Small Poppies

Nobody writes songs about mowing the yard like Courtney Barnett does. But don’t mistake writing about boring subjects with actually being boring. Boring subjects are not the same as boring ideas. It may seem like it’s all about the little things but it’s never just the little things. Barnett knows that things like the grass in the yard or the tiles on the ceiling that we fixate on are just placeholders for the bigger things that are going on inside our minds. We talk about the stupid and mundane because we can’t gather the words to talk about the deeply meaningful and we project our unarticulated emotions onto harmless objects because we don’t know how to express ourselves. We’re just as afraid of being understood as we are of being misunderstood. So we fidget and talk about the weather. Some people spend their entire lives fidgeting and talking about the weather, and some people spend their entire lives in a constant state of anxiety because they want to say what they mean but can’t quite find the way to do it. And that’s a mind state even the most confident and articulate of us have been in, usually when confronted with romantic feelings. But, you know, keep on making mistakes until you get it right, right?

The Top Most Best Albums of 2018

It’s time to take stock, yet again, of the year past and – yep! – it was a shitty one. I don’t know where we go from here, but I suspect it’s nowhere nice. In the meantime though, we can enjoy the one upside to witnessing the fall of civilization in real time: the myriad ways all that angst and turmoil can be fueled into art.

1. Negative Capability – Marianne Faithfull

In a world burning with senseless violence and Orwellian horror, what we really need is to hear from one of the Summer of Love’s last survivors. The survivor’s place, it seems, is a lonely and sorrowful one. Faithfull laments the passing of old friends, she laments the fear that haunts our time, she admits that her own faith in love is deeply shaken. Did she really need a third re-recording of As Tears Go By? Yes, as the song’s melancholy deepens with the singer’s voice. Did the pagan feminist anthem Witches’ Song need to a revisit? If it means throwing Nick Cave into the mix, absolutely yes.

2. Always Ascending – Franz Ferdinand

Franz Ferdinand proves, as they have been for years, that all anyone really needs is killer hooks, killer riffs and great stovepipe trousers. FF are rock dandies who could have been early-60’s mods, 80’s New Romantics or 90’s Cool Britannia lads – their brand of crunchy rock and swaggering attitude is that timeless, whether or not they choose to add synthesizer arpeggios or just lean into the three-guitar format. When you’re handsome and clever, the whole world’s an afterparty.

3. God’s Favorite Customer – Father John Misty

For a change, FJM is actually one of the less depressing entries on the list. His last album, as much as I loved it, was far from bright. He must have gotten tired of gazing into the abyss; this time he’s looking at his own celebrity lifestyle, and finding it absurd and amusing. His humor has always been one of his most appealing qualities, and it’s nice to more focus on that, rather than the total failure of all mankind. The vibe wouldn’t be out of place on the record charts in 1972, and that’s high praise.

4. American Utopia – David Byrne

How did David Byrne, long one of rock’s great neurotics, become a self-appointed champion of “reasons to be cheerful”? He set himself the challenge of writing only optimistic songs, making it the theme of his last tour and of this album. That may feel counterintuitive in these trying times, but Byrne, when he’s not being acerbic, has always known just how much joy a good pop song can incite. Cheerful doesn’t have to be boring or earnest, either – in these hands it’s gratifyingly bonkers, from the wordplay to the herky-jerky tempo changes (so reminiscent of his famous dance moves.)

5. Tell Me How You Really Feel – Courtney Barnett

Like me, you were probably waiting eagerly to see how Courtney Barnett, the grandmaster of turning the most intimate and mundane of everyday things into clever and insightful pop poetry, would develop as an artist now that she’s world famous. I was expecting a lot of songs about hotels and airports. Barnett, however, is several levels above that. She’s ready to tackle the whole fucking world and the constant battle of living in it as a woman. From walking in the park to appearing on television, being a female person is a constant confrontation with danger, and Barnett is taking none the bullshit that comes with the territory.

6. High as Hope – Florence + the Machine

I fell in love with Florence Welch for her baroque aesthetic. Her lyrics evoked mythology classic and pagan, her productions shied away from no harp solo. But more than anything else, it was always about the voice. This time, she sheds most of the theatrics and focuses on the very real. Even the most magical witch person struggles with bouts of self loathing, faces heartbreak and leans on her own role models for inspiration. Those are the personal revelations Flo is ready to make, turning her voice and gift for drama towards the intimate. Every artist has to strip down to the roots of what made them become an artist in the first place.

