Pure brain candy. Passion Pit's debut album is like a vat of cotton candy that keeps spinning out reel after reel of sweet goodness. Big, sugary synth-pop hooks spill out over the sides of every song, the album bursting out of some sort of indie-dance-rock tacklebox. Singer and songwriter Michael Angelakos' falsetto is used as more of a heady musical instrument than a lead vocal, flying away to impossible climaxes alongside children's choirs and swervy samples. Those who dismiss the music as a lightweight confection have clearly never tasted the absolute joys of pop abandon. The instant pleasures of this record are only surpassed by its surprising durability, its surprising ability to keep you nodding your head and moving your feet over and over again. The co-opting of dance music by indie rock has been well-documented, but its possibilities continue to produce some interesting, and at times, even thrilling results. Manners is no exception.
Declaration of Dependence is arguably the Norwegian duo's most quiet and holistic album to date. And it is absolutely delightful. Erlend Oye and Eirik Glambek Boe share vocal duties more than ever before, and while Erlend is typically the high voice in their harmonies (see "Second to Numb"), they also switch this dynamic around (see "Rule My World"). From the beautiful opener "24/25" to the album closer "Scars on Land," the record displays a hushed acoustic sophistication that encourages inward contemplation and repeated listens. Of course, not every song requires patient introspection: the first two singles, "Boat Behind" and "Mrs. Cold," are as fun to sing out loud as anything the Kings have written.
Many of the songs were created or arranged during soundchecks in concert halls during the duo's scattered touring over the past five years, and the extensive use of string reverb on the likes of "Renegade" adds a splendid richness to the small nuances in Erlend's and Eirek's guitar playing. There are no drums or percussion (unless you count a piano), but Eirik often hits his guitar while playing to a percussive effect. With the use of an upright bass and viola throughout several tracks, the album also has a significant live feel. After five years of waiting patiently, The D Man is grateful that the The Kings of Convenience delivered the most pleasurable listening experience of the year.
Bat for Lashes' second album, Two Suns, lights up a lush underworld of lullabies, dreams, and dirges. Natasha Khan's subterranean voice floats over, through, and around seriously striking and beautiful songs. "Daniel" is one of The D Man's favorite singles of the past few years.
Rather than bore you with comparisons to other female singers (Tori Amos, Kate Bush, Bjork, The Cocteau Twins, etc.), Khan should be considered Peter Gabriel's daemon. (Indeed, The D Man would love to hear Khan cover So and Gabriel exchange the favor with a version of Two Suns). Khan has the same penchant for dark-hued pop accented by world rhythms and an even deeper affection for mystical allusions. Her singular voice is haunting and magical, like clouds passing over a brilliant moon. Or two.
This London group was one of the most hyped bands of the year, and deservedly so. Sleek, minimal, midnight textures elicited praise from various corners of the indieverse. With exciting influences apparently stemming from modern R&B, electro-pop, and Interpol, among others, the young band was instantly praised before most people had listened to the record more than a few times. Throw in the intriguing vocal theatrics between Romy Madley Croft and bassist Oliver Sim--largely based on the sexual drama of interpersonal relationships--and you have one potent debut.
On first listen, The D Man suggested that The xx was a co-ed cross between The Stills' updated new-wave and The Whitest Boy Alive's spaced-filled, guitar minimalism. But after further listens, xx is an album that ultimately dissipates into the darkness, with only shadows of ill-defined influences dancing about. The album retreats to its own negative, basic space. And it's all the better for doing so.
The pleasures of this self-titled debut are so obvious, The D Man isn't sure there is much to discuss. With echoes of The Smiths, The Pastels, or early My Bloody Valentine, the Brooklyn band's first album is fuzzed-out dream pop that may make more than a few heads explode with giddiness. If you've been missing chimey guitars circa 1989, you may have to sit down at the 2:05 mark during "Everything With You." If you can't stop from bouncing around to uplifting shoegaze anthems, you may want to grab onto something before you listen to "Young Adult Friction." When considering that in 2009 the band also released an equally pleasing EP, Higher Than The Stars, there is little wonder how The Pains of Being Pure At Heart ended up finding the soft spot in the The D Man's . . . well, you get the idea.
