Tag: pop

Jane Siberry – No Borders Here, 1984

Guest post by Nick Zanca (Quiet Friend / Mister Lies)

We don’t talk enough about the potential of the pop LP, as a form, to construct a kind of auditory theatre. Hounds Of Love, Big Science, Hejira, A Wizard A True Star, Jordan: The Comeback (which I’ve written about here before), more recently Blonde and Blood Bitch–these are records that build distinct sound-worlds track to track, display personalities so disparate, observations so tart, that you’re quick to forget they’re all coming from the same voice. And yet, the cohesion (where does it come from?) still exists.

For all intents and purposes, Jane Siberry’s sophomore LP No Borders Here is such a record. The title tells you everything you need to know before you press play–here she is acerbic, energetic, anxious, socially awkward and beguiled by the people she encounters with the same eye for detail present in Rousseau’s jungles. We step-ball-change between time signatures and synth flourishes as quickly as we shift perspectives from deluded waitresses to enigmatic dance class partners. The storytelling feels like the work of someone too well in tune with the anxiety of urban dwelling (in her case, Toronto) but also able to escape it. For the gearheads reading, you’re not going to find more advanced LinnDrum or Fairlight programming on a record marketed as “new wave.” You’re just not. Sorry.

I could go on about the thickness of the sound palette here, but I don’t want to give the game away, so I’ll end with a quote from Renata Adler’s Speedboat–what I feel to be this record’s literary spiritual sister–that I think sums it all up:

Speech, tennis, music, skiing, manners, love – you try them waking and perhaps balk at the jump, and then you’re over. You’ve caught the rhythm of them once and for all, in your sleep at night. The city, of course, can wreck it. So much insomnia. So many rhythms collide. The salesgirl, the landlord, the guests, the bystanders, sixteen varieties of social circumstance in a day. Everyone has the power to call your whole life into question here. Too many people have access to your state of mind.

Give this a front-to-back listen like you would for any of the aforementioned records, and then go watch this tour documentary and revel in how beautifully she presents this record in a live context (those headset mics! those backup singers!). I’ve seen Jen write this a lot, but it bears repeating here: if this record is for you, it’s definitely for you.

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Guest Mix – Holidays By The Coast by Oscar Huerta Plaza

Guest mix by Oscar Huerta Plaza (Youtube / Radio Aporee), Barcelona

This is a mix of mostly Spanish, Brazilian, and American orchestral pop music, largely from the 60s–cinematic songs that you would want to listen to while driving along a sunny coastline. It also includes some recent field recordings that I did on the Maltese coast, sounds of the mountains in the outskirts of Barcelona, inside the Barcelona subway, the jungles in Puerto Rico, and the mangroves of southern Florida.

Tracklist:
1. Waves in Dwejra Bay at the collapsed Azure Window, Gozo Island, Malta. June sunset 2018

2. Antonio González “El Pescaílla” – Chica de Ipanema
3. Antón García Abril – Sor Citroën
4. Breakwater in l’Escala, Spain. July afternoon 2018
5. Los Stop – El Turista 1.999.999
6. Augusto Algueró – Será El Amor
7. Frogs and a fountain in the Abbey of Montserrat, Spain. July night 2018
8. Henry Mancini – Party Poop
9. Canoeing in the mangroves, outskirts of Hobe Sound, Florida. August evening 2018
10. Papa Topo – Milano
11. Evinha – Estorinha
12. Alfonso Santisteban – Brincadeira
13. Crickets in a night hike by Collserola mountains just before raining, outskirts of Barcelona. July night 2018
14. Elsa Baeza – Dubeque Dublin
15. Antón García Abril – El Turismo Es Un Gran Invento
16. Taking the subway to rehearsal, Barcelona. July evening 2018
17. Alfonso Santisteban – Manías de María
18. Flipper’s Guitar – Coffee-Milk Crazy
19. Wildlife in Toro Negro rainforest, Puerto Rico. August night 2018
20. Me singing a vocal harmony
21. Le Mans – H.E.L.L.O.
22. Cicadas in Devil’s Millhopper, Gainesville, Florida; and weather forecast in Spain. August evening 2018
23. Marcos Valle – Êle E Ela
24. Stereolab – Miss Modular
25. ユキとヒデ (Yuki & Hide) – 白い波 (White Waves)
26. Los Mismos – Puente A Mallorca

