Album Review: Ten Stories

Ten Stories by mewithoutYou (Pine Street Collection, 2012. 40 minutes)

mewithoutYou is an American rock band from Philadelphia, Pennsylvania. The band includes Aaron Weiss (vocals), Michael Weiss (guitar), and Rickie Mazzotta (drums) with a carousel of supporting musicians. mewithoutYou signed with Tooth and Nail Records releasing their first four records with the label. Ten Stories is self-released and offers a return to the band’s earlier sound.

Circular Narrative 

“All circles presuppose they’ll end where they begin, but in their leaving can they ever come back round.” – Aaron Weiss adapted from Hegel’s Phenomenology of Spirit.

Looking back on the music that defined my teen years, not much of it carried staying power. I liked ska, but the genre died in 1995. Punk rock had energy, but the lyrics are pointless and I have nothing to angst against. Hardcore and Metal, for the most part, exist as a medium by which talented musicians prove their worth; I don’t want to listen to their unending quest for technical superiority.

Of the bands in my teenage years, mewithoutYou is the only one sticking around. While my teenage-self rocked to energetic music caring little about the lyrical content, the rich narratives penned by Aaron Weiss supplement my current passion for the band.

Background Narrative 

In truth, Aaron Weiss has always been narrative-heavy. In fact, my first introduction to the band emerged from the most interesting band blog post I’ve ever read.

To be concise, mewithoutYou—a Philadelphia-based band—played a show in Baltimore. Ever seeking introspective solitude, Aaron urged the band to depart for Philadelphia without him—he wanted to walk home. What ensued was a half-hilarious, half-existential account of this singer’s 3 day hike back home.

I’ve been a fan ever since.

Circus Narrative 

With Ten Stories, we find mewithoutYou flourishing underneath rich lyrical stories. The album’s opener, “February, 1878”—an inside joke since the band has a song titled, “January, 1979”—depicts a horrific circus train crash.

“February 8th, 1878 south of Trout Creek west of Cedar Lake on a winding mountain trail of the North Pacific Union Rail, the snow arrived on time the circus train was running late rip spot’s past and all the knuckles worn firebox bursting to the running boards a pounding in his chest crushing like a cider press the Hogger rode the throttle round the bender like a flank-strapped horse”

Some animals flee in the melee; some remain in the opened cages, afraid of change.



The rest of the album, then, tells the stories of these escaped animals.

While the animals experience a wide spectrum of life, my favorite tracks are “Aubergine” and “Fox’s Dream of the Log Flume”.

Romance Narrative 

Literally, a love song between a labrador and an aubergine, “Aubergine” also unveils the inner fears of Weiss.

“Sugar down the syrup in the Queen Anne’s lace shining in the light of the nightshade cultivating unsophistication in my face trying to think of nothing to say / grapes gone sour and the spinach went to seed (it was spindly and sick from the outset) / waiting for the hour with the wherewithal to leave, patient as a dog for its master. / The Labrador was locked to the promontory rocks, she called down ‘time is an illusion.’ / An inconsequential shift as the continents drift but my confidence was crushed and I miss you regardless.”

While certainly ethereal, such pointed observations can only exist with experience. I can certainly relate to waiting with the wherewithal to leave.

Philosophical Narrative 

Additionally, “Fox’s Dream of the Log Flume” provides a sublime example of Weiss’ brilliance:

“FOX: Provisionally, ‘I’ practically alive mistook signs for signified and so since have often tried to run them off the cliff like Gadarene swine and tied my though-ropes in anchor bends wondering whether we were someone better, then, or maybe just better able to pretend (and what better means to our inevitable end! BEAR: No, I don’t know if I know, though some with certainty insist ‘no certainty exists’ well I’m certain enough of this: In the past 14 years, there’s only one girl I’ve kissed”

“Provisionally ‘I’” and a “provisionally ‘you’” from later in the song emerge from existentialist thinker Martin Buber. The “I” and “You” only have meaning in relationship with each other. Yet, at the same time, we are individuals. We aren’t “I” unless there are others in relationship with us, but, only as an individual can we even consider the idea of “I”.



Weiss’ mention of Gadarene swine paints a vivid metaphor. Weiss is referring to the story in the Synoptic Gospels where Jesus casts a legion of demons out of a man and into a drove of pigs sending them careening of a cliff to their demise.

