The benefit of creating these playlists is that they help me process and cope. The trouble with them is that I’m a perfectionist. Without the absolute perfect song or emotional progression, the feature isn’t ready. With everything that’s going on in the pandemic, I wanted to create a playlist of calming and happy songs. Maybe it’s a list of impressive dance performances. I’ve got a pool of dozens, but the connective tissue isn’t there because I’m not processing feeling calm or happy. I am in places, but that’s not what I need to turn over right now.
I have half lists titled ‘Exorcisms’, ‘Losing People’, ‘break break please don’t break’, and a bunch of others that feel too dark for the moment. I have lists of animated music videos, horror music videos, protest performances – I have maybe two dozen lists of a handful of music videos each that only exist to be plucked from for other lists. None of them is perfect because none of them speak to what I’m coping with this moment.
What am I processing right now? Anger at how badly mismanaged the coronavirus response has been, at the corruption and profiteering that kills patients and healthcare workers alike. Melancholy at the strange middle ground of staying inside and feeling our daily anchors go numb – a placelessness that’s dangerous and the knowledge that it needs to be resisted.
I made something that feels like an emotional progression to me. Melancholy into resolve into anger, and then? It might not come out the way I want it, in that it returns to darkness, that amorphous sinking feeling, but it also gives me a place to put those feelings. I need a place to put them now.
It’s a strange thing that simply choosing pieces of art and putting them into order acts like a kind of canvass for me…but we all need whatever canvasses we have, however personal, however weird they might feel. We have no other places to put the paths we fear, the emotional progressions we worry we might take. Put them to some sort of canvass so that you don’t hold on to them, share them so you can speak about them, and maybe someone else might be willing to do the same.
Neo-80s music that builds and builds with a dark-edged, slow-burn intensity. Optimistic choruses that feel inches away from flying over landscapes in The NeverEnding Story. I Break Horses controls your emotions with a mastery of synthesized soundscapes and lyrics that yearn to be part of a different world.
Simply put, Sweden is making the best pop in the world, and I Break Horses is a Swedish duo that’s jetted out the starting gate. Chiaroscuro is Maria Linden and Fredrik Balck’s second album, full of songs that experiment endlessly inside of strict indie pop housing. They hearken to an era of 80s optimism, 90s intensity, and modern slowcore (aka shoegazer) that’s never actually existed.
There’s more than a little Bat for Lashes in both their musical and emotive progressions, but there’s no idealism being strove toward in the style of Natasha Khan. I Break Horses is too melancholic. This re-frames their sound – here we have something more inwardly focused, a little more unsettled and discontented. That’s what creates the yearning that comes out of I Break Horses.
Both bands can make us feel like flying across magical 80s landscapes. With Bat for Lashes, we achieve that otherworldly landscape. With I Break Horses, there’s too much distance from here to there. We have one foot left on the ground. What we’re left with is something both magical and airy, yet bittersweet and even a little angry.
Hesitation is hidden all throughout their music, making that initial build-up to the optimistic chorus feel as much a struggle as an achievement. This is meditative neo-80s music to drive around with late at night, in the cold when the traffic lights blur together into impressionistic paintings, and you feel like being steely and contemplative like a protagonist caught between scenes.
Have You Heard… is a stream of song and band recommendations, many of which may be new to you. It’s also the kind of analysis that’s missing in a music industry obsessed with image and celebrity instead of the music itself.
Songs of 2014 – “Rimbaud Eyes” & “Lost Boys and Girls Club”
by Amanda Smith & Olivia Smith (no relation)
If Dum Dum Girls make you think of 80s rock, it’s no mistake. Echo pedals and sound walls of thick reverb are abused in the tradition of The Cure. Sharply defined guitar riffs are balanced on top of deliberate bass lines like Siouxsie and the Banshees. Vocals confine themselves to a limited range, taking a cue from Depeche Mode. Intentionally cliche lyrics bounce off terse gothic poetry references reminiscent of The Smiths.
Theirs is outwardly simple pop using complex methods based in Britain’s gloomiest musical period. Their songs don’t take you on a journey. They build a moody, mythic soundscape around the listener instead. They choose being relaxed and focused over being anthemic or epic.