The D Man wishes there were more bands like Mew. Whimsical and wholly original, this Danish band keeps making records that defy explanation but hit the pleasure button track after track. Mew distills prog-rock's pretensions down to five-minute songs and still manages to sound epic and imminently listenable. Lush, swirling popscapes allow Jonas Bjerre's falsetto to pierce through your defiant armor and turn your cynicism to musical mush. Who else could sing the lines "You drew me cartoons / so playful" and make you want to hear it over and over again?
While No More Stories may not be as groundbreaking as And the Glass-Handed Kites, the record showcases Mew's arena-rock bonafides in an almost beautiful fashion. Guitarist Bo Madsen recently referred to Mew as "the world's only indie stadium band." And he's right. Too bad they will never play Giants Stadium, even though it would be bigger (and better) than watching an aging Mick Jagger strut around.
The Antlers "debut" album, Hospice, is a sprawling, disjointed, potent record with flourishes of noise-rock, lo-fi pop, and soft/loud wall-of-sound guitars. With drummer Michael Lerner and multi-instrumentalist Darbit Cicci joining singer Peter Silberman's previous solo efforts, The Antlers established themselves as one of the most exciting indie-rock bands of the year. The fierce emotional and lyrical content of the record lays bare both fictional and autobiographical accounts of 23-year-old Silberman's isolation, frustration, and desolation. But the music's aural power--and Silberman's ever-reaching voice--develops into something astonishing, sad, and soaring.
Stark the Vinyl Shark burned The D Man a copy of Middle Cyclone (don't worry, no copyright laws were broken) only to have it become one of my most played records of the year. Indeed, Mrs. D Man fell in love with Neko Case's latest and arguably best record--she played track three over and over again and, surprisingly, we never grew tired of it.
Middle Cyclone is a vivid portrayal of country, folk, pop, and an altogether special brand of Americana that Case delivers with powerhouse vocals and an unusual lyrical fervor, touching on the elemental, physical, and, well, animal. "This Tornado Loves You" is a dangerous tale of a tornado's torrential love. "People Got A Lot of Nerve" is the best song about elephants and killer whales that you will ever hear. "I'm An Animal" is self-explanatory. "Magpie to the Morning" will wake you right up with its lyrical folk-pop brilliance--sorry, no youtube clip, so you may have to go pick up the album. Or have the Vinyl Shark burn you a copy.
Intelligent, catchy, and warm as the summer sun, Camera Obscura evokes the girl groups of yesteryear without sounding forced or descending into pastiche. Tracyanne Campbell's voice carries the day on the Glasgow group's fantastic fourth album, My Maudlin Career, while imbuing lovely, well-played ditties with a sense of sweet vulnerability. Camera Obscura's well-crafted songs and throwback pop sensibility is not to be overlooked, however. The music's rich variation is surprising, especially considering what could have turned out to be a more narrow genre record.
Red-blooded Americans will want to live in Europe and fall in love with sailors after listening to "French Navy." And "The Sweetest Thing" is, well, the sweetest thing you've heard all year. "You Told A Lie" and "James" are pensive pop protests. And album closer "Honey in the Sun" will make you want to schedule your next getaway immediately. Obviously, this is a record that lesser men might hesitate to flaunt in their collection. But make no mistake, its absence will make afternoon drives with your lady much less enjoyable. Trust The D Man.
Jack White's supergroup of Alison Mosshart (The Kills), Dean Fertita (Queens of the Stone Age), and Jack Lawrence (The Raconteurs) was more than a vanity project. White has deconstructed, recreated, and blown up again American roots and blues music more than any other person alive. The Dead Weather was White's latest vehicle to explore the dense, dark side of blues rock in all of its possible variations. A quick listen to Horehound (and the rest of White's unbelievable output this decade) demonstrates his complete command and reinventiveness of America's primal sounds.
Mosshart's lead vocals are sharp, slinky, and assertive. Fertita's heavy guitarwork is buttressed by Lawrence's workmanlike bassplay. And White's performance from behind the drumkit is plenty good, if not great. After seeing The Dead Weather rip it up live, The D Man can affirm that this collection of songs is a worthy addition to White's ever-growing canon.
