundcloud: https://soundcloud.com/carparkrecords/07-of-nothing

 

 

A last final note…

The Decemberists snuck in two tracks this year from their forthcoming album (January 2015). I thought it was a little unfair to include it into the top tracks because they’ve just come along, but yeah, this is my new crush…

Late Again: The Best Albums of 2013

I’ll never live it down if I don’t document the best albums of the year that my son was born in, so here goes…

1. David Bowie – The Next Day

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2. Nick Cave and The Bad Seeds – Push The Sky Away

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3. Vampire Weekend – Modern Vampires of the City

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4. Queens Of The Stone Age – …Like Clockwork

Queens_of_the_Stone_Age_-_…Like_Clockwork

Low – The Invisible Way

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6. The National – Trouble Will Find Me

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7. Daft Punk – Random Access Memories

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8. Arcade Fire – Reflektor

ArcadeFireReflektor

9. Neko Case – The Worse Things Get, The Harder I Fight, The Harder I Fight, The More I Love You

Neko Case

10. Dawes – Stories Don’t End

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Special mention to Haim and 65daysofstatic for great albums that just didn’t make the top 10.Haim+65

Better Late Than Never: Best Albums of 2012

1. Godspeed You! Black Emperor – Allelujah! Don’t Bend Ascend 

1. Godspeed

2. Shearwater – Animal Life

2. Shearwater

3. Fiona Apple – The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do

3. Fiona Apple

4. Leonard Cohen – Old Ideas

4. Leonard Cohen

5. Tame Impala – Lonerism

5. Tame Impala

6. Richard Hawley – Standing At The Sky’s Edge

6. Richard Hawley

7. Animal Collective – Centipede Hz

7. Animal Collective

8. Dry The River – Shallow Bed

8. Dry The River

9. The Lumineers – The Lumineers

9. Lumineers

10. Alabama Shakes – Boys & Girls

10. Alabama Shakes

Special mentions go to Japandroids and Alt-J for almost making the list.

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Best Albums of 2011

1. My Morning Jacket – Circuital

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2. Wilco – The Whole Love

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3. Iron & Wine – Kiss Each Other Clean

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4. Fleet Foxes – Helplessness Blues

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5. The Black Keys – El Camino

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6. Decemberists – The King Is Dead

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7. The Antlers – Burst Apart

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8. Danger Mouse & Daniele Luppi – Rome

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9. TV On The Radio – Nine Types Of Light

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10. Lady Gaga – Born This Way

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Special mention goes to The Naked And Famous for their debut album Passive Me, Aggressive You. It really is a gem, but it missed the top 10 by a drum beat.

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Postmodernism is dead. Let’s dance.

Postmodernism is Dead. Let's Dance.

Google Trends tells me that Postmodernism has been in the news again recently. Apparently, on the 24th of September, Postmodernism is officially over. This makes me very happy.

From the 24th of September 2011 to the 15th of January 2012, the Victoria and Albert Museum open “the first comprehensive retrospective” on the movement: “Postmodernism – Style and Subversion 1970-1990.” It’s about time too, Postmodernism has overstayed its welcome. In South Africa it was on its last legs when I finished art school almost 10 year ago. Evidently in the sea of confusion, those in the know assumed we were still in Postmodernism (woops). But regardless of whatever movement we’re in or have been moving towards, does anyone care about defining the beginning and end of Postmodernism?

I do, but only because I studied the bollocks and I want to see the ass end of it. This post is not a lesson on Postmodernism, go read the Wikipedia entry or this article. Postmodernism and its wide definition of art, where anything can be justified, became a self-fulfilling prophecy. If anything can be put forward as art simply by writing a paper with big words in it and making academic references, then nothing is art.

I used to care about art, but Postmodernism killed that for me. As a philosophical movement it was great, teaching us that commentary on society can occur anywhere (and so much more). As a movement associated with artworks I believe it had an unintended, negative influence on artists, the craft and the works produced.