Weiss unlocks a classic philosophical fallacy when he states, “some with certainty insist ‘no certainty exists’”. Any collegiate level course on epistemology will communicate the difficulty of finding certainty. Blame it on Descartes but we can never find conclusive proof for any claim. Yet, to state with certainty that we can’t find certainty is a fallacy. We can only talk in terms of what is most likely to be true.

Circular Narrative 

With Ten Stories, mewithoutYou has come full circle in connection to my listening experience. While as a teenager I focused almost exclusively on the music, my journey led me away from the band as I grew and expanded my tastes. But like any circle, progress brings me back round again as I find enlightenment in another aspect of the band’s sound—namely, the lyrics.

mewithoutYou is not for everyone. If you need a beautiful singing voice or sweetly tuned instruments, I suggest you steer clear. But, if your sweet spot in music surrounds brilliantly deep lyrics, give Ten Stories a listen.

Verdict: 4 out of 5

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Posted by: Donovan Richards

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Album Review: Bloom

Bloom by Beach House (Sub Pop Records, 2012. 50 minutes)

Beach House consists of French-born Victoria Legrand (vocals and organ) and American Alex Scally (guitars and keyboards). The band is often labeled as “dream pop” due to the slow, atmospheric progressions within its songs. Bloom marks the band’s fourth studio album.

What’s in a Name?

In hearing the name of the band, Beach House undoubtedly causes images of beaches, summertime, or perhaps sangria-filled afternoons. However, despite the name, Beach House’s music is stereotypically dark, monotonous (in a good way), and hypnotic. In a musical world that tries to remain under the same standard, Beach House has attempted to create a unique and artistic sound. On first glance, the newest album, Bloom, doesn’t diverge from the hypnotic feel of albums past. That’s not quite right, however.

In an interview with Pitchfork, the duo revealed that they intentionally decided not to change their sound, but rather their lyrical content. Their sole desire is to maintain an artistic and unique sound, in an industry that chooses to intentionally have music cut from a cookie-cutter mold.

Myth

If you listen to the first track on the album, “Myth”, you can hear the signature hypnotic sound almost instantaneously. Victoria emerges with her typical soulful voice, with some deep, and thought-provoking emotions intertwined.

“What comes after this momentary bliss? / The consequence of what you do to me”

Lapis Lazuli

Photo by R. Tanaka

Perhaps the deepest lyrics come from the song “Lazuli”, one which Legrand admits is also her favorite track on the album. The song begins with a drum-machine and music-box synth, dreamily hinting at something to come further in the track. After the first thirty seconds or so, you can hear an entire spectrum of sound emerge in one beautiful moment. When I researched the term lazuli, all of a sudden the track came together. Lazuli is a blue variety of the mineral lazurite, and it has an impeccable brilliance to it.   

“In the blue of this life / Where it ends in the night / When you couldn’t see you would come for me”

The song ends with repetitive lyrics, further enunciating the beauty of the deep blue gemstone.

“Like no other, you can’t be replaced”.

Momentary Poppy

But, all songs can’t be deep and introspective in today’s musical landscape. The fan base knows what they like, as the current radio scene evidences. Sometimes, a lack of introspection just makes people enjoy music without intellectual basis. Still keeping the textured and hypnotic feel of the rest of Beach House’s repertoire, the song “Other People” just has a certain element of pop to it. With a head-bobbing chorus, the lyrics ring,

“Other people want to keep in touch / Something happens and it’s not enough / Never thought that it would mean so much”

Subtlety

Beach House has created an album of subtle nuances and an evolution in their sound. The same dark-themed, largely hypnotic, and sultry sounds of albums past are still very much present. But, when listening to the album overall, I think there is a new depth and solidarity to the sound. With lyrical evolution, the album seems both the same and somehow different from the past. I find it intriguing that Beach House chose to evolve lyrically rather than musically, as it hints at their philosophical stance on music. Perhaps they believe that music is only as powerful as the lyrics which inspire it. Perhaps they’re right, at any rate they’re making me ponder the question. Bloom is true to its name: the band is assuredly blooming into its own.