Bradford Cox collected his personal demos after they were leaked over the internet and gave them a proper home on the album Logos. Thankfully the skinny frontman for Deerhunter shared his experimental bedroom projects--we properly received two of the best songs of the year as Cox continued to delve into the electronic-influenced possibilities of sixties-pop sounds. Indeed, the "duets" with Laetitia Sadier of Sterelab and Noah Lennox (aka Panda Bear) are the best moments on Logos. With vocals from Sadier, "Quick Canal" plays to Cox's stream-of-consciousness strength and pulses its way through a decidedly end-of-the-decade experiment in what can be described as a kind of classic-lab pop. And with help from Lennox, "Walkabout" becomes another Pet Sounds-obsessed runaround.
The D Man tried to listen to this album as background music while he performed the legal (and oft-mundane) tasks of his day job. But the music was simply too good, too invasive. Neon Indian's Psychic Chasms (by Austin-based composer Alan Palomo) is the best lo-fi techno record you've ever heard, if you can call it that. It sounds like something your genius kid brother would have made in his makeshift home studio consisting of an Atari Commodore and a cassette player. But the genius of the record is that it has such a classic soul vibe, despite the futuristic soundtrack. It's too organic and melodic to be limited by the narrow trappings of laser beams or photon torpedos.
Andrew Bird has appeared on The D Man's end of the year list before. His baroque, lyrically whimsical chamber-pop has no other peers, largely due to his violin virtuosity and looping build-ups performed with multiple instruments. (Xylophone included!) After enjoying the pop maestro in concert earlier this year, The D Man can attest that his immense talent just comes spewing all over the stage. Best line from Noble Beast: "I see a sea anemone / The enemy / See a sea anemone / And that'll be the end of me." Vintage Bird.
Justin Vernon (aka Bon Iver) gathered his Wisconsin friends from the Collections of Colonies of Bees to make an unconventional, meandering record of guitar strings, choir swells, and electronic bleeps. On the aptly-titled Unmap, the music slowly unwinds and reveals a placeless beauty, somewhere in the void, where matter and sound are still taking shape, still fighting to combine with the emerging topography. The album cover implies a group of ancient, mysterious musicians and some sort of north woods escapism calling for large trees, heavy snows, endless nights, and gospel gatherings.
The opening sequence is perhaps the record's strongest passage. Check out opener "Husks and Shells," second track "Seeplymouth," and the video for the vivid "Island, IS." After releasing For Emma, Forever Ago, the best album of 2008, Vernon proves that his unique talents are more than a one-time creative accident. Indeed, Bon Iver's Blood BankEP deserves serious praise as another fine recording in 2009.
Erlend Oye makes his second appearance on the list. And why not? The Whitest Boy Alive produced another breezy, funky treatise in vocal and guitar minimalism that proved to be the most reliable summer companion of the year. While still influenced by Oye's electronic/dance sensibilities, Rules expanded into a more traditional, keyboard-inflected Euro-pop vibe.
After bouncing around the country with his first three albums, the talented Cass McCombs really found his footing on his fourth record, Catacombs. (Had to happen sooner or later, right? His great album with that name?). McCombs' reedy voice and independent bedroom-folk are difficult to define but witheringly addictive. "You Saved My Life" just floored The D Man on the first listen. Floored me.
Stewboy recently told me that Christmas songs are too sad. He doesn't like them. And he's right. Some Christmas songs are quite sad. Case in point: "White Christmas" and "I'll Be Home For Christmas." Who wants to be home for Christmas, if only in their dreams? Having experienced the latter, The D Man can tell you that dreams don't quite make up the difference.
Then again, those songs don't even come close to the profound sadness described in the aptly-titled "That Was the Worst Christmas Ever!" Devastating in its descriptions of familial discord and a lack of means (yet powerful in its ability to consider future redemption), Sufjan Stevens' narrative is maybe the saddest Christmas song ever. Unfortunately, this sad song plays out again and again throughout this country, and throughout the world, during Christmastime.
