Monday Mixtape, Vol. 165

So much great stuff for you on this Monday! We start it off with Pink Sweat$, a chubby black guy who physically (and I guess a bit musically too!) reminds me of PM Dawn (who gets a nostalgic nod on this mixtape too) while musically reminding me of an amalgamation of Frank Ocean, Bruno Mars, and Khalid. And let’s also give respect where respect is due: he’s got the best album cover of 2020 on wrap:

Another newcomer, Nick Grant, is one talented rapper. Loving “FEDS” and been listening to him a bunch recently. You’ll hear more of this guy.

As usual, Justin Vernon is in high demand. He was on a Taylor Swift track from her phenomenal new album, and he’s got an appearance on a song on The Japanese House’s recent LP.

For the David Byrne / Talking Heads fans out there: Whitney came out with a cover of “Strange Overtones,” and they put a tad of a spin on it while staying true to its roots, so I think it plays pretty well.

Speaking of Talking Heads’ covers, I recently got the 10th Anniversary vinyl edition of Local Natives "Gorilla Manor” (one of only 1,000 made!). Gorilla Manor is easily one of my favorite records of the past decade, and it always gives me nostalgic memories of where I living, what I was doing, who I was, and so much more. Albums that really bring you back to a time yet still resonate on listens today are truly special. And my goodness, does “Wide Eyes” sound amazing on vinyl! (Sorry, no Local Natives on today’s mixtape.)

Every track Arlo Parks has released in the past couple years, I’ve been totally digging. She always has good beats, and she reminds me a bit of Clairo (maybe it’s the voice?) but she’s got more rhythm. Check her out.

Finally, a favorite of mine, Sir Drake. I didn’t think the use of “baby” so often could actually turn into a catchy track. The video is also pretty funny as he’s just getting embarrassed by pro athletes on Nike’s campus (and yes, also a pretty huge marketing ploy though I don’t think Drake is on Nike but all the other people are).

Drake’s the best. I just love him. I love all the haters of Drake, and the people that don’t consider him a rapper, or think he’s weak or whatever, it’s comical to me because they get SO UPSET. It’s just like, dude, just go back to listening to Gucci Mane and leave me in peace. Not ironically, but this Drake track is all about all the dumbs rappers that talked shit to Drake and spoke of the huge life they lived, yet now they’re broke and fell off the map. The consistency of Drake’s quality is ridiculous. It’s still going. And I’m loving it.

That’s all, have a great week.

Monday Mixtape, Vol. 133

We’re stating the mixtape with a track from a rapper, Denzel Curry, whose new album, ZUU, is a contender for rap album of the year, and one of my favorite albums I’ve listened to all year. The production is unique, raw, and Denzel Curry brings a heavyweight punch to certain tracks while displaying his verbal dexterity on others. If you dig the songs on here, check the album out.

Speaking of favorite albums of the year, I have another album, a COMPLETE 180 from Denzel Curry, the mellow and delicate Faye Webster. She instantly reminded me of Natalie Prass with a touch of country (thanks to that slide-guitar featured throughout), and my wife thought she sounded like a chill Gwen Stefani, which I thought was an apt comparison.

Webster’s Atlanta Millionaires Club (Yeah, I’m not sure about the album name OR THE ALBUM COVER…) is a true album, it flows completely from the front to the back, recounting a romance with “Jonny” that didn’t work out. Love it.

Palace continue to release great singles,  and I’m hoping a new album is in the mix. Clairo is a new pop artist, whenyoung reminds me of the music woman-child of Best Coast and Florence & The Machine, and finally, Bon Iver released a new track, which sounds like a combination of all three of his albums. It’s got electronics (22, A Million), a catchy chorus (For Emma, Forever Ago), and a subdued rhythm (Bon Iver). I’m digging it.

Have a great week!

Bon Iver on NPR Music Front Row

A few months ago, I wrote a tidbit about seeing Bon Iver live and said, "His reinterpretations of songs from albums are crazily complicated and stunning to hear live because some are such huge deviations from the originals. Others have slight changes that are memorable. He even reinterpreted his new songs!"

So if you haven't seen Bon Iver live, you now have probably the closest thing to it that you can possibly hear (because the sound quality of this live performance is phenomenal - BLAST it!):

I have been watching (and really, more just listening) this performance over and over and over again. I am so spellbound by the sounds and machinations of sounds that he manipulates and creates.

I hate throwing the word genius around, and I imagine Justin Vernon hates being called a genius more than anything, but this performance (which is VERY similar to what I go to see at The Fox) is something like a religious experience. Seeing something like this live invokes such passion and chills in me that I can only think of it as being genius.

Like I said, his interpretations of songs - like his country twanging "#29 Strafford APTS" or "Creature Fear" or one of my favorite Bon Iver songs EVER - "Beach Baby" (he didn't play Beach Baby at his show at The Fox, and I'm still devastated) - basically create new songs. 

