Rooftop Playlist

I don’t ever want to feel the way James Blake feels in his music. 77 minutes on yet another skillfully crafted album is enough to remind the listener how fragile relationships can be; when every day we evolve and change for the better and maybe even the nasty worse. James Blake’s The Colour in Anything takes you back to the disconnect and confusion that Overgrown dug out from your soul and this third studio album finally shatters you. Right on cue, Blake aims for the heart with the opening track, “Radio Silence,” that hooks you before you even hit the 1-minute mark.

The vulnerability in The Colour in Anything, is both tragic and fruitful. However, the path to inner peace is met with resistance. Blake is a tidal wave of electronic riffs and spirals that demand you to acknowledge he is more than just loops crafted with fluidity. His music is also in his writing– no matter how repetitive it is, but it works when it is delivered with an undeniably haunting falsetto. Blake weaves together the theme of disconnect and heartache with his voice and his ability to drive a track with jarring beats that complement buzzing climactic sounds. His message resonates too well, and it’s an echo that never goes away.

There is a certain grit in Blake’s music that allows the simplicity of the arrangement to remain undeniably hard and intangibe to grasp. There is no real resolution in his heartbreak album. But maybe that is life; the struggle to keep connecting, the long search for pieces that make sense. Maybe Blake borders on self-pity, but I can forgive it at the end of the album. I don’t want to feel what Blake feels, but he makes it impossible. He has a knack for painting a musical picture that breaks your heart in a very subtle and beautiful way.

Vance Joy is exactly what you’d expect; there is no mystery to him. He is a tall, talented, charming, swoon-worthy musician. He is an acoustic artist backed by a talented band. But you will not be surprised by his performance. Vance Joy is the guy or girl you date because it is comfortable and sure, nothing is actually wrong in the relationship, but they just don’t challenge you. That is not a bad thing for some; he really is a talented musician who can handle basic chords, write great love songs, and melt your heart with his voice. But, just like his music, his live performance will not disappoint you, it just won’t excite you unless you have an emotional connection with one of his songs. And who are you kidding? You know you do. For an artist that was not packaged for the masses, he has people listening. Even some Austin hipsters.

His freshmen album was an automatic success, there is no question about that. But it is 2016 and he is still touring the same album he previously toured in late 2014. It is the Fire and the Flood tour with 2 bonus songs (one song respectfully named to the tour). But those bonus songs are his best songs (“Fire and the flood & Straight Into Your Arms” and some songs from his first EP.) Initially, I was worried there would be a terrible acoustic-driven set. For someone who has been touring the same songs for 2 years, he should not be as pitchy vocally or with his instrument. But most importantly, the arrangement should be able to flow fluidly throughout the entire set. The first 3 songs were a rough listen, even if the weather was a bit sticky, it does not account for lack of ability to  rearrange and reconstruct a song that can still translate live. Vance Joy is fun to listen to; I admit I have that song that takes me to a place where I am reminded how love can exist.

But wow for Elle King! She is the polar opposite of Vance Joy. King is one charismatic woman. Live performances require great banter. I believe the in-between is just as important as the actual music at a concert. Elle King does not disappoint. She curses, she is crass, she’s so fucking honest with attitude that there was nothing more amazing than seeing her sing and jam out on her guitar or banjo, all while holding a blue solo cup. I had only heard two songs from Elle King, “Ex’s and Oh’s” and “Under the Influence,” 2 of her 3 singles. Her entire performance had me downloading her debut album, Love Stuff for $5.99 the next day on iTunes. She has depth and with a musical background prior to her own solo work, you would think she is a veteran. She has a polished, true rock ‘n roll sound and raspy voice that lingers. Her lyrics embody exactly the persona she lets off – she is the one in charge. She could care less what you think about her, especially her exes. That makes for great music and someone who probably should have been the headliner over Vance Joy. Her lyrics and the composition make her a true singer/songwriter. King has the attitude to back up the little twang that sprinkles throughout her music. Who doesn’t love a little twang?