So maybe a sad song is entirely appropriate during this jolly season of silver and gold. Because The Baby that we celebrate eventually became The Man, we may rightfully consider His ability to mend broken things. Because He experienced all of our grief and every other emotion for our sake, from the poignant to the sacred, from the happy to the divine, we may sing songs to celebrate them all. Even sad ones.
Not into the whole wasting away hipster look, The D Man likes his leading men with a little more backbone, something that Bradford Cox doesn't quite offer. But in Cox's case, he suffers from the rare genetic disorder Marfan syndrome, which often produces, among other things, long limbs with long thin fingers. (Joey Ramone shared the same disorder). Regardless, the frontman for Deerhunter and shockingly skinny dude is wrung out with talent. And there is no denying the dreamy allure of "Quick Canal" from a collection of demos that Cox recently released under his Atlas Sound moniker as the proper album, Logos.
With vocals from Laetitia Sadier of Stereolab (a muse of sorts), "Quick Canal" plays to Cox's stream-of-consciousness strength and pulses its way through a decidedly end-of-the-decade experiment in what can be described as a kind of classic lab-pop. Enjoy the video below.
BONUS: Check out "Walkabout," another delightful musical collaboration from Logos, this time with Panda Bear (Mr. Noah Lennox).
We often play a game where the first person names a band or singer, sings a song, and then passes the performance to the second person. The second person names another band or singer and, again, sings another song. The catch: the artist's name must start with the last letter of the previous artist. For example, if Schwarzy starts things off with Lionel Richie and "All Night Long" Mrs. D Man might take the "E" and sing her best version of Elton John's "Rocket Man." And so on. Great fun if you want to show off your musical chops, and even more fun when you get a perfect run of Lionel Richie, Elton John, Neil Diamond, and Dan Fogelberg. Highly recommended.
Animal Collective has enjoyed a huge year with the release of Merriweather Post Pavillion. What to do next but drop another great record before 2009 is in the books? Check out "What Would I Want? Sky" from the Fall Be Kind EP. Like their best work, the song is stranger, groovier, and better listen after listen. Despite the use of technology, the song is eerily organic in the way it grows and builds, tendons of loops, synths, and hooks attaching at random but perfectly-placed joints.
Following their critically-acclaimed debut, Vampire Weekend will release their much-anticipated second album, Contra, on January 12. The preppy afro-pop-punk band (with an equally preppy and gorgeous blonde gracing the new album's cover) previously tipped off listeners to the exciting track "Horchata." Check out the video for new single "Cousins" and remember again why your girlfriend fell in love with Ezra Koenig.
The supergroup Monsters of Folk lay down their weapons and encourage the townsfolk to roller skate in the video for "Say Please." With Coner Oberst (Bright Eyes), M. Ward (She & Him), Jim James (My Morning Jacket), and Mike Mogis (Bright Eyes / indie uber-producer) combining their individual musical powers, the dynamic fondly recalls the Traveling Wilburys. Indeed, the group's self-titled debut is self-aware and quite good, even if no track measures up to this all-time favorite gem.
Sub-Pop's deluxe-edition reissue of Nirvana's debut Bleach reminds listeners (if they have ever forgotten) of the band's lightning-fast progression from indie-thrashers to grunge-rock goliaths. By infusing Beatles-esque pop songs with metallic Pixies-punk and melodic aggression, Bleach is loud, fast, scattered, incomplete, and otherwise brilliant. Check out "Negative Bleach" as another reminder that the band's catalog runs deeper than Nevermind.
Nirvana's blistering set at the 1992 Reading Festival is the stuff of rock'n'roll legend and now can be yours on DVD, CD, or vinyl. As one of the greatest live performances of all time and certainly one of the most vital in-the-zeitgiest snapshots of the past twenty years, every hard-core music fan should probably own a copy in some form. Given the passage of time and the near final death of grunge's last con-artists (Nickelback be damned), now may be the perfect time to revisit Nirvana's ascendent peak in all its guitar-frenzied glory.
Check out the colorful claymation in the new video for "Ready, Able," The D Man's favorite track from one of the year's finest collections of musical recordings. Veckatimest may be more of a November record than anything else; so still time to pick up the flawlessly-executed and exquisite record from the Brooklyn-based quartet.
