Listen if you like: Tramped By Turtles, Fleet Foxes, Mumford & Sons
Modern folk music just keeps getting better. I was lucky enough to host The Way Down Wanderers at a Sofar Sounds show last month, and it was so refreshing to hear a group of musicians that are pushing their genre forward while also taking from the roots. This five-piece band from Illinois exhibits their ability to access the traditional sounds of country, before the label of country became what it is today, with a modern twist. They regularly blend sounds of indie, folk, country, bluegrass, and even acoustic blues with perfect vocal tones to match the bill, creating a sonic combination that I have not heard before.
The Wanderers at a Sofar session on December 19th, 2015. PC: Cate Pickens
These gents find ways to merge soothing country melodies and playful lyricism with up-tempo jams, and it sounds cohesive. Even amidst the chaotic bluegrass sections, one can’t help but be mesmerized. Whether it’s a string solo or the drummer rocking out with a pair of spoons like the good ol’ days, The Way Down Wanderers are entertainers.
Their most recent EP was recorded live, a feat not easily done with the tight bluegrass jams they break out into. There are a lot of people out there apprehensive to listen to anything with the word bluegrass associated with it, likely under the impression that it all sounds the same. We ask that you take a listen to “Truth, Son” and “Burn The City” and get back to us on that, if you’re one of those people. The entire EP is compiled of perfect road tripping music, crafted for the pensive mind of a curious traveler. The best thing about Wellspring? I actually love each track, something not easily achieved for a local band giving me the first taste of their sound. That seems a bit harsh to say, but think about it. When was the last time you truly loved every song off of a release of even a band you like?
These days aren’t for the takin’ / these days are what you make them
When exploring Wellspring, I can’t help but get this vibe that these are genuine musicians that love what they do. Seeing them live is no different; their facial expressions and body language say it all. They simply love sharing music and making connections with others, while sharing past experiences through the music.
Did we mention it was recorded live? Let’s be clear, nearly nobody does that anymore.
It’s snowing here right now, and I basically have zero chill about it. This is what always happens when it snows during the holiday season: There’s something so pure about it, so ephemeral. It reminds me that magic truly does exist, even within our weather patterns.
I, like most Chicagoans and those who live in eternally snowy cities in the wintertime, know that I will transform into a Scrooge-like curmudgeon every time it snows following the New Year and may regret these words. Right now, however, let us sit back and enjoy the snowflakes as they fall.
I’ve crafted a playlist perfect for sipping a cup of hot chocolate/coffee/tea and watching nature’s perfection unfold, if only for a little while. While these days will be few and far between, the first snowfall of the season serves to reinforce the changing of the seasons, turning of tides, and a new start. We can become whatever we believe we are, just as the leaves descend from the trees and now are covered in fresh, powdery snow.
Happy winter, and bless us, every one! (You knew I would insert a quote from The Christmas Carol by now, didn’t you?)
I was recently given a random CD from a buddy of mine from Pittsburgh who works at a record label. You never know when you receive a piece of promo material from an employee, but I wholeheartedly trust this guys music taste and was excited to give it a listen.
Land Lines did not disappoint me with their sophomore album “The Natural World.” The music is slow-moving, yet captivating. It is able to function as background music or the direct focus as lead singer Martina Grbac guides us through a sea of minimalistic, layered instrumental tracks. The trio records with cello tracks, drums, and keys. That alone is enough to tell me that listening to their productions is one thing, but seeing this sort of setup live would be unbelievable.
I think what interests me the most is the use of repetition, particularly in the eerie “Logic.” It has a certain eeriness to it, finding ways to hold my attention with four minutes of minimalistic measures, excluding a cello addition late in the song. It’s plenty interesting on its own, but I’d love to see it paired with film. It has that emotional drive without taking too much away from the imagery in front of the viewer.
In a way, that applies to a lot of their music. They take a step back and embrace the fact that, although there are a lot of repetitive lines, we as listeners get attached and reliant on them the longer they continue. This is evident in the synth in “Logic” and “Help,” my personal favorite track, and the drums in “Rivers + Streams.” It really just makes me think about my love for Beach House and other groups that are able to embrace simplicity and really build a song by slowly adding repetitive tracks.
