[Weekly Listening, Week 12]
Through a fantastic few songs discovered with help from Apple Music, I’ve left the musical doldrums of Week 11 and found a source of plenty of fresh discussion. The theme this week seems to be sleepy, languid funk, suited to the inevitable lethargy that the end of term brings. twenty one pilots’ new double release with Jumpsuit and Nico and the Niners has been the talk of the music world this week, and the genre-mashing duo have not disappointed.
The Underdog
by Spoon from Ga Ga Ga Ga Ga (2007)
10 plays (37:03), Song of the Week
An admittedly unexpected Song of the Week this time round comes courtesy of Texas-based indie outfit Spoon. Their defining early hit, The Underdog offers a more chamber-pop approach to their usual, highly acclaimed percussive punk style that has gained worthy attention over the course of nine studio albums. Expect a heady concoction of raw vocals, acoustic guitar flourishes and brass arrangements that put Panic! At the Disco’s recent album to shame. Whilst the mood is set perfectly, the hook is fairly weak, failing to venture away from a range of just three notes. The emphatically delivered brass section makes up for this, resulting in a triumphant, whistle-along tune. The World Cup was the main reason The Underdog gained so much play time – with lines like “You’ve got no fear for the underdog / That’s why you will not survive”, it was a source of great optimism, at least until Wednesday night.
Short Court Style
by Natalie Prass from The Future and the Past (2018)
7 plays (26:05)
Time for a slice of delicious funk. A colourful bass riff takes centre stage in singer-songwriter Prass’ assured lead single from her sophomore album The Future and the Past. With whirly background synths and dashes of Cory Wong-style rhythm guitar, Short Court Style wouldn’t sound much out of place on a Vulfpeck album. The shuffling groove is really what the song is all about, but the chorus is catchy enough, with backing vocals for added finesse. If you’re looking for a soundtrack for lazy summer afternoons, Short Court Style seems built for the part.
Postcard
by Sundressed from Sundressed & Nominee – EP (2018)
7 plays (23:46)
Teaming up with fellow indie rockers Nominee, Postcard is the best of Sundressed’s three contributions to the EP. A quintessential rock classic, Postcard seems to tick all the boxes. Good vocals? Check. Interesting breakdown? Yep. Memorable hook? Absolutely. In fact, the chorus is the best part of this song, making Postcard one of the few tracks that will have you humming the tune even after first listen. Sure, there’s nothing special going on in guitar (like Song for Leila) and there’s no surprise soul vocalist (like Broken Truth and Honesty), but Postcard is so good, originality is no longer a priority. Despite some particularly nimble drums in the middle eight, it must be said that Postcard seems to fit song-writing standards to a tee, without offering any truly exciting new ideas to the tried-and-tested formula. But sometimes it’s best not to try and reinvent the wheel in every song, and in Postcard, Sundressed have given us a masterclass in how to write a truly superb rock song.
Block
by clipping. from Face (2018)
6 plays (27:17)
After reviewing some 80 songs over three months on this blog, I can safely say no song has been more remarkable than Block from California experimental hip-hop group clipping.. It’s a fascinating song that I could write about for days but I’ll try keep things as succinct as possible here.
I’m not sure if I can even call it a song – there’s no melody to speak of, nor any definable rhythm, harmony or even a set pulse. A ‘work of art’ would perhaps be a more fitting description of Block, but it’s an artwork that seems to defy all categorisation. Listening to Block, particularly on headphones, feels like a real undertaking. To put it simply, Block is uncomfortably gripping and gritty – the musical equivalent to a horror film. Ten seconds in and you’ll be enthralled in a rapidly introduced new world: the economically-deprived hometown of clipping.’s MC Daveed Diggs. Each rapid fire line of stunningly vivid poetry is delivered in sickening deadpan, punctuated by menacing chimes and textured with electric fuzz increasing in intensity. After each verse comes an interlude, where Diggs puts down the mic and a pulsating amalgamation of industrial loops take control, seemingly unlike anything outside hell. This too builds, culminating in a hammering effect that is perhaps deliberately difficult to identify. A helicopter? A drill? Even gunshots perhaps? This ambiguity left up to the listener’s interpretation is part of what makes Block such a genius song. Diggs’ lyrics don’t relent in verses two and three, packed full of deep, often metaphorical meaning. These lines fly by at speed, making them difficult to take in on first listen, so new meanings and intention can be found with every listen. Themes include oppression, poverty, alcoholism and a bleak, dystopian view on modern, commercialised America; Block is about as heavy as it gets. If you make it past the three-minute mark you’ll be treated to the most thrilling, disturbing and pulse-racing part of Block. Again, it features a brutal selection of industrial sirens and clatters that have the ability to conjure inexplicable emotions. Panic, fear and an unavoidable sense of foreboding set in as the gun-like monster intensifies, revealing a far darker side of life. There’s a stomach-churning feeling that somewhere under the sirens, something evil lurks – as if something’s coming to get you. Eventually, the accelerating downwards spiral cuts off, and you are abruptly reintroduced into the real world with a fresh perspective. Not everything seems as harmless and safe as it used to be and one feels a bizarre heightened sense of paranoia.