The Antlers "debut" album, Hospice, is a sprawling, potent record with elements of noise-rock, lo-fi pop, and soft/loud wall-of-sound guitars. With drummer Michael Lerner and multi-instrumentalist Darbit Cicci joining singer Peter Silberman's previously solo efforts, The Antlers establish themselves as one of the most exciting indie-rock bands of the year. The fierce emotional and lyrical content of the record lays bare both fictional and autobiographical accounts of 23-year-old Silberman's isolation, frustration, and desolation. But the music's aural power--and Silberman's ever-reaching voice--results in something altogether astonishing, sad, and soaring.
Check out the video for "Two." And check out some other tracks here. This record will most certainly be among The D Man's Best Twenty Albums of the Year, so you may as well go pick it up and start listening.
Justin Vernon (aka Bon Iver) gathered his Wisconsin friends from the Collections of Colonies of Bees to make an unconventional, meandering record of guitar strings, choir swells, and electronic bleeps. On the aptly-titled Unmap, the music slowly unwinds and reveals a placeless beauty, somewhere in the void, where matter and sound are still taking shape, still fighting to combine with the emerging topography. The album cover implies a group of ancient, mysterious musicians and some sort of north woods escapism calling for large trees, heavy snows, endless nights, and gospel gatherings.
The D Man is always looking for the right music to capture the given mood of life's myriad moments with their varied emotional rhythms. While driving home on a clear Halloween night, with an ever-so-close full moon, Volcano Choir offered the perfect accompianment. The opening sequence is perhaps the record's strongest passage. Check out opener "Husks and Shells," second track "Seeplymouth," and the video for the vivid "Island, IS."
Joshua James resides in Provo, Utah (by way of Nebraska) and may be one of the most talented local singer-songwriters we have seen in a long time. Some of his second album, Build Me This, was recorded in American Fork and the collection of songs has received glowing reviews for its literate Americana and deep-rooted sounds--opening track "Coal War" is a righteous gospel-tinged stomper.
Check out the video for the excellent "Weeds," which was clearly filmed on location in Utah. The D Man doesn't believe baptism is supposed to be this dangerous, but it's probably a good idea, if you're thinking of salvation, to let someone other than the self-annointed greasy-haired preacher guy handle the duties.
In 2004, The D Man and Barndog listened to Erlend and Eirek with a few dozen others at Brothers on High Street in Columbus. One of the most captivating live performances I've ever seen. Do yourself a favor over the weekend and pick up the duo's latest album. The remaining days of autumn will be that much more brilliant.
Enjoy a recent sit-down with the coolest Norwegians on the planet. They play the beautiful "24-25," the opening track from Declaration of Dependence. And keep your fingers crossed that they come to the States again.
BONUS: Lest you forget, Erlend is also the funkiest white person alive. His DJ Kicks album may be the best electronic album you've never listened to and his aptly-named (other) band has kicked out two fantastic dance-influenced guitar records.
Brooklyn's The Drums dabble in contagious indie-pop and chase endless summer on their recent Summertime! EP. From the band's website:
"We only write about two feelings: one is the first day of summer when you and all of your friends are standing on the edge of a cliff watching the sun set and being overcome with all of your hopes and dreams at once. The other is when you're walking alone in the rain and realize you will be alone forever."
Check out the video for "I Want to Go Surfing." The band runs like a bunch of wussy hipsters. Maybe it's the tight pants. Just bring the hooks and we'll forgive you, I guess.
The D Man struggled winnowing down his Best Songs of the Decade to just thirty songs. The following are all great songs from artists that came ever so close to making the cut. Do yourself a favor and click on the links below to enjoy the best the decade had to offer. You may just discover a song or a band that you won't be able to live without. For the sake of full disclosure, I can tell you that Beck, Bon Iver, Doves, Jens Lekman, Junior Boys, Phoenix, Wilco, and Vampire Weekend came closest to cracking the glass ceiling.
"Twenty Two Fourteen" by The Album Leaf. From the most sublime ambient album of the decade.
"Plasticities" by Andrew Bird. Get loopy with this violin-pop maestro and world-class whistler.
"Brother" by Annuals. One of the best album openers turns into something fiercely exciting.
