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28 APR 2025 · FEATURING
Cupid & Psyche 85 by Scritti Politti, released by Virgin Records in 1985. https://album.link/s/0nBH3ITWaQDYT2wAWRdg3K / https://scrittipolitti.bandcamp.com/album/cupid-psyche-85-2022-remaster
- https://song.link/s/1cMZTMXTITVxkHsgXNKKeB
TRANSCRIPTÂ
Imagine, for a moment, that it's 1985, and a British band of post-punk Marxists have decided to pivot into pop. What would you expect their music to sound like? Abrasive? Ironic? Overly cerebral? Perhaps that would be the most likely story. But what if I told you it sounded like this? Angelic, mellifluous, radiant, and undeniably groovy.Â
I don't usually like to do that, to historically situate what you're hearing before you actually hear it. I like to let the music just speak for itself. But in this case, I believe the context helps, to prime us to be surprised and to notice these curious little details, like the fact that this radio-friendly bop is a love song addressed to the "Absolute". And if you're wondering if I mean, like, the Absolute in the Hegelian sense? I do, and they do, too.Â
But let's not get too heady right away. Because the most important thing to notice about this song is how immediately infectious it is, reveling in its newly expanded palette of synthesized sounds to create a sonic concoction that never ceases to delight and surprise. And yes, it does have a certain sheen to it – but what a sheen it is.Â
I say all this to underscore the fact that this song, for all its self-awareness, is never condescending. It's fully in it and committed; it's pop music through and through. And that's what allows it to be a little bit meta.Â
So let's get into it. Let's talk about this love song to the Absolute. Because the way I see it, it's a distillation of what pop music is always actually about: the musical expression of desire, in all its thrills and throes. And here's the thing about desire: We like to talk about it as if it's for some particular person, but it's never that simple. The object of our desire is always some ideal, some figment of our imagination, some distant glimmer that beckons us from beyond what's in front of our eyes. We cannot actually grasp it; that's why we desire it. So isn't it just more honest to address your love song, not to pop's paradigmatic "boy" or "girl", but to the transcendental principle of a perfect and self-sufficient form of being?Â
And if that all sounds like a little much for a pop song, the good news is that you can set all that aside and just luxuriate in the sound of this music, because this song is never overbearing with its philosophy. But make no mistake: This album is full of these bits of wisdom, these incisive one-liners that encapsulate the fundamental nature of desire better than anything else I've ever heard in a pop song, lines like:Â
There's nothing I wouldn't do / Including doing nothingÂ
I got a lack, girl, that you'd love to beÂ
Now I know to love you / Is not to know youÂ
These are lyrics I never thought I'd hear in a pop song. But what I love about this music is that, as philosophical as it gets, it never stops sounding like this. Because it knows that this is the sound of desire, in all its ecstasy and magnetism and larger-than-life feeling. The music reifies, even as the lyrics deconstruct. It's the essence of desire made manifest. It's absolute idealism at its finest.