I mean listen to #29 Strafford APTS from Bon Iver's recent album and then to this live version :

ALMOST nothing alike except for the lyrically gorgeous and irresistible hook:
A womb / An empty robe / Enough / You're rolling up / You're holding it / You're fabric now.

It was also great to hear him play "Heavenly Father," one of his one-off singles he wrote for the soundtrack to Wish I Was Here. He rocked it, but I have to say the acapella performance alongside (amazingly talented) The Staves takes the cake. Just a jaw dropping performance: 

The most memorable moment of the concert at The Fox - something that still gives me goosebumps thinking about - was "715 - Creeks." The band left the stage and Vernon stood alone with one bright light shining behind him, completely enveloping himself in darkness, a shadow of his own voice.

He manipulated and coaxed his vocals AND ONLY HIS VOCALS as the entire crowd stood completely silent, rapt in attention. You could barely hear a breath. No joke, I almost cried. it was that powerful.

A lot of people say that they don't get all the auto-tuning and particularly with a man like Justin Vernon's beautiful falsetto. But there's something fragile in the way he does it, hiding that beautiful voice behind something manufactured. You can hear his real voice bleeding through, trying to be heard. But it's mixed in a cacophony of tunes leaving the listener to wonder what emotions are behind it all. 

Let's also not forget to give Vernon's amazing band its fuckin' due. These guys rock. The horns, the drummers, the guitarists, and the backup vocals all play a huge role in this performance. 

Speaking of backup vocals, please give it up for Vernon's bandmate and friend of many years, Sean Carey who must be a brother to Vernon because Carey's voice is as angelic as Vernon's. Need proof? Check out another reinterpretation of theirs in this stunning live performance:

Whenever anyone doesn't seem to get all the fuss of live performances, please just point them to one of these videos.

Monday Mixtape, Vol. 59

I'm going to try to write this in five minutes. I'm exhausted. Here goes. 

I'm seeing Bon Iver on Tuesday at the Fox. I've never seen him. It's going to be an epic show, in part because he tends not to play a ton of shows, so I'll really savor this one. Hearing his falsetto live, playing his beat up guitar while singing "re:Stacks" (my favorite Bon Iver song right above "Beach Baby") will be a memory I hope I can have. Coming in third place of my favorite songs by Justin Vernon might be "33 God," it's just that good. 

Three minutes.

Ark Patrol is some weird DJ who lives in Berkeley and has made some very chill and spacey songs. This one is a bit more catchy. Check out "Tokyo" for another!

Alex Frankel is from the very talented duo, Holy Ghost! To date, I still think their debut is one of my favorite Electro-Pop albums I've heard, and I really don't think they get the respect they deserve. They're better than Chvrches yet get one tenth the love. 

One minute!

Night Moves FOR GOODNESS SAKE LISTEN TO THEIR ALBUM.

Temples! Tame Impala lite. Maybe Tame Impala wanna bes, okay Tame Impala wanna bes. Particularly on this track the lead singer's voice is even more Kevin Parker-ish. BUT their debut album was really really good. So there's that.

I did it! Seeya!

Monday Mixtape, Vol. 45

In the past few weeks, my two favorite albums of the year (to date) have been released, James Blake’s The Colour in Anything and Sturgill Simpson’s A Sailor’s Guide to Earth. I had to make a mixtape with my favorite tracks from each.

As you may have noticed in my last pseudo Mixtape, I am pretty obsessed with Blake’s new album. I am a bit surprised that the overall reaction to the album has been so muted, especially considering Blake is a critical darling almost to the heights of Justin Vernon (who sneezes and gets a post in Pitchfork and Stereogum hinting that he’s working on new music). This is a GORGEOUS album made all the more impressive that a 27-year-old made it (with the help of Frank Ocean too!).

Well, guess what? Justin Vernon/Bon Iver IS working on new music…and it’s with James Blake! “I Need a Forest Fire” is the last track on this week’s Monday Mixtape, Vol. 45, and one of my favorite songs from Blake’s new album. Pairing two very high falsettos together could have ended terribly, but these two are the top of their class vocally and made the vocals blend seamlessly. 

The rest of the the James Blake tracks are my remaining favorites from the album. It was impossible to pick one or two (as I usually do for these mixtapes) songs as I’m enamored with so many. Listen to these to get a feel. 

Sturgill’s album is a sailor’s letter to his family back in the states. From the sweet and sincere (“Breakers Roar”) to a raucous hootenanny (“Call To Arms”) to funky and jazzy (“Keep It Between the Lines”), then swing-sounding country (“All Around You”), Simpson crashes through the walls of sound and gives the middle finger to expectations of genre. For an album that rocks around while sailing full speed ahead, it’s surprisingly cohesive and flows really well. I love this album. 

Happy Monday!