Nishat Recommends: “Champ” by Gleemer

(Photo from Gleemer’s Facebook Page)

If there were a song to manifest that desperate anxiety the turn of seasons brings, “Champ” is that song. On the second half of Gleemer’s 2015 full-length debut, Moving Away, the Colorado, noise-pop quartet’s twinkly guitars and gutting lyrics spare no sentiment.

“Hot like the afternoons
when you kiss her on the mouth.
Locked on the common ground
you won’t say you love me now.”

If you, too, subscribe to the emo-lifestyle, then you’ll agree that winter is a perfect season for slow songs that demand you wear a blanket to keep warm. Other midwestern natives understand how brutal the cold here can be, how autumn is so short it’s a myth, and how sometimes you’ve just got to double down on the weather with a song that’s there in the pits with you.

Maybe it’s the masochist in me, but lines like “You were right all that time/to feel like nothing you said made a difference” cut so deep that I am shocked back into myself.

Despite the short hours of light and the unforgiving cold, winter is a healthy reminder that all things must shed their old leaves and selves to be ready for new growth in the spring.

“and I lost my phone in that summer water
the night your brother left town,
and I could feel your hands move through that river across
my chest for the last time.”

“Champ” is a hard song to listen to at times; it’s a song about fading summers and memories, but it also serves as a bridge to carry you to whatever the next season might bring.

(Song recommendation by Nishat Ahmed)

Kiley Recommends: “Funeral Singers” by Sylvan Esso

“All my friends are words.” In this digital age, it’s easy to reduce people to their representative presence. After all, I can only see what my acquaintances choose to show of themselves. But how deep is a life, and what spark might be hidden under the covers?

Sylvan Esso and Collections of Colonies of Bees beautifully cover Califone’s “Funeral Singers.” The original song appears on the album “All My Friends Are Funeral Singers,” which also happens to be the soundtrack for a movie of the same name. Although I haven’t personally seen the film (yet), the trailer is intriguing and absolutely worth the search.

I’m only a little bit obsessed with covers, and this particular one has been on repeat lately. I love the spacey synth, the grounding rhythm of the acoustic guitar, and singer Amelia Meath’s clear tone guiding us through the cryptic lyrics much the same way a lighthouse keeper aides those in turbulent waters.

“Funeral singers wail.” They remind us of life in the midst of inevitable death —  that our friends and loved ones can be remembered through weeds and rain, half-gone birds, and magnets, even if we have been orphaned to this world. One day, everyone returns to the soil, and we all keep time until our push comes.

Covers remind me that understanding is a choice. The ability to see beyond the surface is a vital response to this world’s ache for light, and I am so grateful to these artists for shaping and reshaping that light in the form of this song. They remind me to offer the same courtesy to my friends, family, and even to strangers.

How much kinder would life be with this mindset? When assumptions are broken and viewed in new light, empathy is expanded. Acquaintances may now become familiar, and in the end, we are all funeral singers wailing for what is lost.

(Song recommendation by Kiley Lee)

Lindsey recommends 2X Tigers by Third Eye Blind

You might be surprised to learn that the Third Eye Blind fan community is in turmoil over one song on the band’s new album. You might actually be surprised to learn there is a new Third Eye Blind album. Or that there is a HUGE, active fan community dedicated to a band you probably only associate with their hits of the late ’90s. Well, catch up. They may have left the major label scene in the early aughts, but they’ve been making music and touring all these years. In the last two years alone, I’ve seen them 15 times.

When a handful of the almost 2,500 fans in one Facebook fan group got ahold of a copy of the album, “Screamer,” a few weeks early, they shared the files with the group. Within hours, there were posts expressing disappointment and even anger over the track “2X Tigers.”

I decided not to download the album early (and by “decided not to” I mean, I didn’t have time to re-learn how to consume music from any source that isn’t a major streaming platform). But I watched the comments and fights in multiple groups. “This is not my band,” many said. “It might grow on me,” was maybe the most generous comment. People were making T-Pain references and calling out Stephan Jenkins for all the times he claimed “we aren’t a DJ band; there are no backing tracks here.”