14 MAR 2025 · FEATURINGÂ
LOWER by Benjamin Booker, released by Fire Next Time in 2025. https://album.link/s/01UBvt33eTksshPiwljpBn / https://kf-merch.com/collections/benjamin-booker?srsltid=AfmBOoqA5IOrEVv50Ymj3CunCzBaM66HBAIK-13EkV4mRPmzAArZioRaÂ
- https://song.link/s/3YnYMjDHxPs5WsKjGJwZEEÂ
- https://song.link/s/6bCaEEClppz5T48ekQvKVOÂ
TRANSCRIPTÂ
I never cease to marvel at how music in an instant can evoke a feeling or create a mood – and what's more, that it's able to do so in perpetually new ways, just through the careful selection and novel juxtaposition of sounds: a lacerating guitar tone, accentuated by a reverberating chime, layered over a beat that's all fuzz and thump, accompanied by a ghostly voice.Â
It's this voice that really did it for me, drew me in and made me listen, to something so immediately delicate and chilling. This raspy whisper, singing ever so softly, in a way that should scarcely be audible, and yet, pervades the mix like a miasma.Â
And even as everything else gets dialed up for the chorus, the main vocal stays as it was, still just barely breathing out the words, but now doubled by a second voice, singing higher and louder as if howling from a distance, as the rest of the ensemble creaks and buckles under the weight of its own crescendo.Â
It's a sonic landscape that's steeped in dread, which makes it a fitting soundtrack for the song's lyrics, which allude to the tyrannical gaze of state surveillance and its clandestine acts of violence and oppression. If this music sounds hostile, that's because it's describing a hostile world.Â
But there's a little prayer inside the mayhem:Â
Give a little love...Â
Have a little dream...Â
Hallelujah, dying fightingÂ
For a life I ain't had yetÂ
It's not quite hope, but it's a note of resistance, a counterpoint to the overwhelming sense of unease that otherwise permeates the song, a reminder to hold it together even while the world around you is falling apart, fraying at the seams, and disintegrating into noise.Â
But perhaps, through the static, something new will emerge: a sound still bruised by the world's roughness, but a little softer and brighter and, dare I say, hopeful.Â
The voice is just as chilling as before, though it now seems to speak with greater ease and self-assurance. Its tone is matter-of-fact, even as it addresses its own oppressor and describes its own subjugation, as if it is strangely at peace. And again, as we move into the chorus, the main vocal is multiplied, swelling into a lush choir of sonorous voices, washing over us like waves on the shore.Â
What a turn from the previous song. But I can't help but hear it as a response, countering the last song's images of racial domination with a pithy encapsulation of the master–slave dialectic:Â
You can't be who you are without meÂ
Beneath you...Â
Down hereÂ
If this song sounds breezily confident, it's because it's flush with the knowledge that, as bad as things are, this is not how they're supposed to be. And even if the singer can't say when a new world will arrive, they at least know that they are it.Â
And maybe we can hear the new world arriving right now, in this music, as a strange beauty begins to form out of an assemblage of musical debris – a winding phrase from a violin, a touch-tone keyboard, a metronomic piano, a pounding guitar, a boom-bap beat, and then, the sky opens up, making way for the infinite heavens, the glittering stars, the limitless future, and one last refrain.
14 FEB 2025 · FEATURINGÂ
"As" by Stevie Wonder, from Songs in the Key of Life, released by Tamla Records in 1976. https://song.link/s/13toFl1UwJPsRxDiD9jgtnÂ
TRANSCRIPTÂ
Classic songs are classic for a reason. And this song wastes no time. It just immediately launches into this immaculate verse, a silvery melody set atop prismatic chords, all to express that most quintessential of messages: "I'll be loving you always". It's an encapsulation of what every pop song strives to be, and we're not even a minute in. And before we get there, the song will already start veering off in its own direction, transforming all of a sudden into this gospel-inspired chorus, with these new and almost haunting harmonies, which turn the song into something mystifying, riveting, and rapturous.Â
But the song won't hold us there, at least not yet. And so we return to the sweetness of the verse. But even here, we can start to notice a gnomic quality to the lyrics, with lines like "As time knew to move on since the beginning" or "As now can't reveal the mystery of tomorrow". What is this? Is it a love song, or a treatise on metaphysics? Or is it the genius of this song, to recognize that love cannot be expressed in any other way or in any other terms, because love is a greater power that lies beyond the grasp of words?Â
Though we can start to feel a tremor of that power in this refrain, with its dark chromatic tension and full-throated call and response. And this is also where the lyrics reach their most evocative pitch, with a series of impossible similes like "until the day that eight times eight times eight is four", or "until the rainbow burns the stars out in the sky". Obviously, what the singer means is that their love is everlasting. But the song sure makes you feel like something deeper's being said.Â
And this is where a lesser songwriter would've left things, and where commercial radio would start crossfading it out, as indeed they do, per the radio edit of this song. And this would be sufficient; these first three minutes are already a monumental achievement of pop songwriting. But on the full album version of this song, there's still four minutes left, and the songwriter is just getting started, and is about to blow the whole thing wide open.Â
