Pop from Across the Pond

First off, I adore JMW Turner. Thinking about JMW Turner's paintings the other day I got to thinking about stuff that is currently awesome coming out of Britain. Sitting there it struck me that a lot of the awesome electro pop music that I am listening to these days (guilty pleasure?) is by female artists from Britain. While I have written about Little Boots and obsessed about Micachu before on TSRE, it really is quite stunning the volume of catchy pop there is from Britain these days. La Roux features massive vocals and a strident presence. I absolutely love Ellie Goulding and her electro singer song writing. New to the scene though is Marina and the Diamonds, originally discovered over at Neon Gold, their song Obsessions is probably my favorite and most played track at this instant. What a well crafted pop song: catchy chorus, powerful and agile vocals and that twinkling piano. Really, eventhing in this vein that comes out of Britain right now turns gold. Hooray for the Brits. Now go and check it all out.

Marina & The Diamonds - Obsessions (YSI) (filesavr)

La Roux - Fascination (YSI) (filesavr)

Ellie Goulding - Starry Eyed (YSI) (filesavr)

A Look Back at 2008: Beck

Seeing as Fiscal Year 2009 (or FY09 if you prefer) for many companies has just come to a close, I figured some sort of reflection is in order. While a fuller FY09 retrospective may be arriving at TSRE in the next couple of weeks, I just wanted to share my continued love of Beck's Modern Guilt from FY09 that was also in my top 5 albums of 2008. In a fiscal year of massive remixes and synth explosions, Beck stayed minimal and created an engrossing guitar album. Both introspective and post apocalytpic, Modern Guilt addresses today's society, while sounding like it was recorded an eon ago. These songs have such great rhythms and catchiness that once I put on the album, it is staying on for a while. Beck has also been reissuing a bunch of his older albums recently, so check those out as well. Have a great summer weekend and listen to some awesome tunes!

Beck - Modern Guilt (YSI) (filesavr)

Beck - Youthless (YSI) (filesavr)

Beck - Gamma Ray (YSI) (filesavr)

Five Musical Moments

Over the past decade, music publications have been all about lists. Pitchfork’s 500 Greatest Songs. Rolling Stone’s top 500 songs, albums, and top 100 guitarists. VH1’s 50 Most Awesomely Bad Songs. Music Blog X’s year-end list of favorite albums. I don’t have a problem with the list phenomenon, though the whole idea of pretending to establish a definitive ranking of great songs bothers me a little. How can you really argue that Bob Dylan’s “Like a Rolling Stone” is better than the Beatles’ “Hey Jude”? Or vice versa? They’re both great songs that have proved to be hugely influential in the decades since their release. Ranking one ahead of the other just seems odd.

Anyways, I’d like to do a list of my own. I could list my favorite songs, or favorite albums, or favorite singers or guitarists. But I’m not going to. Rather, I’m going to list a few of my favorite musical moments. Songs can be great due to compelling lyrical content, or due to gnarly guitar work, or due to interesting song structure. But some songs come to be favorites of mine due to one transcendent musical moment within the song. It might be a surprising key change, or an arrival or resolution so satisfying that it leaves the body tingling. Maybe it’s the introduction of an unexpected instrument, or perhaps it’s a groove or beat dropping such that you’re simply forced to dance. So I’m going to list a couple of my favorite moments. This will by no means be a complete list—hell, I may come back next week, and the week after, with more of my favorite moments—but here are five, in no particular order, to start things off.