"Wires" by Athlete. The birth of singer Joel Pott's son will break your heart.
"Daniel" by Bat for Lashes. A flawless, atmospheric pop recording from Peter Gabriel's daemon.
Oscar Wilde said all bad poetry is sincere. But sometimes when sincerity is coupled with obvious talent and refreshing earnestness, much can be forgiven. The D Man and his lovely wife went to the Snow Patrol concert on Saturday night at the McKay Events Center and reveled in the warmth, humor, and genuineness of Gary Lightbody and his bandmates. The band's performance was good and left The D Man and his wife feeling good. Sometimes you just need a few heart-on-your-sleeve anthems to dust off the cynicism and start loving anew. The highlights included the following:
Lightbody can flat-out sing. His voice never strains and possesses a strong crystalline resonance that makes everything he sings pleasing to the ears. Lightbody may have the best voice out of any of his so-called Brit-pop peers, including the frontmen for Coldplay, Elbow, and Keane.
Lightbody bantered with the crowd the entire night and may be the most affable frontman The D Man has ever seen in concert. He joked with the crowd about the band's failed attempts to play tennis that afternoon at UVU, poked fun at the school's designation as "BYU West," and marveled at Utah's beauty. Lightbody said it was the biggest sky he'd ever seen and our home was "flipping beautiful," emphasizing his curse-word restraint much to the crowd's appreciation. Not bad for an Irishman.
"Chocolate" made Mrs. D Man bounce in delight. She claims it is the best running song of all time.
"Hands Open" name-dropped Sufjan Stevens and "How To Be Dead" reminded The D Man why the band's 2003 album Final Straw is one of the best Brit-pop records of the last ten years.
With the rhythm section prominently on display, new song "The Golden Floor" was more striking than the album version. Snow Patrol is extremely polished and its accessible sheen was apparent on every number they played. Case in point: the band played a smooth, melodic, albeit huge version of "Run," with Lightbody singing and playing solo for the song's first half and then the band joining him for a massive finish.
Lightbody divided the crowd into groups and had us singing in round for a groove-laden version of "Shut Your Eyes."
Hearts were melted with back-to-back versions of "Chasing Cars" and "Crack the Shutters." The D Man knows he's in for a good week on the homefront. (28 million happy ladies can't be wrong, right?)
The band got all synthy on new single "Just Say Yes." The D Man was digging it, his weaknesses exposed and exploited. "Open Your Eyes" left the venue ringing as the band exited the stage.
The encore consisted of the closing three-song suite from A Hundred Million Suns titled "The Lightning Strike." A large-screen multimedia presentation accompanied the music, complete with mesmerizing origami animation of suns, planets, and our tiny place among it all. "Daybreak" sounded downright hypnotic.
Snow Patrol closed the night with "All I Have." You can't convince The D Man that this song won't have you singing in your car. Quit being such a man and let it out.
Kings of Convenience are back and more nonchalant cool than ever. The D Man wishes he could be the third wheel in the video for "Boat Behind" from the duo's forthcoming album, Declaration of Dependence. The Kings recorded some of their new material on the coast of Mexico (in addition to Norway) and this song reflects that laid-back vibe. As always, Erlend and Eirek hit all the right notes in every aspect of their pitch-perfect performance.
BONUS: Check out another video for new track "Mrs. Cold." About a minute into this video The D Man decided for the hundredth time that he is in love. These guys can do no wrong.
Rip, Rizzo, Lindsay, G-Reese, and The D Man had a great time at the Passion Pit concert last night. Thanks to E-670, the DJ who warmed things up complete with his hoodie, John Stockton Ocean Pacific shorts circa 1988, and white high-top sneakers. He brought his A game and so did we. The highlights included:
Rip forgot his state-issued I.D. but with some bob-and-weave subterfuge he still managed to get into the club, buy a concert t-shirt, and talk with keyboardist Ayad Al Adhamy about Boston living and the economic logistics of the band performing at his birthday party. Once again Rip proved he can do more damage in thirty-minutes than George Costanza.
G-Reese and The D Man held our own in the sorority mosh pit. We will be pledging Delta Sigma Theta sometime next week.