Suddenly the singer assumes a whole new voice and tone, replacing their loving proclamations with preacherly exhortations. They're now speaking directly to us, and they're about to mince no words, in my favourite lines of the song:Â
Make sure when you say you're in it but not of itÂ
You're not helping to make this earth a place sometimes called HellÂ
Change your words into truth and then change that truth into loveÂ
This bridge is truly a bridge to the back half of this song, which feels like it occupies a whole new plane of existence. Because it's now clear that this song isn't just about some ordinary love, everlasting as it may be. It's also about a higher, more transcendent love, which is not the typical stuff of pop songs. Perhaps it's about the singer's love for God, or about God's love for humanity, but in my mind it's most centrally about the universal love we're all meant to have for one another, and that love's absolute transformative power.Â
There's no way to truly describe this love in words. The only way to get at it is analogically, through a series of impossible similes, or by extension from a never-ending romantic love, or by means of a seven-minute sonic opus that stands as a musical exemplification of that love's endurance and supremacy. It's enough to send shivers down your spine.Â
But what amazes me most about this song is that, up until this year, I had never truly heard it. I may have caught flashes of it in the background, heard it playing here and there, but I had never sat down and let it speak to me. I should've known better; classic songs are classic for a reason, after all. But maybe there's a lesson in that, for the power of love is also easily missed, even though it is always there, at the ready, just waiting for us to take it up, as it always will be, until the day that you are me and I am you.
15 JAN 2025 · FEATURINGÂ
Curyman by Rogê, released by Diamond West Records in 2023. https://lynkify.in/album/curyman/wckmzsJ8 / https://roge.bandcamp.com/album/curymanÂ
- https://lynkify.in/song/pra-vida/MuZfbEFqÂ
Â
TRANSCRIPTÂ
It's a new year, and this isn't a New Year's song, but that doesn't stop it from feeling like one, from feeling like the song I need to have with me to face the year ahead: this energy, this vitality, this exuberance.Â
Just listen to this rhythm section: the classical guitar strumming in punchy syncopation; the bass keeping a steady downbeat; a ganzá rattle subdividing the rest; and this pitched percussion instrument off on the right – an agogo perhaps? – tapping out a spirited samba beat.Â
Could it be any more full of life? It's like the music itself is dancing and laughing and beckoning us to join in.Â
And so it's fitting that the song's Portuguese refrain instructs us to "let it go, let it be, let's live". A simple imperative, but what else needs to be said?Â
And look: This isn't my first samba. I've heard grooves like this before. I've heard performances that are similarly vibrant and vivacious. I'm not saying that this song is like no other samba that's come before it. But there's a distinct joy in hearing it done this well, in hearing an ensemble come together like this, and in feeling that indomitable samba spirit come alive.Â
So let this song serve as a model, and let this be my new year's wish. May your spirits be this uplifted. May your voice be full of song. May your body be always dancing and your heart be never still. May your mind be free from worry and your soul just be free. May you let it go, let it be, and live.
17 DEC 2024 · FEATURINGÂ
"Beautiful Horses" by Christopher Owens, from I Wanna Run Barefoot Through Your Hair, released by True Panther Records in 2024. https://lynkify.in/song/beautiful-horses/3mZ9G9l2 / https://christopherowens.bandcamp.com/album/i-wanna-run-barefoot-through-your-hairÂ
TRANSCRIPTÂ
Let's end the year with a little tenderness. Because what better time is there to open up and show how you feel, to bare your heart and say all the things that so frequently go unsaid.Â
♪ Please don't nag at me ♪ Okay, perhaps not the sweetest opening line. ♫ I will be strong for you ♫ Now that's a little better. ♪ Don't say you're worried ♪ That's reassuring, even. ♫ Don't say you're scared ♫ And now we're getting somewhere. So let's put it all on the table. Because in the end, it's all about love. And "love is enough."Â
It's easy to feel like this song is stumbling over its words just to express a simple message, but sometimes the simple message is all there is to say. And with a message like this, the words are kind of beside the point. For the real expressive instrument here is the vocal delivery, the naked vulnerability in the singer's voice, which says so much without having to say anything at all.Â
And then, in the song's midsection, the expressive power of that voice gets transposed to the guitar. And maybe it's just because I hear so little guitar-driven music these days, but man, does this solo ever hit. As it weaves its way through licks and arpeggios and distorted harmonics, it's like its tracing the contours of the singer's feelings, in the clearest expression yet of what they really want to say.Â
And then, a digression about Christopher Reeve. Because this song isn't some perfectly constructed poem. It's impulsive and weird and sometimes vulgar and a little bit all over the place. But you know what? It's authentic and heartfelt and saying exactly what it thinks.Â
Or maybe it is a perfectly constructed poem, as it closes with this bewitching simile between the singer's hands and beautiful horses, galloping into the distance.Â
I'll be honest: I don't understand this song, why it works, its unusual magic. But I know how it makes me feel, and maybe that's its true secret: to be able to convey through words a feeling that's beyond them, and to not let language get in the way of saying what you mean.
