”Helplessness Blues” by Fleet FoxesTo preview their sophomore album, Helplessness Blues, due for a May release, indie darlings Fleet Foxes have just posted the record’s title track for free download. It took me a long time to get over my initial skepticism about the band when their first album got so hyped, but it’s hard to deny the lush 70s-style gorgeousness of their country-folk-pop harmonies which come across as equal parts Eagles and Seals & Crofts.
The first half of this new song sounds like something Simon & Garfunkel might have done for their Bookends album, a personal reflection that feels somehow bigger, almost like a generational reflection: I was raised up believing I was somehow unique like a snowflake distinct among snowflakes… and now after some thinking, I’d say I’d rather be a functioning cog in some great machine. Then, a little more than halfway through, the song takes a turn. What started as a simple, brisk campfire story song morphs into something slower, more rhythmically complex, more atmospheric. The unadorned two part harmonies of the first half give way to an almost choral sound: “If I had an orchard, I’d work ’til I’m sore.” It’s like a small Great Recession-era John Steinbeck novel in song. I can’t wait for the album.
Hot Chip, Bernard Sumner and Hot City ”Didn’t Know What Love Was”I’m loving Hot Chip right now. In February, this very nerdy, London-based indie electropop quintet which formed around childhood friends Alexis Taylor (the skinny one with the glasses) and Joe Goddard (the chunky one with the beard), released their fifth full-length album One Life Stand.
It’s one of my favorite records of 2010, full of sweetly sincere love songs about marriage and family, only set to synthesizer sounds and blippity beats stolen from thirty-year-old records by Kraftwerk and Heaven 17. But Hot Chip’s latest single isn’t from the album. It’s a collaboration with New Order singer Bernard Sumner and London house music duo Hot City called “Didn’t Know What Love Was”; and it was commissioned by Converse (as in the shoes) who, like Levi’s Jeans, have been giving me plenty of reason to hang out at their website for reasons other than interest in their product. (Converse recently opened its own recording studio in Brooklyn!)
You can (and should) download – for free – the “maxi-single” of the song, featuring four different mixes, at Converse’s website. It’s a good old-fashioned Madchester house anthem that sounds like the proper follow-up to the 1990 hit “Getting Away With It” by Electronic, Sumner’s on-again-off-again collaboration with Smiths guitarist Johnny Marr. I keep expecting Pet Shop Boy Neil Tennant to pipe in with the background vocals. And as if to prove this project was no cheap fling, an official music video for the single was released last week, and – well, it’s pretty wonderful. See it here:
Azure Ray’s ”Drawing Down the Moon”Every year brings its share of unlikely reunions, some welcome, some not so much. But this year sees three reunions from acts that few but the most devoted fans were even aware had broken up, or that they’d ever existed all that much outside of a semi-forgotten hit or two. Coincidentally, they each represent one of the last three decades of alternative pop and rock.
The most recently broken up of the three groups is Azure Ray, the duo of singer-songwriters Maria Taylor and Orenda Fink, who, after releasing their fourth CD Hold On Love in 2003, both embarked on solo careers. Maria Taylor has since released three CDs of increasingly commercial folk-pop, while Orenda Fink, aside from her two solo albums, has also released music as leader of the band Art In Manila, and in O+S, a partnership with dj Scalpelist. Though their solo careers have taken them in diverging directions, neither of them have drifted too far from the haunted, delicately technologized southern gothic sounds they produced in the early ‘00s with songs like “Sleep” (heard pretty prominently on the soundtrack of The Devil Wears Prada) and “New Resolution” which boasted one of the last decade’s most strangely fascinating videos.
Azure Ray “New Resolution” (1993)
Their just-released reunion album Drawing Down the Moon sounds less like a “Now, where were we?” follow-up to the duo’s 2003 album than it reads as the proper follow-up to each of the individual singer-songwriters’ previous solo projects, as if the two roads diverging in the wood had merged back together. Produced by longtime associate Eric Bachmann (formerly of Archers of Loaf, currently of Crooked Fingers) who is shown on the back cover holding both women facing inward to his brawny southern bosom (it’s this kind of disturbing/amazing cover photography that makes me endlessly grateful for the endurance of the LP format). To my mind, their latest single is the closest thing to a potential radio hit as they’ve ever released.
Azure Ray “Don’t Leave My Mind” (2010)
Representing the 90s is Tonic who released their self-titled reunion album this spring and even scored a minor hit on the adult pop charts with a scrappily appealing acoustic/electric rocker called “Release Me”. Tonic is best known for their forbidding post-grunge classic “If You Could Only See”, a dark, Forensics Files-ready epistle from one man to the husband/boyfriend/lover of the woman he loves: “Maybe you’d understand why I feel this way about our love and what I must do / if could only see how blue her eyes can be when she says – when she says she loves me.” Cue the apocalyptically stabbing guitar hook and the trailer park murder plot.
Tonic “If You Could Only See” (1996)
Tonic released three albums in the late 90s, never replicating (or even approaching) the success (or the ubiquity) of that debut single. In the ensuing years lead singer Emerson Hart has pursued a solo career and in 2007 released one of my favorite recent pop ballads “I Wish the Best For You”. The new album largely steers clear of the shadowy intrigue of their biggest hit, opting instead for sunny pop/rock melodies that recall Vertical Horizon. My absolute favorite song from the record is called “Daffodils” and had I first heard it on the radio, I probably would have mistaken it for a Del Amitri reunion single – it’s got great harmonies on the chorus and a sweetly yearning chorus with Hart leaping up into a clear falsetto. You can check out samples of each of the new album’s track at the band’s website, and while there, leave ’em your e-mail and they’ll send you a free download of “Daffodils” for your troubles.
Finally, there’s the synth-pop duo of Andy McCluskey and Paul Humphreys collectively known as Orchestral Manoeuvres in the Dark, who, in the 80s scored a massive hit with “If You Leave” from the Pretty In Pink soundtrack. Though the group’s fortunes faded in the late 80s, they continued recording, releasing three studio albums in the 90s. Still their latest record, called History of Modern, marks the group’s first new music since since the Clinton Administration. Lead single “If You Want It” is a great big sing-along anthem that, as one YouTube commenter put it “sounds like x-mas”. It’s got a beautiful video as well, featuring a ballet routine as performed for the duo in a darkened theater. Really great stuff.
Orchestral Manoeuvres in the Dark “If You Want It” (2010)