Nas – N.Y. State of Mind (YSI) (filesavr)
0:17-0:25

This moment comes from the first full track off of Nas’s 1994 debut album, Illmatic (the opening track is more of a skit), one of the most kickin’ rap tracks of all time. My favorite moment comes right at the beginning, just before Nas is about to drop his first rhymes of the album—an album that is often listed among the best hip-hop albums of all time. Just before the verse begins, you can hear him say “I don’t know how to start this shit.” Apparently he’d just written it and didn’t know how to begin. But then he bursts into the rap with this absolutely fierce flow that just grabs you and gets your head bouncing. The track’s producer, DJ Premier, describes this awesome moment during the recording process:

“He didn’t know how he was gonna come in, but he just started going because we were recording. I’m actually yelling, ‘We’re recording!’ and banging on the window…You hear him start the shit: Rappers…And then everyone in the studio was like ‘Oh, my God’, ‘cause it was so unexpected…we was like, ‘Yo, this guy is gonna be big.’”

Led Zeppelin – Bring it on Home to Me (YSI) (filesavr)
1:35-1:49

I dig this moment because it forcefully juxtaposes the blues, in which rock n’ roll is rooted, with the hard rock that Zeppelin is famous for. “Bring it on Home to Me” starts off in a traditional blues style, with a shuffling guitar, harmonica, and affected vocals. Then, all of a sudden, as a verse comes to a close, a huge electric guitar riff comes out of nowhere, bringing the song into a completely different realm. Yet the lyrics and vocal melody retain many of the qualities from the song’s opening, showing just how directly the blues influence Zeppelin’s early heavy metal.


Bob Seger – Night Moves (YSI) (filesavr)
3:40-4:00

I’m not a huge Bob Seger fan, but “Night Moves” is a great tune, perfect for a nice summer evening. The moment I’m talking about comes after the song has died down. It almost seems like the song will end sad, with Seger wistfully singing that it’s strange how the night moves, as if some clichéd moment’s passed that will never be reclaimed. And then the familiar guitar strum comes back, the snare drum builds and, at last, the female backing chorus kicks in, bringing the song to its final groove that will cause you to smile and bob your head if you’ve got any soul.


Otis Redding – Just One More Day (YSI) (filesavr)
0:53-1:00

This moment comes from one of my favorite Otis Redding tunes. “One More Day” is a ballad in which Otis sings out pained pleas that his lover just give him one more day, and that if she does, he’ll “be anything that you want me to be.” It’s one of Otis’s most sorrowful songs, and his incredible voice is a perfect fit for the sentiment. This moment comes at the beginning of the second verse. The first verse and chorus have gone by, with Otis wailing over a subdued accompaniment. The second verse begins; Otis sings the first line, and then all of a sudden a brass ensemble butts in with a rising, accented figure that lends a brash reinforcement to Otis’s plaintive message. This figure appears through the rest of the song, but this first entrance is particularly powerful.


Jean Sibelius – Violin Concerto – Mvmt. I (YSI) (filesavr)
0:04-1:04

Sometimes music makes your spine tingle. I’ve read that one scenario which frequently causes this reaction is when a solo instrument plays against a hushed orchestral backdrop. The opening of Sibelius’s Violin Concerto, for me, defines this phenomenon. The piece opens with trembling, shimmery strings (make sure you turn the volume up), which set the stage for the violin’s entrance. It enters softly first, though it’s not tentative—it’s more like a pure voice at a distance, beginning its approach. The violin grows in volume, eventually rising up to state the movement’s primary, dramatic theme. It’s one of the more chilling minutes in all of music, in my humble opinion, and the whole piece is pretty killer, so listen to all 19:37 of it if you can.

So those are five of my favorite musical moments. I’ve enjoyed listening to them over and over again in the process of writing this, and hope you enjoy them as well. If you’ve made it this far and haven’t wasted enough time in reading this, feel free to share some of your favorites below.

TSRE Wonders: Exclusive Interview with Jason Drake of Cassettes Won't Listen

We here at The Stu Reid Experiment had a chance to catch up with Jason Drake of Cassettes Won't Listen for an exclusive interview this week. We asked him about his experiences as both a remixer and original songwriter, how hip hop has influenced his work, and what his favorite article of clothing is (and he gets bonus points for a picture!). Check it out below:

TSRE: If you had to give someone an introduction to your music, before they had ever heard any of your songs, what would you tell them to listen for? How would you describe your music?