29 NOV 2024 · FEATURINGÂ
"NO TITLE AS OF 13 FEBRUARY 2024 28,340 DEAD" by Godspeed You! Black Emperor, released by Constellation in 2024. https://lynkify.in/album/no-title-as-of-13-february-2024-28-340-dead/A5wAlaQ3 / https://godspeedyoublackemperor.bandcamp.com/album/no-title-as-of-13-february-2024-28340-deadÂ
Â
- https://lynkify.in/song/raindrops-cast-in-lead/7i0l4i0uÂ
TRANSCRIPTÂ
Must music have a meaning? Does it have any other choice? Obviously, music need not be representational; its sounds need not be taken to depict anything, concrete or abstract. But what, then, to make of the fact that music can so readily bring us into a certain feeling or state of mind or situation? Surely, such music must be said to be conveying something – something ineffable perhaps, but not void of sense.Â
Even this music, what's playing right now, seems rich in significance, despite its minimal elements. I hear in it an unsteady serenity, a momentary peace, an eerie quiet, the calm before the storm, electricity in the air, bristling, quivering, full of foreboding. And then, the sky begins to rain down.Â
The opening salvo is a simple motif on guitar, made jagged through layers of distortion and delay. But it is quickly joined by a cascade of supporting artillery: an unrelenting beat pounded out by the bass and the drums, a second guitar doubling the motif in a higher register, a counterpoint from a violin (or is it spiraling out of control?), the beat now hammered out by cymbals, propelling it on even further, and a third guitar, slicing through the burning sky.Â
At last, the full cannonade arrives, and it's immediately disorienting, as the downbeat shifts below our feet, the two becomes the one and the one becomes the four: one last cataclysm in a whirlwind of chaos.Â
Can there be any doubt as to what this music is trying to convey? It's hard to hear it as anything but a violent attack, a relentless assault, an inescapable blitz. Sounds howl through the air like missiles, made all the more terrifying by their patent coordination. The song's title describes it bluntly: "raindrops cast in lead". But there's another sound that can be heard, nestled deep within the maelstrom, an uncanny brightness amidst the unending destruction. I hesitate to try to say what it is. Some awful beauty? Some glimmer of hope?Â
And then, a reprieve; and then, a disorientation of a different kind; and then, a voice – something rarely heard in this band's almost exclusively instrumental oeuvre. And it's not the voice of one of the band's members; it's not even in their, or my, mother tongue. So let me translate:Â
Raindrops cast in leadÂ
Our side illuminatedÂ
And then extinguished and buried and finishedÂ
Under the perfect sunÂ
Under the body falling from the skyÂ
They were martyrs who fellÂ
Because on our side they are martyrs since before we were even bornÂ
Those who tried and were killed for tryingÂ
Those who died young, angry or old, and never saw the dawnÂ
Innocents and children and the tiny bodies who laughed and then fell asleep foreverÂ
And never saw the beauty of the dawnÂ
"The beauty of the dawn" – is that what we were hearing earlier, barely audible beneath the barrage? Is that what we were hearing just before this, breaking through for a moment of interstitial tranquility? Is that what is now again being occluded, as the devastation starts anew? As we move into the song's second figure, a simple back and forth between two chords, between suspension and resolution, between tension and release, between uncertain possibility and brutal fact.Â
And we're just getting started. This onslaught will continue for another three minutes – screeching, sundering, spinning out, filling the sky till there's nothing else, nothing but its program of annihilation. And there will always be more. Just when you think it's reached the height of its aggression, it gets even louder, even heavier, even noisier, even more wild and fierce.Â
You may, at this juncture, very well be wondering, What's the point of all this? Sure, it's impressive, and unnerving, how this music can bring such a horrific scene to life. But it is, in the end, a representation, not to be confused with the reality, which is, of course, unspeakably worse. But representations can also show us aspects of reality that reality itself obscures. And so I come back to that note of awful beauty, the silver lining in the thundercloud, an indomitable spirit that can be heard beneath everything, despite everything, amidst the blistering violence an invincible glimmer of radical hope.Â
But this music is not meant to be triumphant. It will present us with the possibility of resilience, but not its realization. Instead, it leaves us here, in haunting suspension, for there are many who will never see the beauty of the dawn.