7. I Can Feel You Creep Into My Private Life – Tune-Yards

If you were listening to a lot of indie radio in 2014, you’ve probably heard Water Fountain by Tune-Yards, and you may have dismissed it as a novelty song. However, Tune-Yards is no novelty act, but an avant-garde musical project. Their new record is, indeed, boundary-pushing and just plain weird, in the best possible way. It’s also inspired by the state of the world we’re in, so file it under the ever-growing and trending banner of angry feminist protest art.

8. Little Dark Age – MGMT

The world needs MGMT. They’ve had some creative ups and downs since their moment of peak success in 2008 (my god, has it really been so long?) It’s hard living down a big hit, especially when you never set out to be hitmakers in the first place, but it seems like MGMT have made their identity with or without oceans of hype. They just make really catchy, sometimes trippy, sometimes snarky, always recognizable tunes. Eccentricity should always be this much fun.

9. Everything Was Beautiful, and Nothing Hurt – Moby

Moby is another artist who outlived his moment at the top of the Zeitgeist, who kept working and evolving slightly below the big-hitmaker radar. He was never the pop star type, anyway. His music reflects his mild-mannered persona: just a regular guy who loves animals, cares about issues and thinks about his place in the world. And composes music that ranges from ambient to uptempo, music that’s been equally melodic and melancholic lately, but ultimately positive in spirit.

10. Dirty Computer – Janelle Monae

This is the year Janelle Monae went from acclaimed outsider to for-real superstar. This is one of those albums that will be remembered as a definitive part of its cultural moment. Not just a good record that fans enjoy, but an important record that contributed to the conversation far beyond the confines of one fandom. It’s been a year when artists like Monae – women, women of color, queer women of color, et al. – who used to be relegated to the dusty ghetto of ‘special interests’ swung into the center of the conversation and announced that their voices would be heard whether the gatekeepers liked it or not. And then it turned out that everyone did like it, and can we have more of this, please?

11. Shake the Spirit – Elle King

In 2015 Elle King’s Exes and Ohs was the gleefully naughty bad girl anthem of the year. Then she disappeared. Was she going to be yet another promising young artist lost in record label purgatory or burned to death by the insane strobe lights of fame? Almost. She lived the shooting star trajectory that should take decades – hype, hits, rock bottom, rehab, comeback – in just a few years. Being a bad girl is tough, it turns out, and Elle King is here to tell you just how much. It’s the insecurity, the desire to be liked at war with the urge to rebel, the judging eyes of others, the thirst for more thrills, the wild ups and downs of it all that make the tough girl who she is. Elle King is the bottle-blonde, zaftig floozy with the heart of gold that every girl who’s ever been slut-shamed can relate to.

12. Isolation – Kali Uchis

Kali Uchis is the surprise big pop breakout of the year. She is the standout in a dense field of young pop divas with obscurely exotic names: Rita Ora, Dua Lipa, Ariana Grande, Sky Ferreira, etc. etc. Kali Uchis can outsing each and every one of them. Her voice is way better than any mere pop star’s needs to be, and her music, while unmistakably heady pop sugar, draws on her Colombian background with touches of salsa and Reggaeton, and also harks back to the girl groups of Motown and the breezy sound of 70’s soft rock, among a myriad other influences. It is so refreshing to hear a pop record that’s this fun, smart and diverse. Is this the new Shakira?

13. Castles – Lissie

Lissie has somehow, inexplicably, been flying under the radar, although she’s been making records since 2010. In that time she has consistently delivered smart songwriting, powerful vocals and a down-to-earth sensibility. Once again, she doesn’t disappoint. She knows how to write a good pop hook, but she also leans into 70’s-style country rock influences. Her vocals can be folksy or tinged with gospel. Her approach to the commonplace topics of love and heartache is levelheaded and honest, revealing emotion without resorting to sentimental cliche – as befits an artist who chooses real life over glamorous artifice.