Last week Tame Impala released their 3rd album, Currents. The opening track, “Let it Happen” is incredible. It comes in just under 8 minutes and it is a great precursor to the albums’ strength. Not many bands can pull off such a long song with fluidity without sounding like it is two different songs OR a song that is going on way too long. But just after the mid-point of the track (3:50), the layering of music is crafted to perfection. Live instrumentation and synth intertwine so well throughout the track; the intentional, skipping, thumping, almost reboots the entirety of the first 4 minutes of the song and gives you a fresh soundscape. Tame Impala, for me, has always fallen more so on the psychedelic and rock spectrum, but with this track I can see how the band has evolved with their mixing and melodic structure. There is more of an electronic feel to Currents and there is no doubt Kevin Parker’s vocals are a key instrument in this record. His falsetto melts the insides of your ears and weaves its way through track, both ghostly and poignant, making for beautiful auditory imagery. The guitars are mixed low and full, which blends so well with the analog aspects of the album. It is a constant flowing stream, hence how perfect the title is for the album.

Some may say the album is too well-mixed or even too clean and lacks the brash nature of Lonerism, but this is a highly intelligent composed and crafted album. But there is some old Tame Impala to be found in tracks like “The Less I know the Better” and “Cause I’m a Man.” These tracks still have the imminent psychedelic and sultry vibe. The spirit of the album is idyllic; even though lyrically it moves back and forth from dark to nimble, the picturesque soundscape remains enlightening. It is not often that a first listen of an album can make me feel that a band has already set the process of forward-looking for the next release. Currents is a Top 20 album of 2015, but you must erase what you think you know about Tame Impala and embrace Parker’s invitation to his heightened ethereal, musical scope.

Today, I saw the documentary “Amy,” directed by Asif Kapadia. Compiled with pictures, audio, and video clips, Kapadia captures a disturbing look into a lost and drug addicted woman. Some people have always been fascinated with Amy Winehouse, while others dislike her; I’m one of those that fall in between. But you can’t deny she was a prime example of true artistry. She wrote her music and her voice was nothing short of golden and perfect. But she was troubled and nothing I could have ever read or seen could have prepared me for “Amy.” It is frightening to a see naturally talented Winehouse spiral into dark places with no one giving two shits whether or not she was staying afloat. At least a well-done pastiche piece portrays those around her as people who watched her drown, with the exception of her friends. But at 27, Winehouse made her choices and it is because of those often terrible decisions, she was an artist full of pain, poignant imagery, and chilling vocals that hit your soul. Amy Winehouse had a jazz voice; her duet with Tony Bennett is so good; but it was her ability to keep modern horns and layer them with some classic jazz grooves is what made Winehouse unique and brilliant.

I would recommend seeing “Amy” in the theaters. I understand there are obviously omissions that people still want to correct, and this, like any other documentary, will hold limited perspectives and biases. But this is a well-done movie that gives fans—and non-fans alike—a musician dying as result of losing sight of why she chose the path she chose. The audio and clips go well with the structure and flow of the timeline. It is a well-edited film that highlights the lows and highs of a woman no one thought actually needed saving. It is a beautiful yet heart-breaking film.

The Weeknd has been explosive this summer. His two current singles, “I can’t feel my face” and “The Hills,” which have been getting much deserved air play, are the songs you hope to have for your summer shenanigans. Even his single for Fifty Shades of Grey has also had air play. He has evolved since his first few FREE albums, however, what made The Weeknd unique and refreshing still holds true since Kiss Land. He falls between R&B and a little soul, but his tunes have never fit into one nice genre. “I can’t feel my face” is a summer fling song. It is about drugs, love, and sex, but more so the high from sultry seduction and passionate sex. It shows how good it feels to be bad. “The Hills” has a Michael Jackson thriller vibe, just not as funky, but it is well-written and well-mixed. It’s another sweltering sexy tune. Its sound is aggressive while he entices you with his smooth vocals; “When I’m fucked up that’s the real me.” He is number 3 on my favorite acts for Austin City Limits in October. The Weeknd is a hybrid of alluring hooks and flair that is an audio orgasm when his voice hits momentum. Download what you can and definitely pay for the tunes that aren’t free.

In 2010, Arcade Fire released “The Suburbs,” it was the best album of the year. The album took me to places within myself I didn’t want to be. I remember looping the ending and opening tracks countless times; they just go so well together. The opening track, “The Suburbs” resonated deeply with my life at that point in time that it made me rather uncomfortable and vulnerable, which is the point. The song exposes you, whatever that may be for you. 5 years later, the song is still relevant, just look at the last few months in the United States or even around the world.