28 OCT 2024 · FEATURINGÂ
"Viderunt Omnes" by Pérotin, performed by The Hilliard Ensemble, recorded and released by ECM in 1989. https://lynkify.in/song/viderunt-omnes/6bxXxYZVÂ
TRANSCRIPTÂ
In the beginning was the word – a mere syllable – a solitary tone. And then, there were several. And just like that, there was music: harmony, rhythm, dynamics – but more than that, a strange, otherworldly beauty that seems to appear out of thin air, suddenly floating above us and gracing us with its presence.Â
What we are hearing is arguably the genesis of music as we know it, one of the earliest known pieces of polyphonic music in the Western musical tradition. It may in many ways appear rudimentary, its harmony of the simplest kind: a sustained drone in one voice while other voices bob and weave around it, producing a series of resonant intervals circling round their tonal center, and creating an utterly hypnotic harmonic soundscape. Simple, perhaps, but what majesty there is even in this.Â
This music is captivating precisely because it doesn't seem like it should be possible, to pull such beauty out of thin air. How wondrous, that the mere arrangement of sound waves is sufficient to create something like this, so awesome and astonishing, as if it were always there, just waiting for us to tune into its frequency. It's like a tear in the fabric of the universe has been discovered, offering a glimpse into another world.Â
Of course, this is all apropos to this music's raison d'être, seeing as it is literally sacred music – music of worship, music of the church, music designed to exalt an otherworldly being. But what I hear in this music does not seem tethered or limited to any particular religious tradition or faith. What I hear is music that is putting us in touch with the divine in the most universal sense – a divinity that is revealed to us through sound.Â
And the most remarkable thing is that this divine revelation emerges from the most mundane elements. In other contexts, it may arise out of strings of catgut or rawhide skins; here, it comes about simply from the human voice. And to be sure, these are exceptionally beautiful voices, a paradigm of purity and discipline, moving in perfect coordination, and reverberating in an exquisitely sonorous space. But still, there is nothing supernatural in the mix; everything we hear is the product of human vocal cords and human vocal cords alone. The same instruments we use to talk and yell and argue and curse can also produce this. And that feels like magic. That feels like something that shouldn't be.Â
How incredible that all of this would be present in music this primeval. But take that as a lesson, that music's revelatory powers have been there from the very start – that for as long as there's been music, it's had the capacity to fill us with wonder in this way. And the history of music is not some long march towards the perfection of this capacity, but rather an eclectic chorus of voices, all realizing this capacity to the fullest, but in new and singular ways. Which is to say, the history of music is like a series of worlds revealed to us, a sequence of curtains drawn back, none inherently better or truer than any other one, and all equally sublime. This piece of music may be one of the oldest extant examples of the art form, but its sound is timeless.Â
Timeless, and also strange: the haunting swirls of voices, the glacial harmonic movements, the uncanny synchronicity. But this strangeness is precisely what makes the music so captivating, as if by holding it in our gaze we will spot how it works its conjuring trick. But of course the music resists our efforts and remains inscrutable. We can't ever truly explain it; all we can do is take it in. But that's why we listen. That's why we can't look away. And if this piece teaches us anything, it's that music has always been this way, and always will.Â
30 SEP 2024 · FEATURINGÂ