They put a lot of heart into their music, that much is evident even if the style isn’t your cup of tea. For me, I can’t get enough of it. Months later, I am still pinpointing the emotions that I feel while listening to them, but that’s what makes it so beautiful. Take a listen here and see what I mean!
There’s something about fall, with the changing leaves and brisk air, that always makes me want to travel back to France. I’d like to sit outside in a street cafe, people-watching and sipping a glass of wine. In my dream day, I’d stroll down the Champs-Elysees, grab a Nutella crepe from the street stand, and walk over to the Eiffel Tower just as the sun sets to watch it glistening majestically.
I recently watched the film A Good Year, which harped on the message of rediscovering your true self amid societal pressures. In it, Russell Crowe, a wealthy financier in London, leaves his hectic job after he learned that his uncle had passed away, leaving his large Provence estate to him. He reconnects with life’s simpler pleasures, all while playing French records throughout the airy house and overlooking the vineyard.
I’ve been listening to French music all week ever since, and thought I’d pass along la vie en rose to all of you. Enjoy a playlist full of old hits, including those from Charles Trenet and Django Reinhardt, as well as the new, from songstress Carla Bruni. It’s perfect for a crisp fall day, or whenever you’d like to daydream the day away to another place and time.
As if I wasn’t already worshipping with the very ground that Beach House walks on, they continue to outdo themselves. Last week, barely a month after the release of the magnificent Depression Cherry, Beach House announced Thank Your Lucky Stars, their next studio record set to be released this Friday.
Not only will they be releasing two albums within a two-month time period, they have assured us that this is no collection of Depression Cherry’s B-Tracks. The wait was long after 2010’s Bloom, but it looks like it was more worth the wait than ever anticipated.
Today, the Baltimore duo revealed that they are yet again using the “Single Finder” on their website that they used for Depression Cherry. This feature allows you to select your top three favorite Beach House tracks and it will generate a single from the album that is most catered to your preferences within their style. The options are “She’s So Lovely,” “One Thing,” or the one I got, “Majorette.”
Are you kidding me?! They just Spotify-recommended from their own discography! These musical geniuses may never get the same credit as the big stars of our day, or their fantastic marketing team for that matter, but know this Beach House: Some of us will remember how fucking awesome you are.
Ever since I first heard “Bad Words” and Tobias Jesso Jr.’s sweet croon, I have had his debut album, Goon, on repeat. With smooth vocals and a blend of piano-tinged ballads and lush instrumentation, the album emerges as a melange of feelings packaged neatly together in individual songs. The cheeky piano backdrop of “Can’t Stop Thinking About You” illuminates his despair (it’s best to skip this song during a break-up), while “Tell The Truth” boasts an acoustic guitar backdrop and nothing else, resembling a song recorded quietly in a garage, until the strings enter in.
Jesso Jr.’s life has been wrought with hardship beyond the usual. Following a breakup that led him back to his home of Vancouver, he was riding his bicycle and was hit by a car, breaking his arm. The next day, he learned that his mother had been diagnosed with cancer. This sequence of events allowed him to place music on the back burner while he assisted his family, however he still recorded demos around the house and posted them to YouTube (one of these songs is posted at the beginning of this post). What emerged was an outpouring of admiration and appreciation for his carefully-crafted tunes, each with 100% heart.
No, the songs are not ones that you blast at a party, or enjoy while you work (well, unless you’re having that kind of a day). It’s an album you play when you really want to feel human and sink into a range of feelings, one by one by one. With songs mostly about relationships where things have been lost, forgiveness, and sorrow, his unique indie soul style recalling ’70s greats keeps me coming back for more, and I think you will enjoy it, too. It’s perfect for the time of year where the temps start to drop, and sweater weather is here to stay.