The man in the street doesn’t care. He or she just wants something pretty to put on the wall. The casual art observer wants something that isn’t too offensive and is sure to be an investment. These days I get my fill of social commentary from the internet and Southpark, and I look forward to the next art movement that doesn’t contain the word ‘modernism.’

This comic proudly stolen from Dinosaur Comics

Hey online music services, over here!

I just don’t get it. Why hasn’t iTunes’ music offering, Amazon’s mp3 Store, eMusic or a kickass streaming service like Spotify or Rhapsody launched in South Africa yet? There’s so much happening internationally, yet promising developing countries like South Africa aren’t invited to the party. Why?

The most commonly used reasons are licensing issues and the insignificant size of our market when compared to Europe and the U.S. Whatever. This is a massive opportunity being overlooked by the Big Guns. Strikes, lack of infrastructure, and the costs associated with setting up shop in a new territory are not applicable. South Africa is the gateway to Africa, and as far as available music services go there’s very little competition.

Although the iTunes store is open to South Africans, only apps are available for purchase. The choices when using a mobile device are cellular networks and those fly-by-night companies that advertise on eTV. For desktop purchases, music consumers can visit the Nokia OVI Store, Omusic and the newly launched Look & Listen mp3 Store.

For some consumers this is okay, but none of these options excite me. I’m a wannabe tech geek and Apple fan girl with strange music tastes. I want to buy from a platform that I know and trust to just work. Why should I be forced to settle for less because of my geographical location?

It makes even more sense for RiSA to push for an iTunes launch, since the volume of legitimately paid-for sales through the US iTunes store must be staggering. There are many South African websites that make reference to opening a fake US iTunes account, and even more devoted to the sale of iTunes vouchers. Unfortunately, all that money leaves the South African economy… Also, it’s illegal.

There are dozens of forums and sites detailing how to mask a South African IP address to access legitimate music services currently unavailable in South Africa. There are also plenty BitTorrent networks to choose from if you want to rip off artists. In this day and age we’re able to take from cyberspace what we want when we want it, which is why I believe the key to reducing piracy is to make it easier to find and pay for a song than to steal it.

Sure, it takes time to get the licensing agreements and publishing in place, but other international companies have shown that getting local agreements in place can be done. From there the rest of Africa can be a cinch, especially where broadband penetration is better. Where there’s a will, and maybe some smart strategic foresight, there’s a way. Hopefully we’ll start seeing some more international competition in this space soon.

The Naked And Famous: 2011’s Sonic Boom!

The_Naked_and_Famous_-_Passive_Me,_Aggressive_You

New Zealand’s The Naked and Famous are, so far, my favourite new band of 2011. Their debut album Passive Me, Aggressive You pulls together everything that’s good about popular music at the moment, while at the same time not coming across as commercial. Whether you hear their first single “Young Blood” in a club, at a friend’s house or on 5FM, the track is the epitome of cool every time.

Their sound is a mixture of dreamy dance-pop, dark sonic psychedelia and ripping up-beat melodies, as well as a healthy dose of noise. There’s definitely a lot in common with MGMT and LCD Soundsystem, but also hints of Radiohead, Animal Collective, Portishead, The B52’s and NIN. Yes, really.

Each song on the album is alive with youth and party, colliding synth-rock with dirty, edgier grooves in amongst the many memorable hooks. From the opener “All Of This,” you know you’re in for a road trip. There are brilliant ups and introspective downs along the way until arriving at the triumphant “Girls Like You.”

My favourite track at the moment is “No Way.” It oscillates between delicate female vocals with a restrained drum beat and an agitated guitar held in a wall of sound that reverberates over your ears… A lot like when you’re driving a little fast with the car windows completely open:

You can find out more about this fantastic band at their official website. Do that after you’ve bought or ordered yourself the album though, because Passive Me, Aggressive You will go down in history as one of those truly brilliant debut albums.

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