CWL: I always start off by saying I'm a producer or electronic artist mixed with singing/songwriting. From there you can usually tell if the person knows exactly what I'm talking about or if they have no clue. If they know then we're all good, if not then I usually say I play guitar.

TSRE: Would you start them off with Into The Hillside? Or would you take a more chronological viewpoint?

CWL: Into The Hillside is an album that is very specific to where I was over the last year. If I were to start them off I would probably go earlier and play them "Cutting Balloons" from 2005, give them a remix or two I've hooked up for other artists, and finish them up with something from Small-Time Machine.

TSRE: We first got exposed to you via some of the remixes you have done – Pela, El-P, Asobi Seksu, and many more. Which do you prefer, remixing or creating original tunes? How does your approach differ when attacking remixes vs. covers vs. originals?

CWL: I approach remixes and covers with much less anxiety and feeling of helplessness. Both have somewhat of a structure to work with and some sort of direction. Original songs are the most rewarding while also being the most terrifying. I have to make sure Im experiencing something big in life to pull inspiration from while writing songs. I don't want to sing about how I'm sitting around watching TV. That's what twitter is for.

TSRE: The remix table was turned on you, recently, when you were remixed by Diplo and DJ Avia. What’s it like to hear one of your own tracks get the remix treatment?

CWL: I love it...... when I like the remix, which is most of the time. It's sort of hard to deal when the remix doesn't compliment the track. When remixing, there is a fine line between genius and a complete strike out.

TSRE: You work(ed?) for Def Jux at one point. How did your experiences there affect your music? Do you feel like your music has been influenced by hip hop?

CWL: I still do work for Def Jux and have been for a while now. I came on board around the beginning, right around when Aesop Rock's Labor Days was coming out. The label has become almost an extension of who I am, if I grew another arm I would probably call it Def Jux. Being constantly surrounded by El-P, Cage, Aesop Rock, etc has always had an impact on my music and career. They've all been very supportive. I grew up listening to hip hop so it will always have a place in my music.

TSRE: As a musician with some marketing experience, what’s your feeling on the “blogosphere”. Is it good for musicians? Is it good for music? (No need to candy coat, we have thick skin).

CWL: Seems like that's a trick question. It's great but then it's not great. It's great because it opens the scene up to so many new bands / music that you would of never heard before. But that's the blogosphere's downfall. Too much music and too many bands to listen to. Everyone has a presence online nowadays so it sort of ruins the scene by spreading it too thin. Our artist on Def Jux, Cage, says that the underground doesn't exist anymore. It's true. I remember riding the bus up to Manhattan to hit record stores that stocked music you couldn't get anywhere else and I loved it! Now you can just download it. I probably would have hated the internet growing up but now Im addicted to it. Who wants to travel two hours to go to a record shop?

TSRE: What’s your favorite piece of musical equipment?

CWL: I've finally gotten into software synths and started recording with Logic. I'd probably have to say that my computer is my favorite instrument. Although I've recently bought a Monome so you'll have to ask me once I've had more time to fuck around with it.

TSRE: The last three albums you listened to beginning-to-end?

CWL: Wow, thats a hard one. I think they were the new Wu-Tang comp that just came out, One Foot In The Grave by Beck (reissue), and Cage's Depart From Me.

TSRE: One thing you haven’t done in music yet that you would like to do?

CWL: National / World Tour

TSRE: And finally, what is the most awesome piece of clothing you own? Bonus points for pictures.

CWL: My limited edition JB Classics "Miami" sneakers. I've been an on-again off-again sneaker freak for a while now.

Cassettes Won't Listen - Quickly Approaching (YSI) (filesavr)

Asobi Seksu - Strawberries (Cassettes Won't Listen Remix) (YSI) (filesavr)

Cassettes Won't Listen - Paper Float (Diplo and DJ Avia Remix) (YSI) (filesavr)

Thanks to Jason for the interview!