Perhaps it’s the adrenaline rush that attracts me to Block, just like horror films and rollercoaster rides. But unlike these, Block seems to have a visceral, sinister twist that leaves you uneasy and unnerved. In the end, it’s not the superbly written descriptions of living hell or even the deafening cacophony that terrifies me. The true fear comes from the way Block seems to have psychologically changed me, on a profound, personal level.
Hijo De Su Madre
by Omar Apollo from Stereo (2018)
5 plays (14:50)
If you’re missing the funky rhythm guitar of Short Court Style after enduring Block, Hijo De Su Madre has plenty to offer. Apollo riffs around the 1968 tune Tighten Up by Archie Bell & The Drells, adding a brand new style through cowbell, rapping and soft falsetto. The result is a great foot-tapper laden with swagger. It all feels a little mono-chordal and repetitive at times, but in Hijo De Su Madre, Omar Apollo has captured the feeling of careless relaxation to perfection.
What About Me?
by Snarky Puppy from We Like It Here (2014)
5 plays (33:31)
The wonderfully named Snarky Puppy are far from a new band to me, and if they’re new to you, stop what you’re doing and listen to some of their classics – Tarova, Shofukan and of course What About Me? are must-listens. The three-time Grammy award winning collective lead by Michael League are known for their distinctive jazz fusion sound, delivered with world class levels of musicality and skill. What About Me? is no exception, often switching time signatures and grooves with astounding fluency and ease. It’s worth mentioning the percussion in the track and many others from Snarky Puppy, with Robert Searight producing a dizzying array of cymbals, snare and toms right from the beginning. The drum solo later on is also hugely enjoyable, trading complexity for a mesmerising stop-start groove. A decidedly avant-garde guitar part becomes a finger-numbing solo, helping the build-up into a scintillating finale, strapped down by an awesome bassline. The groove here is mind-blowingly original, and some of the drumming will have you rewinding and listening again and again. Like all Snarky Puppy songs, What About Me? is an inspirational display of talent, and shows once again that this is a band like no other.
Life Moves On
by Finneas (Single) (2018)
4 plays (16:47)
If you’ve read some of my others posts you’ll know that ballads don’t tend to be my thing, but I couldn’t ignore Life Moves On after first listen. Brother of fellow young musician Billie Eilish (watch out for her next week), Finneas has devised a beautiful chorus melody in Life Moves On, one of his recent singles. The feel of the song is similar to that of Tom Odell’s Sense, yet this time Finneas has guitar, strings and extensive backing vocals at his disposal. Thankfully, the strings are tastefully arranged, enhancing Finneas’ songwriting without dousing it in melodramatic glitter. Furthermore, his vocal range is impressive, reaching some soaring high notes to really send the tears flowing. Whilst it may not have many neat tricks to separate it from the crowd, Life Moves On is a genuinely moving ballad that deserves more attention.
Jumpsuit
by twenty one pilots (Single) (2018)
4 plays (15:54)
The better of the two freshly-released singles, Jumpsuit is promising right from the first note, pounding out a classic bass and four-to-the-floor pairing. As it turns out, this bass riff is the basis of the entire song, and sounds like it could become one of the most notorious riffs in twenty one pilot’s eclectic arsenal. Laid-back, menacing verses contrast the thumping chorus, creating great variety. The biggest surprise comes in the lengthy middle eight, where a timid piano makes a surprise entrance. It feels like after a ominous opening, maybe the song will end on a positive note. But just when you’re convinced genius twist. By the time a stirring snare build commences you’ll be fumbling for the volume up button as you are treated to a fabulous drop into a return of that pulverising bass riff. It all ends a little too soon for my liking, but in Jumpsuit, twenty one pilots have crafted a song that begs to be listened to again and again.
Boy
by VICTOR! (Single) (2018)
4 plays (14:48)
Time for a final dose of lazy summer funk with VICTOR!’s Boy. The opening groove is effortlessly cool and relaxed as you’d expect, featuring a clever guitar counter melody. Then comes the wildcard. Exactly halfway through the guitar abruptly stops, but don’t be fooled – despite the long silence, the song is far from over. Suddenly it sounds like a seven year old seems to be singing through your speakers, perhaps implying VICTOR!’s immaturity. Soon after, the song transforms again, reigning back the tempo and introducing yet more fresh vocalists. All in all, I’ll admit the two-songs-in-one approach feels a bit messy and confused, and an extended version of the opening groove would be welcome. However, VICTOR!’s gone out on a limb to do something different in Boy. It’s a move that many musicians wouldn’t even dare to make, and for that he’s gained my respect.
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