[Mix for NTS Radio] Getting Warmer Episode 27: 60s Special

My most recent episode of Getting Warmer for NTS Radio is an all 60’s special, which means that in addition to making a good case for the comeback of short songs, I was able to fit a lot into an hour. Featuring: a teenage Dolly Parton, a spaced out Joe Meek oddity, brutal heartbreak soul, a take on “Bend Me, Shape Me” that weighs a thousand tons, Peruvian garage rock, Ronnie Spector spitting pure rage at an unnamed man, an absolutely deranged Brian Wilson-produced version of “In The Still of the Night,” a cameo from the queen of rockabilly, an Indonesian Beegees cover, and of course, plenty of girl groups.

I love how 60s vocals sound as if everything is being sung with the caps lock on and too many exclamation points–they really grab you by the throat. I love how a song about a woman being disinterested in having sex manages to be anything but prudish or coy, and instead sounds like a venomous, gravelly diatribe delivered from somebody’s dirty basement. I love the unabashed melodrama and the blown-out, gritty production. I love how markedly less prim the musical ethos was than what preceded it, how much more raw and punk. This is one of my favorite musical eras and a lot of these songs make me cry–perhaps least explicably, “Egyptian Shumba,” which is still one of my all-time favorites–so I hope you enjoy this music as much as I do! You can download an mp3 version here.

Tracklist:
1. Lou Christie & The Tammys – Outside The Gates Of Heaven
2. The Exciters – Get Him
3. Timi Yuro – What’s A Matter Baby (Is It Hurting You)
4. The Cookies – Softly In The Night
5. The Cats Meow – La La Lu
6. Little Frankie – I’m Not Gonna Do It
7. Claudine Clark – Party Lights
8. The Models – Bend Me, Shape Me
9. Screaming Lord Sutch – Don’t You Just Know It
10. Wanda Jackson – Fallin’
11. The Ronettes – He Did It
12. The Honeys – In The Still Of The Night
13. Joe Meek – Orbit Around The Moon
14. Rosie Lopez – I’ll Never Grow Tired
15. The Crystals – He’s A Rebel
16. Dream Team – There He Is
17. Los Saicos – Ana
18. The Ikettes – I’m Blue (The Gong-Gong Song)
19. The Tammys – Egyptian Shumba
20. Dara Puspita – To Love Somebody
21. Ben E. King – Don’t Play That Song (You Lied)
22. The Shannons – Little White Lies
23. Solomon Burke – If You Need Me
24. Dolly Parton – Gonna Hurry (As Slow As I Can)

Marine Girls – Beach Party, 1981

An old–really old–favorite for me. Super bare bones, unadorned post punk pop recorded in a garden shed. Largely just guitar and vocals, with the odd bit of hand percussion, so it’s loose, brusque, and lo-fi. Despite the title, the airiness, and the occasional bird sounds, these are songs of heartbreak and longing, but delivered with a deadpan that somehow manages to be cynically blasé and willfully naive at the same time. Dazed and unassuming in a way that will certainly get under your skin if you give it the chance. Despite (what I assume was) some deliberate irony in titling such an understated and unblinking record Beach Party, I would argue that you could successfully soundtrack a beach party with this, as long as it’s a meandering, low-key kind of party, maybe with a bonfire, but definitely no volleyball or solo cups.

Marine Girls was originally comprised of sixth form school friends Gina Hartman and Tracey Thorn, though by the time they released their debut Beach Party, they had expanded to include Jane Fox on bass and her younger sister Alice on percussion. They went on to release two more records before disbanding to work on separate projects–most notably, Tracey Thorn went on to find more critical success as one half of sophisti-pop darlings Everything But The Girl. For fans of Young Marble Giants, or even Dolly Mixture (friendly reminder how good that record is).

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John Martyn – Piece By Piece, 1986

Edit: At the time of originally sharing this post, I was unaware that John Martyn had a history of perpetrating domestic abuse. I recognize the implications of embracing his work in light of that, and will do my best in the future to be more thorough in my research on the artists I write about!

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Piece By Piece is not for everyone. But what makes it such an exemplary slice of sophisti-pop, in my opinion, is that every time John Martyn toes the aesthetic line (is this too much saxophone? does this sound like late night lonely hearts suburban radio? are these lyrics actually just bad?), he redeems himself tenfold with startlingly gorgeous instrumentation and perfectly plump, high-gloss production. It continues to surprise after repeat listens, and is extra generous in headphones.