Last night I had a bad dream / That the world would end and would be forever ending / I know it’s not that nice but hey / It’s just a dream, It’s just a dream / And if I had just one more day / Here’s all the things I would say / To my baby / I can’t explain the world to you / I can’t explain the things that people choose to do / There’s a thing called hate and there’s a thing called love too
This playlist is quite the special one this week, readers. One that’s been in the works since November of 2014, and amassing new additions each and every month. So what is it, may you ask? Well, the title of this post probably tipped you off.
For me, my favorite films are ones that are complemented by a phenomenal soundtrack: one that makes us feel along with the characters and sense the moment in time. While many of the film soundtracks on the list are intellectual and inspiring, from Her, to The Grand Budapest Hotel, to Lost in Translation, they are juxtaposed by fun collections of tunes in Romy and Michele’s High School Reunion, The Wedding Singer, and The Parent Trap.
Enjoy a collection of film soundtracks, including and not limited to the following: Silver Linings Playbook, Juno, Garden State, Away We Go, (500) Days of Summer, every Wes Anderson film, The Last Kiss, Bridesmaids, Almost Famous, Lost in Translation, The Squid and the Whale, Love Actually, Anchorman, Sleepless in Seattle, You’ve Got Mail, Dallas Buyers Club, The Skeleton Twins, Boyhood, A Lot Like Love, Forrest Gump, Jerry Maguire, Celeste and Jesse Forever, The Wedding Singer, I Am Sam, I Heart Huckabees, The Graduate, Romy and Michele’s High School Reunion, Serendipity, and My Best Friend’s Wedding.
It’s these gloomy days in Indianapolis that the stress of daily life can be a bit overwhelming. It’s easy to feel suffocated in the midst of all my daily tasks, but music is what guides me through. I get this very specific need for meaningful music that will resonate with my troubles. Today’s song is one of those songs.
“Troubles Will Be Gone” could be Tallest Man On Earth’s best composition, solely from a folk singer-songwriter standpoint. The concept is similar to that of a classical guitarist; if the guitar sounds like it could be more than one person playing it, it has achieved one of the biggest goals of the genre. In an era of music where we demand so much instrumental depth, this also holds true for folk singers.
Bob Dylan’s “Don’t Think Twice, It’s All Right” is one of my favorite songs that exemplifies that, and I get the same feeling with this one by Tallest Man. The guitar line is truly unbelievable, complicated yet pleasantly calming, while his vocals guide us through our troubles to assure us that everything will be okay.
(Live version, in case you’re interested)
It’ll still be on repeat when you’re reading this,
There are many days where I truly wish I resided in Stars Hollow, Connecticut. I could just walk over to Luke’s Diner for a cup of coffee (which I don’t even drink, but for Luke’s, I would), and enjoy a small town walk home where I’d pass the dancers at Miss Patty’s, maybe grab something from Doose’s Market, or pass Kirk doing something really weird, all whilst being serenaded by the town troubadour.
For me and many friends, Gilmore Girls was a show that defined our generation. The witty, sidesplitting banter between Lorelai and Rory reminded me of my relationship with my own mother, and in Rory’s nerdy nature and penchant for toting around books and listening to obscure music, I saw myself.
The show reeled me in with its small town charm, endearing characters, and yes, its soundtrack. The music of Gilmore Girls completely amplified the vibes the show crafted so effortlessly: charming, sometimes a bit twee, and brought you back to that hometown feeling. Rory and Lorelai’s favorite tunes mixed together quite easily despite their differences, and I couldn’t go one episode without waiting for Grant-Lee Phillips, the actor that portrayed the Stars Hollow troubadour, or the famous “La-la-la” snippets we heard sung by Sam Phillips (if you don’t know what I’m talking about here, please make it a priority to re-watch a few episodes this weekend).
I’ve compiled a list of some of my favorite Gilmore Girls soundtrack artists. From adding to some of the show’s key moments, to being an integral part of such a precious show, the legacy of Gilmore Girls lives on in its treasure trove of songs.