Like a pleasant wine, there are subtler notes: Belle & Sebastian’s ironic harmonies, Pat Benatar’s dancy messaging, Bat for Lashes’ painterly idealism, Joan Jett’s airy insistence. You could call Dum Dum Girls a pastiche of all these influences, but they blend it all into their own, unmistakable creation.
It’s not rave music to pump you up before a game, but it is the music to put on repeat one lazy Sunday or for a long road trip. These are the kinds of songs that make you feel like your surroundings hold more depth and possibility.
Have You Heard… is a stream of song and band recommendations, many of which may be new to you. It’s also the kind of analysis that’s missing in a music industry obsessed with image and celebrity instead of the music itself.
You might wonder why we’re running a Best Music Videos series for 2013 in April of 2014. It wasn’t something I intended to do, but music videos remain my favorite form of short film. Call them the last bastion of the avant garde in American storytelling. Plus there’s dancing.
So I was upset when I recently looked at music sites’ choices for the best music videos of 2013. These awards used to be opportunities to highlight little-known artists and cleverly experimental filmmakers. A few years ago, Kanye West amused/upset the zeitgeist when he grabbed a microphone from Taylor Swift at MTV’s 2009 Video Music Awards and declared, “I’m going to let you finish, but…” What turned out to be a brilliant career move for Kanye overshadowed the fact that Best Female Video had come down to a plaintively cheesy Taylor Swift lullaby and an above-average, yet fairly standard, Beyonce dance video.
What did the experts declare the best music video of 2013? Well, British staple NME awarded their Music Video of the Year to the Eagulls for “Nerve Endings.” The video featured time-lapse photography of a pig’s brain rotting and being eaten by maggots, with other images washed over it.
Fantastic, Eagulls. You’ve recorded the equivalent of a fanfiction video for Nine Inch Nails 20 years ago and, like a lot of fanfiction, you missed why that imagery was used in the first place. I get it, the Eagulls are punk and their whole schtick is that their interpretation of the imagery doesn’t matter, with a light coat of flipping the bird to those who say punk’ll rot your brain. It’s cute, or as cute as rotting pig brains can be, but it’s a one-note joke, two decades derivative, and it doesn’t deserve to be video of the year.
Rolling Stone‘s top 10 was a similar travesty. Their argument for Vampire Weekend’s “Diane Young” was that it had a lot of music industry cameos. So do commercials. They also chose Atoms for Peace’s “Ingenue” because it has Radiohead’s Thom Yorke dancing in it. Both videos have cameos to get done, but neither has much of a point to make.
Worse yet, Rolling Stone chose two of the most inane videos I’ve ever seen in an attempt to attach themselves to those videos’ popularity. At #5, they chose Robin Thicke’s “Blurred Lines,” which is basically about a singer and his friends molesting nude women. Rolling Stone argues it’s really feminist deep down, because even though all they do is leer at topless women while Thicke sings about how they’re nothing but sex objects, they do it really obviously.
Then they chose Miley Cyrus’s “We Can’t Stop” at #1, their argument being that – even though it’s a disaster – look at how much of a disaster it is! It’s like a flaming car wreck! Good job furthering the art, Rolling Stone. Their choices largely seemed to be made by how ironic their inclusions would look in a top 10. Feminism by way of molestation and good by way of being so bad it’s a disaster. Everyone stop trying to communicate insightful social messages and raw emotion. Just make something extra-disastrous. Rolling Stone has really got that irony thing down.
Spin was more consistent – at least while they were awarding “Blurred Lines” best video of the year, it included Miley Cyrus dry-humping a hammer in “Wrecking Ball” instead of “We Can’t Stop.”
My issue is that choosing the best music video of the year has turned into choosing which one made the most news. It’s choosing which celebrity you covered the most, not which video had the most creative energy or artistic merit. By that logic, we don’t need any of those sites to hand out awards – we just need Google Analytics.
In response to this, several of us sat down and watched nearly 400 music videos to come up with a top 30. Cleopatra Parnell and Vanessa Tottle helped to narrow the field and made the final rankings with me. Special thanks to Hayley Williams for additional suggestions.
Without further ado, #30-21 on the list. Please be aware that music videos disproportionately carry epilepsy warnings because of the tendency for quick edits and flashing lights.