Backing up, though–for the unfamiliar, John Martyn was a British musician and songwriter who initially came up as a precocious folk scene giant but, as is well-evidenced here, branched out into much more exploratory territory. His body of work is as big as it is diverse, so much so that I still haven’t really wrapped my head around it. It’s been suggested that it was this very proclivity towards experimentation that kept him just shy of the mainstream success that he clearly deserved. He sadly passed away in 2009. He was a truly brilliant guitarist, he loved fretless bass, and his inimitable voice could turn from wistful sweet to inhuman growling on a dime.

While Piece By Piece might be an odd place to jump into his very rewarding discography, I think it’s appropriate in its own way. “Angeline,” for example, is exemplary of Martyn’s particular breed of strangeness: at first it seems like a Toyota dad ballad, but its repeating out-of-sync broken drum sample acts as a reminder that there’s got to be more, and sure enough, the “chorus”–which isn’t really a chorus at all–breaks open so pleasingly into gorgeous washes of reverb in which the vocals disappear into dissonant synth and vice versa. Oh, and for the fretless bass die-hards, it’s all over the record in spades. A deep purple and navy blue world of a record that feels so good to live in for 41 minutes: moody, wickedly smart sophisti-pop, with more and more to say for itself at every turn. Ideal night-time driving music.

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Guest Mix – Springtime by Nick Zanca

A springtime mix compiled in April of 2018 by Nick Zanca of Quiet Friend, whose recent debut you can hear and buy here. Featuring warm textural jazz, pastoral synth pop, and gorgeous choral accents. You can download an mp3 version here. Illustration by Guy Billout.

Tracklisting:
1. Iasos – Tropical Birds At Sunrise (Excerpt)
2. Cocteau Twins – Cherry Coloured Funk (Seefeel Remix)
3. Jon Lucien – Kuenda
4. Milton Nascimento – Travessia
5. The Small Choir of St. Brandon’s School – Bright Eyes
6. Jane Siberry – Map of the World, Part 1
7. Prefab Sprout – Nightingales
8. Gregorio Paniagua / Lucia Bose – Nana de Una Sola Rota
9. Eberhard Weber – Quiet Departures (Excerpt)
10. Sachiko Kanenobu – み空
11. Popol Vuh – Höre, Der Du Wagst
12. Gareth Williams + Mary Currie – Raindrops From Heaven
13. Chas Smith – After
14. Janet Sherbourne – Ivory
15. Pat Metheny + Lyle Mays – “It’s For You”
16. The Toronto Children’s Choir – Friday Afternoons, Op. 7: Cuckoo (Comp. Britten)

Thomas Leer – Letter From America, 1982

Ideal “first day of spring spring” soundtrack, released on the legendary Cherry Red Records. If you like Martin Newell, you’ll love this. Aside from the obvious comparisons–a diligently lo-fi DIY ethos, jangly guitar, spronky synth pop, cassette culture, etc.–there’s a similar tendency to couch really pretty and smart songwriting in a playful, totally unserious affect. (For the record, Leer is much funkier.) A part of me wonders if Leer and Newell sold their brilliance short by taking this approach, but at the end of the day I think this was the most truthful language that they could speak. This wasn’t just the way they chose to tell their stories; it’s an important part of the story itself. His world is far from simplistic, though. More whimsical-sinister tracks like “Gulf Stream” and “Soul Gypsy” paint a picture of imagined travels through Leer’s warped version of the world. And that quietly smirking, scuffy, faraway-in-a-big-room thing (“Choices”) clearly evidences Leer’s love of krautrock, but Letter From America is sunsoaked and, well, accessible, or at least I think so.

Still, in spite of its lo-fi trappings, Letter From America (later issued as 4 Movements) is surprisingly dense and elegant up-close, almost sophisti-pop in sensibility. Tracks like “Tight As A Drum” are full of gorgeous washes of sound, with such thorough care for spatial depth that it becomes difficult to disentangle one instrument from the next. As such, be forewarned that this record really suffers in bad speakers–it actually took me a couple years to fully enjoy it, because it took me that long to listen to it in headphones and realize that it was a lot more than tinny, scronky, dude guitar pop (sry guitar dudes). Miraculously, Letter From America keeps opening up with increasing generosity and wit with every listen. Happy spring.