Sam Phillips
In Gilmore Girls’ pilot episode, there is a very vivid scene I recall, when the camera pans throughout Lorelai and Rory’s household and shows old photos: one of Lorelai in front of her parents’ mansion, and another of Rory. While this happens, Sam Phillips’ first song in the series, “Where The Colors Don’t Go,” plays. This begins a series of her songs, including “Love is Everywhere I Go,” and the famous la-la’s we hear throughout the entire series. What would this show be without these kitschy acoustic moments? Someone found it important enough to compile all of the la-la’s in two parts. I wholeheartedly stand with this person. Thank you, YouTuber.
Songs of Rory’s Adolescence
So many songs in Gilmore Girls capture what it feels like to be a teenage girl trying to find our own way in this world. With a perfect blend of indie music, the show allows us to sink into these moments, remember moments of our own, and connect with Rory. One of my favorite scenes between Rory and her best friend, Lane, occurs when they decide to listen to Claudine Longet, not knowing what it is, and wholeheartedly enjoying her somewhat mousy but beautiful cover of “God Only Knows,” while Lorelai repeatedly tells them to turn it down. Youth at its finest – listening to music in your parent’s house because well, you really can’t go anywhere and who cares where you are as long as you’re with your best friend.
Rory’s first beau on the show, Dean, is part of a special music moment that introduced me to one of my favorite songs of all time, “Thirteen” by Big Star. This sweet song plays after Rory and Dean attend a dance together, and walk through picture perfect Stars Hollow afterwards. The song cements the moment as perfect as could be. Gilmore Girls’ soundtrack began to take on a shape of its own in season one, and could mirror feelings as perfectly as the scenes themselves.
’80s Music
While music was a part of Rory’s youth, we were also exposed to music of Lorelai’s youth as a nice parallel. With it came a whole bunch of ’80s music. Notably, the girls attend The Bangles in concert, Lorelai’s favorite band. The music also gives homage to Lorelai’s rebellious past, including songs like Siouxsie and the Banshees’ “Hong Kong Garden” as well as “Inside Out” by The Mighty Lemon Drops. Here, we’re reminded that though Lorelai has grown older and wiser, she’s still possessing the same adventurous heart. The music is surprising at times, and adds a layer of much-needed grittiness that offsets Stars Hollow’s innate sweetness.
Grant-Lee Phillips
If you’ve watched Gilmore Girls, you’ve seen the town troubadour. Playing songs throughout the Stars Hollow streets and rocking hipster attire every time, Grant-Lee Phillips adds to the quaint qualities list of this unique town. Once again, let’s thank a loyal YouTube fan for creating this montage video featuring all of his showtime appearances. Let’s fall in love with the town troubadour all over again with his delicate acoustic tunes. Also, this dude should have definitely been approached for a record deal during the show, but I’m glad he stuck around Stars Hollow.
Indie Tunes
This show introduced me to so many bands that I swiftly fell in love with. One of the cutest love songs, “My Little Corner of the World” by Yo La Tengo, closes out the first season finale, when Rory and Lorelai meet at the diner, and everything is as it should be. Their little corner of the world is Stars Hollow, and it shall always remain so (in my mind, at least). “Suspended From Class” by Camera Obscura brings the Scottish twee vibes to Gilmore Girls, while Rory listens to The Shins during her first days at Chilton, and “Know Your Onion!” is suddenly 10 times more cool.
“Those Lazy, Hazy, Crazy Days of Summer”
Stars Hollow is charming, but it is also weird as all get out. Let’s not forget the colorful characters that inhabit this town, ones who would make visitors scratch their head and go, what is this world I just stumbled into? From Kirk, town goof, to Taylor, the know-it-all, to Miss Patty, the lovable gossip, the town does not go without its whimsical characters. With the people, are the events of the town. One notable event was the First Annual Stars Hollow End of Summer Madness Festival, where old-timey music (including this Nat King Cole song on repeat) emanated from the speakers and filled the town with song, much to the dismay of many. Other events held in the Town Square included the Hay Bale Maze, the Bid-A-Basket Festival, the Harvest Festival, and much more.
“Where You Lead”
Carole King is an absolutely iconic songstress, so it’s no surprise that her heartfelt ballad “Where You Lead” would become the theme song for every single season of Gilmore Girls. It perfectly speaks to Lorelai and Rory’s special bond, all while capturing the identity of the show along with it. Well done, Amy Sherman-Palladino for choosing that one.