Father John Misty recently covered the title track and it might just evoke more than the original did for me. It is an acoustic version, but it works because J. Tillman has the vocals to illuminate a song without a lot of backing instruments. Father John Misty’s cover is not only sung with the same heartache and hope as the original, but his tone and pitch further highlight the idea behind the song. I can close my eyes and envision the future without parting with the past. His rendition is a reminder that we can try to both literally and figuratively hold a balance during a very dystopic time, whether personal or on a worldly scale. Unfortunately, his poignant cover also remind us it can’t be done that easily; change can be beautiful, but it can hurt a lot too.

Last night I went to see Sufjan Stevens. Prior to the show, I had never heard anything by him except the albums “The Age of Adz,” “Michigan” and whatever few songs The O.C. put on their soundtracks. He initially sold out his first show in Austin, which made Bass Concert hall open a 2nd night. Halfway through his set he started a story that took too long and made me uncomfortable because of how awful and cheesy his banter was, all I thought was, “How does this guy warrant two nights?” He is not so much awful as he is boring and pretentious. But, no one can deny his voice is magical, soothing, and it has range. However, his music has no depth. It is one-dimensional with no ending point. Most of Sufjan Stevens’ songs end so abruptly, they sound unfinished with some minor polishing needed. His songs have a beginning and middle, but without the end, I felt cheated out of a potentially good song. I am sure Stevens and his band knows more than a handful of chords, but you would never guess that based on his set.

However, Sufjan Stevens’ strengths are in his lyrics; he can tell a solid story via music. He is an awkward guy, that is for sure, but he knows what he wants to sing about. His music is about his life, his whims, love, loss, and lust. I can respect him as singer/songwriter, but without musical composition and structure that stretches beyond a few chords and the unimpressive piano, there is nothing left to call him but a boring musician or a great poet, if he would leave his lyrics on paper. I will say that I was thoroughly impressed with his experimental instrumental song right before the encore. It wasn’t as discordant as his other songs that rely solely on his voice and guitar. His encore was decent; he played from his earlier music, which is tolerable and not as boring. Would I pay $40 to see him again? No. Would I pay any amount? No. I wouldn’t even go if it were free. But I would be more than happy to read his lyrics. If you NEED to listen to him, I recommend his redeemable creation, “The Age of Adz” from 2010.

If there are two accessories I love the most, they are headphones and speakers. For my birthday I received a neat gadget, Audio Boom Brick.  It is a speaker that you can place any smartphone on and you instantly have a room filled with music off your phone.  My version is USB or Battery Powered, but rumor has it there is a rechargeable version.  The brick comes in three colors, white, black, and blue. It can last about 12 hours on 3 AA batteries, but using batteries to operate something now and days seems so old fashion and wasteful. Using the USB cord to operate the brick defeats the purpose of having a convenient and wireless speaker.

The speaker uses the idea of audio induction. The brick captures the sound from your smartphone or ipod and isolates within its own built in microphone and projects the music at a surprisingly loud range. It does a great job on providing a neutral sound. It doesn’t replace a good set of speakers, but you won’t get a lot of noise feedback, but you aren’t going to defining sounds. The speaker won’t muffle your tunes and you get a clear and amplified sound that is satisfying. I recommend this for a patio, balcony, or even camping listening. At just under $15 it’s an enjoyable gadget.  

The March record from “Vinyl Me, Please” is probably one of the most essential instrumental hip-hop albums of the mid 2000s.  Donuts by J. Dilla is a solid album that audiences tend to hold on to, as it was released just days before his death.  But Donuts isn’t your typical J. Dilla album. He was known for his craftsmanship when it came to stringing together hip-hop instrumentals with sick beats, but Donuts, though not his typical trademark product, is an album J. Dilla worked hard during the last months of his life.

It is fitting that this was the last album as it plays like a collage; almost a tribute to his many influences ranging from jazz, soul, beat mixing, to just plain snippets of instrumental hip-hop. The rap in these flavorful tracks is sprinkled throughout the songs, each one lasting about 90 seconds or less. There is no pattern to this 31-track album, every “donut” is different from the previous one, but it works. J. Dilla plays with samples to compose a pastiche record.

The way J. Dilla strings together clips immediately resonates with jazz lovers like me. Unlike looping rhythmic beats, J. Dilla’s style always revolved around doing everything in real-time. Donuts reminds listeners how lustrous J. Dilla’s sound was, as it transcended the structure of hip-hop we know today.  J. Dilla’s modern aesthetic fused together two genres creating some of the best binary multimedia work to date.

Top Tracks: Workinont, Lightworks, Two Can Win, and Bye