When the album was released I just played it from the beginning to see if I could identify the offending track. It took me two seconds when track 10 began to know I’d found it: MY NEW FAVORITE SONG! I jumped up from my desk. I was ready to party. It immediately replaced what I thought would be my favorite based on the five new songs we got a taste of during the summer tour. (For the record, “Ways,” was my favorite from the tour and still a close second on this album.)

Yes, “2X Tigers” is so very different than other songs from the band’s catalog and even from the rest of this album. No, there aren’t any guitars. Yes, it’s heavily auto-tuned. But here’s the thing about autotune: I feel like autotune is to musicians what grammar is to writers. When you know the rules of grammar, you can break them. Some of the best writers break grammar rules as a fun and unexpected device in their writing. When someone is actually a talented singer, which Jenkins has proven — over 23 years — that he absolutely is, then what’s wrong with fucking around with some autotune for funsies?

If you haven’t listened to 3EB since their last radio hit, you definitely won’t recognize them from this track. But even if it’s not your cup of tea, still give the rest of the album a spin or listen to anything else they’ve released in the last 20 years. Just don’t try to beat me to the rails when you start going to shows.

(Song recommendation by Lindsay Hileman)

Jeanne Recommends: “Mesa, Arizona” by Jeffrey Foucault

Tucson in July is not for the weak. Summers here necessitate holing up in reverse — rise as early as possible for exercise, errands, and anything else requiring a trip out of doors, and then retreat until after dark into air conditioning or to a covered patio with misters and fans. (If the latter, make sure there is an outstanding selection of beer to complement the ambiance.) It’s ass-backwards hibernation at its finest.

I was sitting in my living room on just such a July afternoon not too many years ago, just north of 40 years old and beating my now-standard retreat from the aforementioned desert sun. I’d started playing Jeffrey Foucault’s third solo album, Ghost Repeater (already a decade old at the time), earlier in the hour as I did laundry, reconciled my checking account, and tidied up my apartment.

As I paused on my sofa, the penultimate track, “Mesa, Arizona,” started playing, and sent a revelation from my bluetooth speaker straight into my heart. People across generations remember where they were when certain momentous events of national or international significance took place; I will always remember exactly where I was and what song was playing the last time I realized I was in love.

And the sun gone down
In the pale thin pink
There’s no one to talk to
All I can think
Is your eyes are full of train smoke
And your mouth tastes like rain
And I know when I know nothing
I will always know your name

“Mesa, Arizona,” a love song that came about after Foucault got lost in the concrete wilds of the greater Phoenix area, was the truth serum that catapulted me out of deep denial that summer day. I still self-medicate with this tune when I need to remember what it was like to feel such unequivocal certainty, or just to recall the one who has my heart.

You’re the one I want to talk to
The one I know to call
The one who’s going to catch me
When my pride leads to a fall
You’re the sky all full of starlings
And an ax blade shining in the sun
You’re the angel touched a coal
Against my lips
You’re my only one

(Song recommendation by Jeanne Sharp)

Emery Recommends: “Punk as F*ck” by The American Analog Set

 

One of the saddest facts I know is that The American Analog Set isn’t making music anymore. “Punk as Fuck,” especially in autumn, reminds me of this devastating fact — though we’re very fortunate to have had them at all.

The song opens AAS’ 2001 album Know by Heart and sounds nothing like the name of the song implies. It’s a beautiful song with dreamy sounds and lyrics.

I like recommending “Punk as Fuck” both because it’s gorgeous and because you can then listen to and enjoy the rest of the album in its entirety. It’s a perfect album for chilly fall days when you just want to curl up in a fuzzy blanket and avoid the rest of the world.

The lyrics, at the surface, seem sweet —  a story of the comfort of love, perhaps. But by the end, the song demands, “Leave me to die / in the comfort of my own home,” hinting at a darker meaning. And perhaps explaining the song’s title. What’s more punk than death, after all?

So, since it’s Scorpio season, and because the days are growing shorter and the nights longer, and because winter is fast approaching, feed your melancholy and intensity with some moody jams from AAS. Start with Know by Heart and “Punk as Fuck,” light some fall candles, grab a blanket, and settle in.

It’s perfect. And worth it.

(Song recommendation by Emery Ross)

John Recommends: The 5 Best Versions of a-ha’s “Take on Me” (Besides the 1985 Classic)

Image via Your EDM.