Verdict: 4 out of 5
Do you think that lyrical content is important to a song? Or is it ancillary? Do you enjoy Bloom or find it the same as past albums? Share your thoughts below.
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Posted by: Andrew Jacobson

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Album Review: Bon Iver

Bon Iver by Bon Iver (Jagjaguwar, 2011. 39 minutes)

Founded by singer-songwriter Justin Vernon, Bon Iver is an indie folk band featuring Vernon, Michael Noyce, Sean Carey, and Matthew McCaughan. The band began when Vernon self-released his first record, For Emma, Forever Ago, after spending three months working through the breakup of a band and a relationship. With much critical praise surrounding the first record, Vernon signed with Jagjaguwar. In the wake of For Emma, Forever Ago, Vernon collaborated with Kanye West on his latest record, My Beautiful Dark Twisted Fantasy. Bon Iver released its self-titled second record on June 12, 2011 and entered the Billboard charts at number 2.

Sending Chills Down the Spine

In certain ways, music contains the curious ability to be felt when heard. At times when I hear chords and melodies that I love with all my being, these musical phrases send chills down my spine and manufacture goose bumps throughout the epidermis.  Sometimes, a song needs no deep underlying point to remain effective; it only needs a feeling.

With Bon Iver’s latest self-titled release, Justin Vernon builds on his songwriting fundamentals from his debut while replacing the sparse coldness of For Emma, Forever Ago with heavy production and electric instrumentation. In short, Bon Iver is a record that conveys a feeling.

This point reveals itself clearly when an overdriven guitar with hints of a chorus effect soars over a double-bass pedal and crashing cymbals in “Perth.”

Retro

As the album unfolds, it becomes evident that Vernon leans heavily on the 80s stylings of Peter Gabriel and Bruce Hornsby.

In all honesty, each track (titled after a City, State, or made-up place) on Bon Iver is perfectly positioned. As such, it is hard to discuss the work from a “song” perspective because the tunes not only blend well together but also each song carries such a high quality that it is hard to privilege one song over another.

Holocene

Despite this fact, some songs are worth mentioning. First, “Holocene” might signify the prettiest song I have ever heard. With bright-as-the-sun fingerpicked guitars and Vernon’s trademarked falsetto, the song conveys ethereal feelings as he sings,

“And at once I knew I was not magnificent / strayed above the highway aisle / (jagged vacance, thick with ice) / I could see for miles, miles, miles.”

Calgary

Additionally, the album’s first single, “Calgary,” blends cryptic lyrics, a unique chord progression, instrumental counterpoint, and a four-on-the-floor rhythm. With a clear link to the work of Peter Gabriel present in the song, Vernon croons,

“Joy, it’s all founded / pincher with the skin inside / you pinned me with your black sphere eyes / you know that all the rope’s untied / I was only for to die beside.”

Beth/Rest

Yet, in perhaps the most daring move to date in Vernon’s career, Bon Iver’s ending track challenges all previously held opinions about cheesy 80s music. Channeling every over-the-top tone found on records in that decade, “Beth/Rest” goes for the gold and, honestly, succeeds.

As a long-sustaining solo builds toward the end of the song, Vernon screeches,

“This is axiom!”

Taken at face value, Vernon affirms the self-evident simplicity and beauty of this record. It does not attempt to fit into a defined “hipster” mold. Instead, it is written with a feeling.

Erudite Lyrics

Of course, as with most of Vernon’s undecipherable lyrics, “This is axiom” could exist for the purpose of its sound and feel. In fact, strewn throughout Bon Iver are many erudite words and little narrative focus. While listening to the record, you’ll hear terms like “fide,” “Noachide,” and “soffit.”

Without an overall narrative sense in the lyrics, it is best to view the lyrics as an extension of Bon Iver’s sonic palate. In other words, Justin Vernon not only meticulously placed each note and produced sound to convey an emotion; he also penned each lyric with an overall feeling in mind. As I listen to Bon Iver, I get goosebumps and I know that is the feeling Justin Vernon wants me to have.

Bon Iver is currently my frontrunner for album of the year. Justin Vernon wrote a masterpiece and I suggest that you listen to it. Highly recommended.