Passion Pit's performance was pure brain candy. Nothing quite like it. The Boston-based band's buoyant synth-dance-pop lifted spirits, changed lives, and had The D Man crushing all comers with his cat-like spin moves.
Opening number "Better Things" from the Chunk of Change EP was right on the money.
A killer combo followed: "Little Secrets" and "To Kingdom Come" demonstrated that no band this year delivered more enjoyable hooks. Higher and higher and higher.
The in-between musical moments were just as satisfying as the band's buildups and choruses. The band sounded tight, funky, and groovy.
Singer and songwriter Michael Angelakos' falsetto revved up during the course of the show and was used as more of a heady musical instrument than a lead vocal.
"Sleepyhead" broke things down with its swervy electronica. Ten times better than the album version.
Now that we have a proper list (and a very good one, I might add), The D Man can at last share the best song of the decade. No strings attached. No numbers or rankings. Indeed, no list can contain the following song's triumphant musical and lyrical perfection. Did you really think The D Man would leave his loyal readers on such a downer? For heaven's sake, The D Man cried three times during church meetings this past weekend.
This song gives me chills. There was nothing like it conceived, written, or produced this decade. Lennon couldn't have imagined it. McCartney couldn't have written it. Dylan couldn't have arranged it. There is no other songwriter or musician likely to approach Sufjan Stevens' masterful "The Predatory Wasp of the Palisades Is Out To Get Us!"
The song, track fifteen from Stevens' to-date masterwork Illinois, is a watershed of musical wonder and poetic faith, its intimate grandiosity (or grandiose intimacy) swept up in an exquisite and staggering orchestral and choral arrangement. Soaring oboes, heavenly violas, plucked banjos, chorus hallelujahs, and a pitch-perfect trumpet solo that Miles Davis would beg to play.
Two of Stevens' favorite themes thread their way through this metaphorical masterpiece: a tangible description of childhood wonder and bewilderment takes flight with an elliptical, almost hermetic knowledge of the awesomeness of the Divine. The spiritual transcendence of "trusting things beyond mistake" can be understood and experienced by every true seeker, musical, spiritual, or otherwise.
"O death, where is thy sting? O grave, where is thy victory?"
Thinking outrageously I write in cursive
I hide in my bed with the lights on the floor
Wearing three layers of coats and leg warmers
I see my own breath on the face of the door
Oh I am not quite sleeping
Oh I am fast in bed
There on the wall in the bedroom creeping
I see a wasp with her wings outstretched
North of Savanna we swim in the palisades
I come out wearing my brother's red hat
There on his shoulder my best friend is bit seven times
He runs washing his face in his hands
Oh how I meant to tease him
Oh how I meant no harm
Touching his back with my hand I kiss him
I see the wasp on the length of my arm
Oh great sights upon this state! Hallelu-
Wonders bright, and rivers, lake. Hallelu-
Trail of Tears and Horseshoe Lake. Hallelu-
trusting things beyond mistake. Hallelu-
We were in love. We were in love.
Palisades! Palisades! Palisades
I can wait. I can wait.
Lamb of God, we sound the horn.
Hallelujah!
To us your ghost is born.
Hallelu-
I can't explain the state that I'm in
The state of my heart, he was my best friend
Into the car, from the back seat
Oh admiration in falling asleep
All of my powers, day after day
I can tell you, we swaggered and swayed
Deep in the tower, the prairies below
I can tell you, the telling gets old
Terrible sting and terrible storm
I can tell you the day we were born
My friend is gone, he ran away
I can tell you, I love him each day
Though we have sparred, wrestled and raged
I can tell you I love him each day
Terrible sting, terrible storm
I can tell you...
Why listen? "Palisades" elicited the greatest pleasure of any song this decade. The song lifted listener's spirits to unreachable heights and its power and poignancy has remained undiminished over time. The song allows listeners to come back, again and again, seeking solace and understanding, and will unfold meaning and musical discovery listen after listen. "Palisades" is the decade's finest achievement of chamber-pop and may be the ultimate expression of the form. In short, the song's language embraces the poetic sublime. And its arrangement, musicianship, and lyrics are worthy of our greatest songwriters and pop masters.