Passage Du Desir by Johnny Blue Skies / Sturgill Simpson, released by High Top Mountain Records in 2024. https://lynkify.in/album/passage-du-desir/Td6YNw1t / https://shop.sturgillsimpson.com/Â
- https://lynkify.in/song/swamp-of-sadness/78tcw1Pq
- https://lynkify.in/song/who-i-am/6GFsyTqg
TRANSCRIPTÂ
I know it may not sound like it right now, but I'm here today to talk about country music and a masterful singer who knows just how to play it and how to play with what we expect it to be.Â
Now that sounds a little more like it, though there is a surprising amount of French in the lyrics. But I'll come back to what's surprising; for now I want to focus on how the music sounds and how it's doing everything just right.Â
What I love about this music is the soft-spoken emotion that runs through every beat and measure. You can hear it in the singing, in the way each word is delicately phrased and the whole song is practically whispered. You can hear it in the instrumentation, with its bending guitars and warbling organ, weepy pedal steel and fluttering mandolin. Even that weird accordion from the beginning doesn't sound so out of place, in this context.Â
Which is just to say that this music, like so much country music, is music of the heart, giving voice to its quiet aches and pains. If it doesn't reach the histrionic heights of other styles of music, that's because it's expressing an ordinary kind of heartbreak, the kind to which we can all, sadly, relate.Â
And that's why the vocal delivery here is so essential. When done right, we can hear in it the singer's honesty, sincerity, and conviction. They're not trying to impress us, they're trying to tell it like it is.Â
But then here's the irony: For all its straight talk and musical swagger, this is a song about the singer's own confusion, isolation, and instability. It's a song about the distorting effects of temptation and the "sirens" that keep luring the singer out to sea. It's a song that sees the singer likening themself to Odysseus, that wily man of many turns, the sort of shapeshifting persona that would seem antithetical to country music.Â
But that's the beauty of this song. The singer takes this plain-spoken style and uses it to tell a different, deeper kind of truth, which might run counter to what we expect to hear from a song like this, but is in fact an even more honest statement of what it's really like to exist in this world.Â
So what do you think the singer is gonna have to say in a song called "Who I Am"? Well, the first thing the singer tells us is that they've "lost everything I am, even my name". In an even more stripped down and straight-ahead style than before, they remind us of the wisdom that "nothing ever stays the same". Or, putting it more starkly, "they don't tell you until you die it's all a sham". And the singer shares their relief that God doesn't ask your name when you arrive at those pearly gates, since, as they say, "I couldn't tell Her if I had to who I am".Â
That's this singer's self-introduction. That's what they have to say about who they are. It may seem like a rebuttal of the question, a rejection of its very premise. But a better way to look at it is as the only answer they know how to give.Â
Because what this song really is is a song about aging, and how, as one gets older, it only becomes harder to know oneself, in part because of the traumas and tragedies we all suffer, and in part because of our own avoidance. It's about reaching that age where therapy can't reach us. It's about being left behind. And here's the best line, am I right? "Life ain't fair and God is cruel, but at least She ain't the man."Â
What I hear in this song is a message, that even in the face of the existential meaninglessness of it all, it still feels good to be your own person, even if you don't know who that person is anymore – and that maybe the true wisdom of age is that you don't need to know, and that maybe life is better if you don't.