Gilmore Girls brought us a smorgasbord of diverse music choices to feast our ears upon. From indie music that pinpointed pivotal moments within Rory and the characters’ teenage and young adult lives, to music of the past that captured Lorelai’s former sentiments, to songs that perfectly encapsulated what it meant to live in the one-and-only town of Stars Hollow. With tunes that will serve to remind me solely of this show, Gilmore Girls was influenced by diverse genres of music, and in turn, music was influenced by Gilmore Girls with its outpouring of original acoustic tunes.
Tame Impala have no need to prove themselves anymore. They have quickly outputted two incredibly solid albums, ones that not only emulate a very historic psychedelic rock sound, but expand upon it.
“Let It Happen” was released as one of the singles back in March, and it left every fan itching for more. Some were surprised that a nearly eight minute track could be marketed as a single in the modern music scene, but should we expect anything less from Tame Impala? It acts as a perfect opening track for Currents, representing many styles in a short 7:47. Most notable influence: Gorillaz at 5:30.
They seemingly make up for the lengthy opener with a track just less than two minutes titled “Nangs.” It almost feels like its sole purpose is to calm everything down and inhibit introspection after a roller coaster beginning to the album.
Tracks like “The Moment,” “Disciples,” and “The Less I Know The Better” bring me back to the style of some of their older music. It has that driving tempo paired with Kevin Parker’s elongated melodies that I’ve learned to love from them. It’s also nice to hear that vintage, mono sound that defined the early years of their success as they gained popularity in the States.
This record, however, goes far beyond that.
The serene “Yes I’m Changing” explores our human emotions as we go through change; struggle and confusion followed by acceptance. The lyrics are to the point and almost make it feel like a conversation rather than a song, a trend that we see throughout the record in a few places.
I felt the strangest emotion but it wasn’t hate / for once
To me, three tracks stand out as unbelievably unique artistic statements, though it’s worth noting that they are almost entirely surrounded by tracks that already live up to or exceed the standard set by Innerspeaker and Lonerism.
First, we have “Eventually.” Though the song opens up sounding more like a garage rock sound with a few synths, it quickly takes the tone down and hypnotizes us. The lyrics are incredibly relatable, something Kevin Parker is getting very good at these days. The instrumentals vary dynamics incredibly effectively through the increased layers with each chorus and tasteful use of silences and pauses.
Tame Impala have a way to make normally irritating sounds into something beautiful, and that has never been truer than in this song. Listen to the wavering synth behind the verses, first entering at 0:17. How about the more forward keyboard part that enters at 3:13? The bottom line is that, if any of us were given that take to work with, we would not know how to surround it with layers that made it sound good, let alone unnoticeable at times.
The second song I really like is “New Person, Same Old Mistakes.” It has a strange, Arctic Monkeys vibe to it paired with a bit of drama, like it could be in a creepy musical or film. Similar to the chorus in “Eventually,” I’m just overwhelmed by grooviness with the entrance of every chorus, which has kept me coming back to them more than any other songs.
The final key to appreciating this album lies where I least thought I would find it with the first listen, at track number eight. “Past Life” may be one of the boldest statements this band has ever made, featuring a Jigsaw-like vocal effect in the verse over a man that acts more as a narrator than a vocalist. This almost creepy sounding verse explodes into a haunting, repetitive chorus that enhances the story of the lyrics with perfection.
The idea of the song is enough to make anyone feel like they just took some drugs and are deep in one of those normally unattainable places of our minds. It explores the idea of subconscious memories of a past life suddenly being revealed to us. The instrumentals accent the story powerfully, particularly in the first entrance of the chorus and the verse at 1:25. Beyond the perspective of popular music and instead in the spirit of being artists, I believe this to be their best production ever.
This album is what it is because of the ingenious writing of Kevin Parker paired with impeccable production for the style. I find it tough to compare their albums, but this one is by far the most varied in influences. If you haven’t already, you need to pick up a copy.
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