Album Review: Codes and Keys

Codes and Keys by Death Cab for Cutie (Atlantic Records and Barsuk Records, 2011. 45 minutes)

Formed in Bellingham, Washington under the shadow of Western Washington University, Death Cab for Cutie is Ben Gibbard (vocals, guitar, piano), Chris Walla (guitars, production, keyboards), Nick Harmer (bass), and Jason McGerr (drums). The band signed to Barsuk Records off the strength of an early demo written primarily by Ben Gibbard. On Barsuk, Death Cab released four albums to much local and critical acclaim. Transatlanticism – perhaps the most famous release from their time on the Barsuk label – launched Death Cab as an international act. In 2004, Death Cab signed a worldwide deal with Atlantic Records and soon after released Plans, an album that was critically well-received, Grammy nominated, and certified platinum. The band’s next album, Narrow Stairs, became the band’s first album to reach the top of the Billboard charts. Recently, Death Cab released Codes and Keys landing 3^rd on the Billboard Charts.

An Excursus on Stadium Rock

Warranted or not, the general expectation from a stadium-sized rock concert is energetic and danceable music. There are night and day differences between a U2 and Sarah McLachlan show. For U2, the waterfall of guitar echoes fills the stadium and supplies an infectious energy. For Sarah, her muted tones and soft, angelic voice fit better in a smaller setting.

For most rock bands, outgrowing small- and medium-sized clubs requires a reworked sound. For some bands (Muse comes to mind), the transition is remarkably easy. Other bands, however, must shift to a larger sound.

Coldplay: An Illustration

To illustrate, Coldplay offers a modern example of this shift. Outside of the single, “Yellow,” Coldplay’s first record is well-suited as background music at a small club. With intimate instrumentation and lyric-based melodies, Parachutes is a soft record.

As Coldplay grew into a worldwide phenomenon, the band’s sound grew. Recent records X&Y and Viva La Vida or Death and All His Friends display a new Coldplay with densely textured instrumentation and grand sonic explorations. In short, these two records translate well in a stadium-sized concert.

The point of this short excursus is to liken Death Cab for Cutie’s current form of inconsistency to its lack of reformed sound as the band grows.

A Band Caught between Large and Small

Death Cab for Cutie made its name as a small club staple in Bellingham and Seattle. With slightly overdriven guitars, simple rhythms, and scholarly lyrics, Death Cab is tailor made for the hipster bar scene.

With success, the band has outgrown its habitat and Codes and Keys illustrates the band’s struggle with remaining true to its classic sound while trying to write big for large shows.

On the one hand, Codes and Keys finds Death Cab for Cutie remaining in similar musical textures to its origins. Chris Walla and Ben Gibbard mostly play an arpeggiated guitar with minimal strumming. Additionally, well-written lyrics remain a core strength in the band.

On the other hand, Codes and Keys finds Death Cab attempting to create a bigger sound. The production on the drums is beefy and loud. Additionally, the first single, “You Are a Tourist” finds a guitar riff drowning in high gain, as if the band knew loud riffage is a recipe for stadium rock.

At the end of the day, Death Cab is caught between who the band was and who they wish to be.

Marriage Makes a Man Happy

Lyrically, Ben Gibbard trades lugubrious stylings for sappy love songs. Clearly influenced by his marriage to indie starling, Zooey Deschanel, Gibbard sings in "Monday Morning,"

“She may be young but she only likes old things / And modern music it ain’t to her tastes / She loves the natural light / Captured in black and white.”

Despite Gibbard’s refusal to write from depths of sorrow, the lyrics in Codes and Keys are not 100 percent sap. In the title track, Gibbard opines,

“But the codes and keys / They can’t protect you from the pangs of jealousy / And when you scream / Love you seem / Like a child throwing stones at the sky / But when they fall back to earth / As minor chords of major works / In separate rooms, a single life / We are one, we are alive!”

With a keen sense of simile and illustrative words, Gibbard’s lyrics still anchor the band.

Sadly, Codes and Keys represents another effort in a transitional period for Death Cab for Cutie. No longer a band confined to small clubs, the band’s intimate indie rock does not translate well to arena shows. While the band recognizes the need for change, they have yet to successfully implement it in the studio. Thus, if you like the sound of pre-major label Death Cab, I think this album will not grace your “best of” list. If you are a fan of stadium rock, I doubt this record will resonate. However, if you are a fan of good lyrics, you might enjoy this record.