Honorable Mention (we cheated one extra): “gun-shy” – Grizzly Bear
directed by Kris Moyes
The Gif-style editing, combining repeated actions together, will either annoy or hypnotize you. Personally, I tend toward the latter, and the more I watch it, the more engrossing it becomes. It’s a fantastically weird video that we all liked immensely, but couldn’t agree on giving a place in the list.
#30: “The Same Old Ground” – He’s My Brother She’s My Sister
He’s My Brother She’s My Sister just makes good, enjoyable blues folk music. Their glam rock style reflects Jack White’s style minus the egoism. Really, this is an energetic performance video, but sometimes being joyous and colorful is enough.
#29: “Lovers in the Parking Lot” – Solange directed by Emily Kai Bock, Solange, Peter J. Brant
This is a low-energy, chilled out dance piece featuring Solange at closing time in a Houston mall. It reminds me a bit of Fatboy Slim’s “Weapon of Choice,” featuring Christopher Walken – it’s just fun to watch, listen to, and there’s very little pretense. You’ll also notice co-director Emily Kai Bock’s name a lot in this top 30. That’s not a coincidence.
#28: “Despair” – Yeah Yeah Yeahs directed by Patrick Daughters
“Despair” is a song that thanks that feeling of helplessness for being a lifelong companion. Its video succeeds because of two crucial decisions. The first is in isolating Karen O’s vocal track to start the video. The song itself is a cathartic piece of music that takes a few listens to achieve its full impact, but a music video doesn’t always get those repeat viewings. Isolating Karen O before starting the song proper delivers the message point blank at the beginning.
The second decision was to film at the top of the Empire State Building. The location isn’t the building’s impressive tower itself – the band is instead filmed in front of the fences put up to stop people from jumping off the top. The encroaching morning over New York’s skyline, the arrival of the band, the crescendo of the music, and Karen O’s costume and energy changes each contribute to feeding the cathartic, triumphal energy of the song itself.
#27: “Horns Surrounding Me” – Julia Holter directed by Angus Borsos, concept by Ramona Gonzalez
Combining the narrative cinematography style of David Lynch and bold art direction that echoes horror master Dario Argento is a solid recipe for a music video no one will get, but that is still fascinating. It fits the intent of surrealism like a glove, evoking curiosity and danger while sparking the kind of narrative connections that allow the viewer to edge out the director as owner of the story.
#26: “Reflektor” – Arcade Fire directed by Anton Corbijn
“Reflektor” encourages a lot of debate. Its imagery is simultaneously weirder yet more literal than something more unabashedly surreal like “Horns Surrounding Me.” Its a wickedly fun blend, and the song is one of 2013’s best.
#25: “Loaded Gun” – Lightning Dust directed by Zachary Rothman
This is the definition of waiting for the other shoe to drop. It’s composed of incredibly simple visual ideas. You’re going to wonder why it’s on the list until its powerful, central image is revealed. Then you’re going to call that friend of yours in the Tea Party and get in an argument.
#24: “Childhood’s End” – Majical Cloudz directed by Emily Kai Bock
This is director Emily Kai Bock’s second appearance on the list already. Her video for “Childhood’s End” shows a mastery of storytelling and photographic presentation. I could go on and on comparing her framing to photographer Philip-Lorca diCordia or Hungarian director Bela Tarr, or I could just tell you that this is going to make you choke up big time.
#23: “This Place Was A Shelter” – Olafur Arnalds directed by Adam Bedzsula and Erik Kocsis
What makes this video special is that the metaphor it’s describing to you and the metaphor you think you’re seeing are wholly different. It’s a twist – not a narrative one, but rather one in your own perception – that connects you to that powerful moment of loss that each of us undergoes at some point in our lives
#22: “Katachi” – Shogu Tokumaru directed by Kijek and Adamski
OK, we’re done making you cry…for today. “Katachi” is a video made entirely using stop-motion animation and paper cutouts. It’s a visually inventive and joyful accomplishment.
#21: “Lillies” – Bat for Lashes directed by Peter Sluszka
This is simply a celebration of growing into and trusting one’s own imagination. It features a ton of stop-motion animation and singer Natasha Khan forming bonds with giant muppets. It harkens back to Kate Bush’s influence on British music videos, and it’s a fun and touching video to witness.
Videos #20-11 will run on Thursday, April 10. Videos #10-1 will run on Tuesday, April 15.
Gabriel Diego Valdez 