Explicit
31 AUG 2024 · FEATURINGÂ
brat by Charli XCX, released by Atlantic Records in 2024. https://lynkify.in/album/brat/iCzvPKj7 / https://store.charlixcx.com/
Â
- https://lynkify.in/song/360/b5CPQeex
- https://lynkify.in/song/365/tjEja3xGÂ
TRANSCRIPTÂ
It had to happen. I had to talk about this album. It is brat summer, after all.Â
And you know what's so great about this song? It's not giving voice to some universal feeling, like the thrill of romance or the exuberance of youth. It's not even trying to be relatable. It's just a song about the singer's own preeminence and ubiquity. It's a song about how the singer is "everywhere". If this song makes us feel anything, it's the vicarious satisfaction of a self-fulfilling prophecy or a self-evident proof.Â
And you know what else is so great about this song? It's a total bop, even though it has no right to be. Like, what is this beat? There are hand claps and a bass line that's both rhythmically and harmonically jolting – and that's about it. But by some kind of magic, it works, and worms its way into your head, forever on repeat, drowning out all other musical memories until it becomes the only song you ever hear, the only song you've ever heard, the only song you'll ever need – until we're all just "bumpin' that", as indeed we are.Â
But this song isn't done with us just yet. Really, it's just getting started. It's time for the remix.Â
That same jerky beat is back once again, but pitched up and sped up, and somehow that makes it a good beat for the singer to now rap over. It all makes even less sense than it did before, and that's kind of the point. This is music that revels in its own irreverence, music that's high on its own supply, music that is unafraid of doing something dumb, on the off chance that it may end up being something brilliant.Â
Like, what if it went all techno on us? To which the only reasonable response is: What if went even more techno?Â
Another way to say all this is that the artist is treating their own music like a meme, something to be repeatedly twisted and warped and transformed into increasingly unexpected and ridiculous shapes. And we are being treated to the artist's infinite scroll, an endlessly unfurling mess of musical ideas, a nonstop party that we can only hope will never end.
29 JUL 2024 · FEATURINGÂ
I Am Toward You by How To Dress Well, released by Sargent House in 2024. https://lynkify.in/album/i-am-toward-you/VIpowwUX / https://howtodresswellmusic.bandcamp.com/album/i-am-toward-youÂ
Â
- https://lynkify.in/song/new-confusion/IJteaJuW
- https://lynkify.in/song/crypt-sustain/mveFNKOk
TRANSCRIPTÂ
From its very first notes, it's like a beatific vision. Almost laughably so, with its arpeggiated harp, ethereal synths, and lush reverb. It welcomes us warmly, sweetly. But before long it will overwhelm our senses.Â
The first voice we hear sounds tiny and distant, dwarfed by the enormity around it, as if singing into the void. And then the voice modulates and duplicates, in the first of many transformations. Quickly the voice mutates even further, pitched up to new heights, until it starts to deteriorate. And then it is distorted beyond all recognition, right as it is delivering its most soulful plea.Â
It's like the song is trying to discover the limits of what music can be. How much can a melody be manipulated before it loses its tune? How much can a sound be bent before it breaks? And what's remarkable about this song is that, despite all its sonic chaos and distortion, it remains a thing of beauty – sparkling, shimmering, and diaphanous. These voices should seem terrifying, like a demonic cabal, and yet, they feel like an angelic chorus, delivering us to another world.Â
And this is only the beginning. The artist is about to push things even further, packing as much as possible into a single sonic moment, producing an experience that's somewhere in between ecstasy and obliteration.Â
It's like this music wants to bring its ensemble of sounds to the brink of annihilation, distorted almost to the point of incomprehension – but not quite. Throughout it all, it remains a thing of beauty. And maybe that's why the music can seamlessly shift between its opening cacophony and these interstitial moments of delicacy, as if a whisper is not the opposite of a wall of sound but just another way of revealing the divine.Â
It's like the song is trying to become as noisy as possible without ever falling into atonality or darkness. It's like a brilliant beam of light, so brilliant that it blinds our vision, without ever making us wish to avert our gaze.Â
And just when you thought nothing more could be added, there are drums. And not just drums, but a stampede of percussion. It's like the Rapture, leaving us guessing as to whether we are being destroyed or saved.Â
It's like every sound that has ever been heard is here in this one moment, and it's beautiful – irresistibly, oppressively beautiful.
Reflections on the joys of discovering new music
Information
| Author | Willie Costello |
| Organization | Willie Costello |
| Categories | Music Commentary |
| Website | theyearofmagicallistening.com |
| theyearofmagicallistening@gmail.com |
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