I remember this song being on the radio, back in 2013, and I didn’t know what it was. It was another few years before I started listening to Arctic Monkeys, so I missed the bus on that discovery. It reminds me of the early 2000’s rock revival, though. I think I would have really loved it in 2001, but that would have been a good five years before Arctic Monkeys made their first record, or even existed as a group, for that matter. But it’s funny, in a way, how a 2013 song reminds me of bands from the early 2000’s who were all trying to sound like bands from 1979. It’s just the cyclical way music works. All the hooks come around again and again, freshened up with new hairstyles.
Going back to the summer of 2013, a great year for music. It must’ve been some kind of serendipity, but I discovered a lot of artists in 2013. There were just so many great songs on the radio, the kind that make you say to yourself, “What is this, I want more!” Portugal. The Man was one of those groups, with some amazingly catchy songs like Modern Jesus and Purple Yellow Red and Blue. The album Evil Friends has become a favorite, a definite keeper, one of those records that you remember an entire decade by. If you haven’t already, I highly recommend it.
I can’t recommend The National enough for all of your mournful, mopey needs. Do you need something to stare balefully at the rain to? Do you have some shitty cooking wine or bottom-shelf liquor you need to consume? Has it been three or four days since you’ve talked to your love interest? Are you getting yourself all worked up remembering that time you were really depressed? The National is here for you. Now, I’m not going so far as to say that it’s music for when you’re actually really depressed. You can make your own judgement call on that one, but for me it’s just gloomy and not straight-up scraping-the-bottom music. You know, there’s a distinction between performatively sad and, like, really depressed and stuff. You can have a performatively sad day, because, I don’t know, maybe you’re not getting enough dick or something, or all of your friends are jerks, or whatever makes you feel the most sorry for yourself.
As far as simple pleasures go, good music will always top the list. There’s nothing like the manufactured angst of another person to soothe our own worries. Like anyone, I love a good emotional ballad. I think this one is well on its way to becoming a classic – at least in my canon! Jake Bugg, of course, has established himself as an artist who’s here to stay. As I was saying last week, the boy wonder had to deal with the growing pains of growing out of his ‘boy wonder’ hype. A challenge for any artist who burst out very young. Bugg has the advantage that he’s always sounded wiser than his years, which makes it easier to become an actual mature adult. (As opposed to someone trying to outgrow an adolescent persona.) Hype itself can do as much harm to a young career as it does good, and it must be a relief to be able to operate and make creative choices without having all that pressure. So here is a young man who got clobbered with a lot of hype right out of the gate, and he’s been growing up ever since, with increasingly less hype but more creative freedom. Some people thought Jake Bugg’s second album was a let-down, after all that hype. Too well-produced! Too similar to the first one! I did think that the Rick Rubin treatment was uncalled for; not every promising young talent needs to be bundled off to Rick Rubin. But in the context of the artist’s progression, it’s a very natural second step, and as you can hear, there’s some great songwriting going on.
From this plaintive ballad you’d never guess that The Joy Formidable are one of the loudest and feedback-happy indie pop groups on the scene. They outshine their peers by sheer fire and fury. Which, in an ocean of tinkly keyboards, is frankly a breath of fresh air. But even the most fierce frontwoman – which Ritzy Bryan most certainly is – needs to take a quiet moment sometimes, and she’s not much of an artist if she doesn’t know how to be vulnerable. I don’t necessarily want to hear an entire album’s worth of plaintive ballads, but I very much want to hear at least one. Because I want to see another side of the artist, get to know them better as a person and whatnot, you know. Are they really someone I can relate to. I can relate to three-quarters fierce and loud and one part plaintive and sad.
Do you ever wonder what discerning hipsters in Albania are listening to? Are they dancing to Euro-hip-hop like everyone else, or are they still weeping into their sardines to the dulcet strains of an accordion? Yes, to both. With multicultural musical collectives like Fanfara Tirana and Transglobal Underground, European audiences can enjoy a heady brew of everything the global diaspora has to offer, from Caribbean funk to sub-Saharan beats to American-style gangsta rap to chanson and tango. Not forgetting those homegrown accordion solos. The open bordered EU has birthed a creative scene that’s the musical equivalent of a crowded railway platform, but obviously a lot more festive. Everyone is coming and going from all corners of the world, and everyone brought an instrument.
I think Wild Belle’s white-girl reggae is one of the best things going on in pop music right now, and if that makes me a basic bitch, so be it. It’s partly because the indie rock world is so monotonous that even white-girl reggae sounds exotic. But mostly because Natalie Bergman has the kind of voice that cuts through trends and puts her far ahead of many other blonde-haired singers with dreampop albums. Also I like a little atmosphere and a little warmheartedness sometimes, even if it’s not turning the world over with depth or originality.