The D Man remembers rebounding for Brent Barry in a near-empty Marriott Center before Oregon State played a game in the Cougar Classic. Brent shot his free throws underhanded and as a young ball boy I thought he was some kind of skinny genius savant with a basketball. Brent shot 80% from the stripe in college but abandoned his father's signature style once he hit the NBA. The D Man believes Brent was forced to give it up by David Stern in exchange for an eventual spot in the slam dunk contest. Stern was concerned the old-school style would tarnish the league's progressive global appeal and used the dunk contest as bait. Brent fell for it and became the first "caucasian" to win the slam dunk contest, according to Wikipedia. The D Man still cries conspiracy and sell out.
Nevertheless, Brent totally redeemed himself for hooking Randy, Robbie, The D Man, and Greg Jacobsen up with tickets to the Pearl Jam show in Salt Lake City. I can now say that Brent got screwed and they should have called a foul on Derek Fisher. (Shut up, Charles.) And a special thanks to Jeff Ament, Pearl Jam's killer bassist and Brent's good friend, for being so gracious to provide the tickets and backstage passes. Jeff spent a few minutes with us before heading out to the stage and ripping it up. Many happy waves to both of you.
Backstage was more Scrabble than Motley Crue. But it was still awesome. Thanks to Nicole for being so lovely and informative and hanging out with us on the couch. Nicole is a member of the band's management group and was kind enough to answer all of Randy's inquiries concerning Pearl Jam's Target displays, album sales, and ticket price points. (Rip is always on his game). She also deserves a special mention for writing up "city reports" for the band and being a fan of Bon Iver and Grizzly Bear.
Legendary guitarist Stone Gossard wandered into our backstage room, opened a bottle of wine, and was gracious enough to chill with us for twenty minutes as we fawned over him. The D Man told Stone that Pearl Jam was the soundtrack to his entire hometown's junior high and high school years; the school even tried to use the band's songs for slow dances to mixed-results. (Now that's scope and relevance). Jeff came in next and we chatted about his love of basketball, the band's early days as Mookie Blaylock, and his home in Montana. Jeff was as cool as it gets.
Two other backstage highlights: Greg found the only Dr. Pepper deep in the ice chest. We are pretty certain that was Eddie Vedder's DP, cold and hidden and waiting to be opened after the performance. Later, when Greg left his cell phone backstage, he ran back and collided with Eddie as a few security guards made sure Greg wasn't going to pull a fast one. Thankfully, Greg didn't shake up Mr. Vedder and the frontman still put on a fantastic show.
Eddie Vedder was born to sing. And his bandmates were born to play heavy rock'n'roll. Eddie has one of the most distinctive voices in rock history (spawning a thousand imitators) and Pearl Jam is one of the greatest American rock bands of all time. It appears that Eddie is enjoying the ride more than ever; he was gracious, affable, and even allowed a local restaurant owner to take the mic and propose to his girlfriend. The genuine connection with his audience was palpable throughout the entire night.
The band really ripped things open with the "Fixer," a standout from the new album Backspacer. "Lowlight," from the highly underrated Yield, transported The D Man back to his senior year of high school and the band's concert at Wolf Mountain in Park City. Some of my same friends who were there over a decade ago were also at last night's show. (Again, that's scope and relevance). While backstage, we caught a glimpse of the holy of holies--the setlist--and knew that "Evenflow" was somewhere in the middle. (We just took a peek, as Nicole reminded us it would be like opening a Christmas gift early). When those recognizable buzzsaw guitars rang out, the place went appropriately apoplectic.
"Elderly Woman Behind A Counter In A Small Town" soared under the spell of Vedder's interpretation. "Given To Fly" sounded downright Zeppelin-esque as the band's sinewy and heavy build-up hit epic. "Amongst the Waves" was another new song that really stood out due to its strong melody. And "Do the Evolution" displayed, like several songs, the band's recent penchant for a kind of post-punk speed-core.
The D Man sang every obligatory word to "Daughter." During the second encore, the house lights came on and the band finished with a massive version of "Alive" and a communal jam of "Yellow Leadbetter." It was as if we were all just hanging out with the band as they played in their garage. Best part of the night.
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