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Sally Oldfield – Celebration, 1980

Such a cool record. There’s a lot here for Kate Bush fans: expertly written bombastic and theatrical piano-driven pop-rock. A prolific songwriter, pianist, and singer, Oldfield has an excellent sensitivity to groove, which shows up on Celebration as driving four-on-the-floor disco in opener “Mandala,” breezy reggae-lite on “Celebration,” and tropical lounge-jazz on stunner “Blue Water” (it’s previewed below; wait for the break about four minutes in–I promise you’ll be glad you did). Smoldering sunset slow-jams like “Morning of My Life” and closer “Love Is Everywhere” are too gut-wrenching and powerful to read as saccharine piano ballads, even though that’s sort of what they are–she’s just that good. Marked by her signature restless vibrato, Oldfield’s voice is a daredevil, taking acrobatic leaps and jumps effortlessly, but with a distinctive conviction in every choice she makes.

Sally Oldfield is also sister to Mike Oldfield, with whom she made a very renn fayre-core baroque folk record in 1968 overseen by Mick Jagger under the name The Sallyangie, recorded when she was 21 and Mike was just 15. The project was a complete flop, so obviously I completely love it. Since then, her solo catalogue has grown enough that I still haven’t heard quite a bit of it–a few years ago I had a bad time with one of her records and never bothered to venture further into her work after that, but Peter (thanks Peter) recently encouraged me to give her another shot, and I’m so glad he did. Since then I’ve also developed crushes on her swooning Celebration follow-up Playing In The Flame, which will probably show up here eventually, and her late 80s record Femme, which, given its massive stadium pop-rock quality, probably won’t show up here. I’ve also developed a crush on this outfit. I hope there’s something here for you to connect with as well!

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[Mix for NTS Radio] Getting Warmer Episode 21: French Disco Special

Here’s my latest episode of Getting Warmer for NTS Radio. This one is a French disco, funk, and synth pop special. I hope you like it! You can download an mp3 of the mix here.

Tracklist:
1. Judy Larsen – Gambling Man
2. Alec Mansion – Dans L’eau De Nice
3. Black Devil – One To Choose
4. Christopher Moore – What A Night
5. Lizzy Mercier Descloux – Funky Stuff
6. Cerrone – Give Me Love
7. Beckie Bell – Music Madness
8. Zoëlie – Lolo
9. Laurie Destal – Frivole De Nuit
10. Maryse Bonnet – Au Soleil
11. Isabelle Antena – Laying On The Sofa
12. Regrets – L’avion
13. The Manicures – Let This Feeling Carry On
14. Joëlle Ursull – Position Feeling
15. Chagrin D’Amour – Ciao Katmandou

The Coconuts – Don’t Take My Coconuts, 1983

The Coconuts were an offshoot project of Kid Creole and the Coconuts, the brainchild of August Darnell, a Bronx-born composer who’s an absolute genius with big band sounds, Latin jazz textures, and cuttingly clever lyrics. The Coconuts were initially the trio of backing singers in Kid Creole & The Coconuts, but went on to release two full-lengths on their own, with production from Darnell (who was married to Adriana Kaegi, member of The Coconuts and co-founder of the original Kid Creole lineup. Less relatedly, I just excitedly realized that Fonda Rae was at one point a member of the Kid Creole band).

Don’t Take My Coconuts is killer song writing, fully fledged arrangements, and charismatic vocals together in full force. To be clear, the ladies of The Coconuts (Kaegi, Cheryl Poirier, and Taryn Hagey) were creative powerhouses in their own right–their vocal delivery is razor sharp and manages to be seductive even while covering “If I Only Had a Brain” (this is my second Wizard of Oz-related post this week, so make of that what you will). They were incredibly strong performers, able to stay in impeccable character while flawlessly executing fairly complicated choreography in perfect unison. The video for “Did You Have To Love Me Like You Did?” is a showcase of amazing outfits, spot-on choreo, and some, uh, monkeys–it’s embed disabled, so it’s different from the video previewed below, but you can watch it in full here.

I still haven’t found any clear origin story for “Ticket To The Tropics” (no relation to the Gerard Joling song, as far as I can tell), which has a different melody but the same lyrics as the Cristina track of the same name. I can’t find detailed credits for either of the two songs, but given the overlap in sensibilities I wouldn’t be surprised if there was some personnel cross-pollination going on in there somewhere. Enjoy!

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