Have a Nice Life
The Unnatural World
[The Flesner; 2014]
Recently Trevor Powers (the brains behind Youth Lagoon) pleaded on Twitter, “Please, no more genres. Find a better way to classify music.” Only a few weeks prior, NPR writer Bob Boilen questioned the future of labeling sounds with a blog entitled “Can You Imagine a World Without Music Genres?” Both of them have a point. With new bastardized sub-genres popping up daily, it’s getting to the point where one will be required to use an algorithm to crack the sub-genre code laid out by the all-knowing music reviewer.
Sun Kil Moon
[Caldo Verde; 2014]
Mark Kozelek’s music has never been about the lyrics. Whether it be his time with Red House Painters, his solo work, or his latest project Sun Kil Moon, his calming tenor and intricate guitar picking always took precedence over the metaphor-cloaked lyrics. I’ve been a fan of Kozelek’s work for the past decade, and the only lyrics that stand out in my mind are not even his, rather, from his two cover albums Tiny Cities (Modest Mouse) and What’s Next To the Moon (AC/DC).
In the past few years he has released a couple lackluster albums that suggested his muse was waning, but with his latest, Benji, it looks like that imminent closing window resulted in him throwing away his tride-and-true blueprint and starting anew. In a recent interview Kozelek said of his new start: “I’ve run out of metaphors, and when you get older, you’re bothered, or inspired, by other things in life than a girl breaking up with you. Things get heavier as you get older.”
[Rusted Blue; 2013]
The more autobiographical an artist, the more we, the audience, get to see them grow up right before our eyes. Such is the case with Alela Diane who first gained attention with her debut Pirate’s Gospel back in 2004, the 21-year old Portland native singing innocent songs of companionless pigeons and Pirate’s prayers of “Yo Ho Ho!”
In 2009 she came into her own with To Be Still, an album that combined her tranquil vocals with lyrics that focused on the splendors of nature. The combination of the vivid imagery and the pure wonderment in her voice results in an album that would make John Muir blush. For me, the music stirs the humbling and exhilarating experience that is venturing into the wild. On the album, Alela seems to be at peace with the world, an inner hope flowing out with each note, pure and calming like the mighty Columbia. The production on both early albums was warm and quaint, as if you are sitting in the corner of a log cabin while Alela and her dad, who sang and played on both albums, serenade you by the fireplace.
When Deerhunter first burst onto the music scene in 2007 with their über-hyped Cryptogram, I was a bit skeptical. Every review/interview focused on the back story of Bradford Cox, a young man suffering from Marfan syndrome writing songs about isolation and loss over the echoing madness within the cacophonous guitar cavern that is Cryptogram. Add to the storyline the death of former bassist, Justin Bosworth, and you have all the trappings of a music journalist’s wet dream. I had seen artists like this come and go in the blogger rat race to discover the next big thing, and I figured Deerhunter and its quirky back story would be forgotten within months.
As a true testament of Bradford Cox and company’s talent, the band returned with more focus and a more refined sound on the following two albums, Microcastle and Weird Era Cont (released together as a double album). Deerhunter were officially more than a cute little anecdote; they were the real deal. In 2010, Halcyon Digest solidified their place atop the indie rock hierarchy, proving that they could take their wandering, spacious spirit and rein it in for their most accessible album to date.