More Movie Music - The Great Tunes of the 500 Days Of Summer Trailer

Continuing on the movies/music theme, I saw a trailer for the upcoming Zooey Deschanel flick 500 Days of Summer on Sunday night, and was psyched to hear some great tunes in the preview. The clip starts with Zooey and Joseph Gordon-Levitt (the kid from 10 Things I Hate About You) standing in an elevator, with Zooey commenting on The Smiths song that he's listening to. It's a very Garden State moment - indie kid A talking to indie kid B about indie band C playing on a pair of headphones. But she's right - "There Is A Light That Never Goes Out" is a fantastic song.

The Smiths - There Is A Light That Never Goes Out (YSI) (filesavr)

It is, in fact, the basis for one of my favorite covers of all time - the little known remake by Schneider TM. It's an electro affair that builds on the original Smiths version to give it a completely different feel. I COMPLETELY love this song. Lifetime playcount probably above 100.

Schneider TM - The Light 3000 (YSI) (filesavr)

The trailer then goes on to play one of my favorite Regina Spektor songs, "Us". It's a great tune off of her 2004 album Soviet Kitsch. One of the more romantic songs you'll hear, and it works perfectly in the movie preview. God I love this song.

Regina Spektor - Us (YSI) (filesavr)

I dunno. The trailer doesn't actually look all that great. It seems a little too gimmicky, a little too predictable, a little too boy-from-10-things-i-hate-about-you. But the music draws me in. Perhaps I'll venture to the theatre to take in some cinema, if only to catch some tunes on the big screen.

Alexi Murdoch Soundtracks Away We Go Perfectly

I got a chance to check out Away We Go on Sunday night - the new movie with John Krasinski (Jim from The Office) and Maya Rudolph (awesome from SNL) - and was pleasantly surprised. It had a pretty complete package: comedy, romance, life lessons, Maggie Gyllenhaal. What else could you ask for? Rudolph and Krasinski play "fuck-up" 30-somethings about to have a baby. They have great chemistry on screen, and develop a combination of goofy and sincere well on screen. The screenplay is by David Eggers, of A Heartbreaking Work Of Staggering Genius, and is pretty phenomenal. And Allison Janney is absolutely the bomb diggity in it. Sidenote: I love Allison Janney.

I was also super psyched about the soundtrack to the movie, which was exclusively done by Alexi Murdoch. I have always loved Murdoch, since the first time I caught "Orange Sky" on WXPN in Philly, and I'm glad he's getting some mainstream play. Murdoch's kind of a suave Jack Johnson, a lush Jose Gonzalez, and he writes great songs. The perfect soundtrack to a light-heartedly introspective movie.

Check out a couple of Alexi's tunes, as well as the trailer for Away We Go. I would definitely recommend it as a humorous and sentimental break from the summer blockbusters.

Alexi Murdoch - Orange Sky (YSI) (filesavr)

Alexi Murdoch - All Of My Days (YSI) (filesavr)

More Icelandic Goodness

Despite a faltering economy, Iceland has extraordinary things brewing in its local music scene. We all already know about Sigur Ros, but Sin Fang Bous is primed to emerge next from the continental rift. Channeling a thick, jittery folk sound reminiscent of Gobbledigook, minus its grand sense of majesty, Sin Fang Bous offer a solid album of multi layered folk in Clangour. While parts of the album struggle to differentiate themsevles from the rest, standout tracks like Advent in Ives Garden and We Belong that utilize a depth of instrumentation, including myriad twinkling things, are self contained little gems of organic folk. Mottled sunshine through the window of a wooden cabin just as you realize you have one more day off before returning to work.

Sin Fang Bous - Advent in Ives Garden (filesavr) (YSI)
Sin Fang Bous - We Belong (filesavr) (YSI)