14. Remain in Light – Angelique Kidjo

When Talking Heads incorporated African beats into their post-punk rock music on their 1980 album of the same name, it was many Americans’ first introduction to what we know know as ‘world music’. When Angelique Kidjo emigrated from Benin to Paris in 1983, she heard her first Talking Heads album and felt instant recognition. She understood the unbroken musical lineage that connected the folk music of Africa to modern-day rock and roll, and grasped that Western audiences were open and hungry to rediscover rock’s African roots. Now, so many years later, she pays homage to that culture-bridging moment and the record that made her feel that the European world was open to her and her music. And it’s far from being an exercise in nostalgia: Kidjo makes every song relevant in entirely new ways. When Kidjo sings “All I want is to breathe” it’s a whole new message with a whole new context.

Scotty Says

First of all, Courtney Barnett is seriously very cute. She may be like one of the foremost songwriters of her generation and whatnot, but she’s also like your super chill best friend who’s always down to hang out and gives really good advice. She looks like somebody you would totally want to have in your life. Well, thanks to the magic of technology, you can always have Courtney in your life, or at least her wise and clever songs. The poetry of mundane thoughts is Courtney Barnett’s talent, and wow, that’s a major gift, because most people’s mundane thoughts are, pretty much by definition, stupid and boring. A clever and cool person, though, would have clever and cool thoughts, ones that we find entertaining and enjoy being privy to. And relate to, of course. When you listen to Courtney Barnett you recognize some of your own everyday musings, but funnier and more interesting and clever.

Porcelain

In the world of indie music, Courtney Barnett has established herself as the smartest girl in school. She’s head and shoulders the best writer on the scene, and her snark is what she’s best known for. Which, of course, makes her a treasure. I also love her romantic side, which may be less evident. She’s not a confessional writer, per se, but her writing is very intimate. It’s reveals what’s going on inside the mind of the smartest girl in school, and it turns out there’s a lot of unrequited crushes and romantic longing in there. This song is less verbose than her usual, but it’s the atmosphere that tells the story this time.

Pedestrian at Best

I highly recommend pulling out a lyric sheet for this one. Courtney Barnett is a writer of long and elaborate sentences, and her Aussie accent makes it hard to keep up with all of the words. But perusing a cheat sheet, you’ll find an unusual level of wit and perception. Here is someone who I would like to read a novel or a memoir by, not that Barnett has aspired to either of those things as far as I know. (And although many poets who you would expect to write good prose actually wrote unreadable prose.) But truly, I’m invested in her career, and I hope she doesn’t get spooked by all the deafening early acclaim. I really hope she doesn’t decide to just keep it low key in Australia and plant a garden and play coffee shops and live off the residuals for the rest of her life. Of course I’m itching for the next album. I’m guessing it’s going to be the classic ‘oh shit, being famous is terrifying and dehumanizing, what have I gotten myself into?’ second album angst, and while that may be a cliche, I really anticipate hearing what Barnett has to say about all the airport terminals and dressing rooms and hotel lobbies she’s had to experience.

Out of the Woodwork

Out of dozens of recent new discoveries, Courtney Barnett is probably the most exciting. I’m pretty confident that she’s one for the ages. Being a mold-breaker has something to do with it; Barnett doesn’t have much in common with the indie pop crowd et al. From her droll observational humor to her normcore style, she’s an artist outside of trends and firmly inside a long tradition of clever, verbose songwriters. And mostly, being much more clever than anyone else is the most appealing thing about her. She plays with words like a jigsaw master, and she nails the pointed emotional currents that color the most banal moments. Because grand outbursts may happen in extreme moments, but our emotional lives are really a constant slow trickle that bubbles and flows and gets affected by tiny, tiny things and rights itself without us really noticing it except as mental wallpaper, and we don’t usually stop and consider how every object and moment has subtle value. And we most certainly don’t write songs about the boring things we see and feel all day long, unless we’re Courtney Barnett.

Nobody Really Cares If You Don’t Go to the Party

No, they really don’t. You can go out or you could stay home, and it will mean nothing to anybody but you. The dilemma is all in your head. Courtney Barnett really gets it, though. She gets the tiny, monumental things that occupy our minds. Her songs have the rhythm and logic of an internal monologue, because that’s what they are. She’s said that she writes as a way of dealing with compulsive overthinking, and makes a ¬†point of trying to make the minutest mundane things poetic. She is, very easily, the most impressive songwriter in recent history, an artist whose appearance on the scene spurred a ‘where have you been all my life?’ welcoming disbelief. And that was even before she made an album and became everyone’s most superlative. A career spanning decades is hers to claim or blow.