Not many songs have acquired the continued cultural prestige and popularity that “Take on Me” has. The a-ha song became a hit when it was re-recorded and released with a unique music video in 1985. The video included some beautifully illustrated frames achieved via the technique of rotoscoping. It is ridiculously catchy.

However, an earlier version of “Take on Me” exists. The ’84 version, though it does not have as high of a tempo as the revamped ’85 one, is still aesthetically pleasing.

Another great take on “Take on Me” that a-ha has recorded is the Kygo Remix, which is highly evocative of playing under the sun, the outdoors, or taking in the beach. This rendition of the song feels nostalgic and classy, yet refreshing and easy-going at the same time.

There have been a number of remixes of the song done in recent years to make it even more upbeat and quicker-paced than the classic 1985 rendition. One such remix has been hailed as “Take on Me — Symphonic Version.” Here it gets an orchestra-style treatment. It really brings the classic song to life, giving it a unique electrified grandeur.

Another superb remix of “Take on Me” is inspired by the version used in the trailer for Steven Spielberg’s Ready Player One (2018). It is the extended Tribute Remix published by YouTuber GtaRemixJose.

Though more heavily instrument-focused, this particular remix does employ the inequitable a-ha vocals. Once again, this version of the song strikes a sense of grandeur into the listener.

Lastly, it is certainly worth mentioning a-ha’s MTV unplugged version of the song. Undoubtedly it is the rendition that has the slowest tempo. It is above all a peaceful listen. “Take on Me” usually has people out on the dance floor pulling out their craziest, shakiest moves.

However, the unplugged version is definitely a piece of music one dances slowly and smoothly to. It’s quite a drastic difference, but it is beautiful all the same.

For a song that has remained as popular as it has over the decades, it is inspiring to see the many variant forms “Take on Me” has taken. And it continues to appeal to music-lovers more than 30 years down the road.

(Song recommendation by John Tuttle)

Seigar recommends “Run, girl, run” by Frances Barber & Pet Shop Boys

One of the best EP of 2019.

Seigar, the photographer, is back.

The track I’m presenting you today is included in a 6 track EP of songs from the cabaret show “Musik”” by Jonathan Harvey and Pet Shop Boys. All songs were written and produced by Pet Shop Boys, and sung by Frances Barber playing the character Billie Trix. “The Billie Trix Story” (2019) is a spin-off cabaret show of “Closer to Heaven” (2001). Though, critics do not find Pet Shop Boys at their common inspired and high level in this EP, I find them quite on point. Probably because I have always been a musical lover. And these are typical musical songs.

The original “Run, girl, run” song by Billie Trix (1971) is inspired by the famous Nick Ut photograph of a naked young girl running from a napalm attack during the Vietnam War. So the history of the song is quite tragic and sad. This little girl expression of pain was her passport to immortality and she became an icon of her age, unwillingly.

Musically the track moves from tropicalism to jazz, the warm and beautiful voice with sad tone adds some spice, but what I really love about this song is the lyrics. I’d say it’s a masterpiece because of that.

Enjoy the ironic tune.

(Song recommendation by Seigar)

Nishat Recommends: “Stumble” by Ocean Glass

(Photo by Josh Johnson, Courtesy of Ocean Glass)

Perhaps it might be haughty to recommend a song I wrote and recorded with my band. (Just kidding, I know it is.) But, it might also be fair to say that this song extends and exists beyond the scope of myself.

I’ve been writing mediocre songs and poems about love and heartbreak and other great clichés ever since the beginning of middle school, but writing the chorus to “Stumble” in the tiny living room of my sophomore year apartment to the acoustic finger-picking of my bandmates on the couch felt like the first moment of something real: and it was.

“I wanna run away from you,
I wanna run away from you, now.
I wanna run away from you,
But you tied me down.”

When I first wrote those lines in 2012, they were about a high-school crush I just couldn’t shake. And then a few years later that chorus felt tied to escaping an emotionally abusive relationship I had just left. As of late, I always ask the crowd have you ever stayed together with someone that wasn’t right for you because of a silly reason like they have your favorite pair of socks, or your favorite mix cd is still in their car? while the guys on stage tune their strings. And right before we kick into the intro, I tell them if you needed a sign to leave someone that wasn’t good for you, this song is that sign.

The beauty of “Stumble”, though, is that it doesn’t have to be a song about misery. In ten days time of writing this, I’m going to say ‘I do’ to the woman I love. And my mother, who has very little acquaintance with a Western catalogue of music, asked me if we could dance to “Stumble” for our dance together at the reception. To me and in terms of my mother, that chorus my friends are always so good about singing back to us at shows, is a reminder of how my mom has always kept me grounded when my wild head spins me away.

“I stumble a little bit every time I see you.”

Look, maybe my personally biased spiel wasn’t enough to convince you, but play the song and you’ll see that “Stumble” is what you spin when the leaves give up their colors, when the old love isn’t good enough, when the new one might be, when you catch that look in someone’s eyes so striking, it almost knocks you down.

“Stumble” isn’t a song just for me. It’s for me, and you, and for anyone looking for a reason.

(Song recommendation by Nishat Ahmed)

James recommends “You Know What I Mean” by Cults

It’s from this album.

It’s the best song never played at the Roadhouse in Twin Peaks.

It’s further evidence that the best things happen in 6/8 time.

It’s perched on the diving board of space-aged pop gorgeousness, staring into the abyss (nevermind that the video features a very different diving scene).

Cults’ “You Know What I Mean” starts with a waltzy simplicity: a precisely stepping bassline, watery guitars and snaps that echo into infinity. Madeline Follin’s voice steadies us with a sixties-ish remove; she feels it, but with a cool distance that’s betrayed by the less-hinged lyrics: “Tell me what’s wrong with my brain, cuz I seem to have lost it.”

I stumbled on this song while watching Russian Doll (which if you haven’t by now (and I’m sure that you have), come on). It was the end of episode six, and by that point, I was used to my mind being blown by Natasha Lyonne’s death-resetting timeline, but my heart wasn’t used to being ripped open. Lyonne’s character, Nadia, runs from her origin party (and those opening chords begin) to the home of the only person who knows what shemeans. When he opens the door, Nadia bursts in and looks at Alan with a raw need, and his response is so nakedly unguarded — stripped like…well, like what happens at 1:36 in the song, where everything drops out (save the bass and those cavernous snaps) as Follin pleads, “Please, please come and save me.” Those dizzying keyboards flurry and swirl as she echoes the titular refrain with an urgency that suggests that No One knows what she means, like she just needs someone else to shout back that they know, like saying “I love you” for the sole purpose of having the other person say, “I love you, too.”

And as those last snaps bounce around in my head, and as no one else echoes back, I hit play again. And again. And again.

You know what I mean.

It’s seriously a bizarre video. Just hit play and then close your eyes.

(Song recommendation by James W. Moore)

Seigar recommends “Basic” by Bilal Hassani

Androgynous games.

Seigar, the photographer, is back.

During the last Eurovision Contest Bilal Hassani represented France with “Roi,” though the song and the performance were both stunning, he ended in 16th place. In my opinion, he should have won, but maybe Europe was not yet prepared for his act. Controversy has always been there in his short music career. The fact he defends LGTBIQ rights and that he seems just to do things freely and his way is not received by everyone with the same enthusiasm.

Some of the highlights of the song “Roi”:

I am me, and I know I will always be

You put me in a box, want me to be like you

At the end of the day, you cannot change me, boo

Who are we?

When we hurt, when we fight for free

Only God can judge you and me

Influenced by Beyoncé, Freddie Mercury and High School Musical, what can you expect? This.

Today, I’m bringing you “Basic,” the gayest anthem in his album and probably also worldwide this year. “Basic” starts with a very 90s disco vibes, Bilal mixes English and French lyrics randomly. With the same charisma of his influences, he becomes a Mika on acid with cheerful beats and catchy lyrics. The song will work well on stage, he even embraces a cheeky quote of Cher. She usually says things like this during her concerts when talking to the audience:

“Girls, gays and whoever else is there, gather ‘round, listen up”

“Don’t be basic, be fantastic” he repeats and we all just can some fun with him. Let’s indulge ourselves with this. It’s weekend sensation. Do justice to his Eurovision position and listen to Bilal.

(Song recommendation by Seigar)