Cayman

Have you ever had one of those songs that you absolutely can’t get enough of come into your life?  It happens to most of us.  A song you play over and over again for days and weeks.  What are some of those songs?  Think about what was happening in your life during that time.  Did the song play into those circumstances or was it simply an ear worm that burrowed its way into your mind?  How often does this happen to you?  For me, it happens a few times a year, but some of them are more memorable than others.  One that especially stands out is the song “Cayman” by Mira. 

As the year 2000’s spring turned into summer I found out, first via a continuously intensifying never ending headache and then by a doctor’s diagnosis, that I had a rather large brain cyst expanding inside my brain stem (see first warnings signs story here: Road to Nowhere).  Even though the neurosurgeon told me that if I hadn’t have scheduled the MRI and follow up appointment with him that the rate of the cyst growth would kill me within a couple of months, my surgery to remove said cyst wasn’t scheduled for another six weeks.  It was during these six weeks that my life became very strange.

Having something the size of a large navel orange in the center of your head does unusual things to a person.  Besides the constant intense head pain, I began to lose feeling on the left side of my body.  Not complete paralysis, but that “my leg’s asleep!” kind of tingly numbness.  There was also a slow change in perception of colors.  Blues became yellows, greens became purples, and a lot of colors became a pale pink.  I began to crave certain chemical smells.  I began to crave the bowling alley/bus station bathroom smell created by things like generic label Pine Sol, and dirty ashtrays.  I also managed to get the hiccups for nearly two weeks without letup, which wasn’t as bad as it would seem.  They made me laugh a lot while in the presence of others.  It was impossible to get out an uninterrupted sentence, but I just kept going.  Sleep was tough, but necessary to find any kind of relief.  The other ways, I managed with the pain was to walk all the time.  It was hot out, but I had to keep moving.  It was golf too.  Even though I needed help getting the ball out of the hole (I would fall down when I bent over), it was one the rare times I felt fairly ok.  The activity must’ve been enough of a distraction to keep the pain slightly under control.

Music, my usual go to source for comfort, was not much help.  I had a difficult time focusing.  I have always taken time to listen to albums, not as background music, but as the only focus – with headphones.  This was tough to do with that throbbing beast in my head.  Also, the sounds often became grating and hard to manage, which was a nightmarish proposition that I could not comprehend.  There were a couple of exceptions.  The breezy “Bringin’ Me Home” from Mojave 3 being one.  The other was “Cayman” by Mira.  I came across this song via the Italian music magazine Losing Today and its pretty solid companion dream pop CD compilation Painted Dream II.  Surprisingly, I have no recollection as to how I ran across this magazine.  Maybe I bought it through pennyblackmusic.co.uk, or Parasol Mailorder, I’m not sure.  What I am sure is that I would listen to “Cayman” sometimes six or seven times in a row each time I fired up the old sound machine and I did not remove that song from my player until weeks after I had the brain surgery. 

There is a poignant power in the music of “Cayman.”  It builds dramatically, yet effortlessly.  It soars and glides, but is given great depth with its pounding drums and swells of buzzing guitar.  Regina Sosinki’s shining vocals fit the soundscape perfectly.  Besides being an epic song, I’m not certain why this one in particular was, not only one of the only songs I could manage to listen to peacefully, but the only one that was truly therapeutic during that time of my life.  A single song, which seems to be about a cat, managed to guide me through six plus weeks of unbearable pain and excruciating anxiety, better than anything else. 

Later that summer, I finally purchased and enjoyed Mira’s self-titled debut album, along with their other two albums (and one rarities compilation), but it was the endless plays of “Cayman” during the summer of 2000, and hundreds of times in the years since, that will always be of great comfort.  I have never grown tired of this song.  Thank you.

(https://www.facebook.com/mirathebandofficial/)

Mira "Cayman"

Fita

Oxy

Fita

(Lo-Slow)

One of the reasons why I have always struggled writing music reviews or synopses of albums that I really like is describing the why.  Why do I like it?  What makes the music so worthy of further investigation?  Sometimes it’s easy, because there are records that tap into just the right sections of my grey matter that inspire words by transporting me to another place in my mind, or tap into seriously deep-seated emotions.  Some bands are simply easy to compare to others.  Most of the time, like regular people, I like what I like, because the music provides me joy.  When it comes down to it that is the main reason why we all like what we like.  This leads me down the road of trying to figure out why I’ve always had the inclination to try to sell people on the music that I think is worth hearing.  What’s the old simile?  “Writing about music is like dancing about architecture.”  It’s not easy.  Maybe I do it, because I like to write, and am unbelievably passionate about music.  Essentially every moment of my life is linked in my thoughts with a soundtrack of some sort.  It is the way I remember dates, seasons, people from the past.  And when I say ‘I like to write,’ that’s really only true conceptually.  I am only occasionally inspired to actually attempt the work, and I have essentially no audience to write for (thanks to those who do stop by and read!).  Hence, my reluctance.  I occasionally awkwardly write about mostly fairly obscure music to an audience of almost no one.  What is the point?  The point is that when I come across music that I enjoy so much, that I cannot at least try to scream it out to the world, and so here we are yet again.

Brazilian five-piece Oxy have released a debut album, Fita, that is providing me great joy.  There is something very comfortable about their sound.  The music hits notes that my brain seems to be seeking.  Not to get too sciencey, but Oxy’s sound molecules are causing my ear molecules to tingle the feel good molecules in my brain.  When I first heard the single, “Pink Socks,” I felt like I was listening to one of those formative songs that expanded my tastes back in my teen years.  It’s not that it sounds like anyone in particular or of a time, it’s that the song feels like it’s been a part of my life forever.  If forced to give comparisons, I would say that they lie in a beautiful dream pop world somewhere between the crisp pop-rock of Julie Plug/Marine Life and the more shoegazey Mira. 

Fita feels like a more veteran album than a debut, because it is unified throughout.  The quiet and pleasant opening notes that begin the slow burning “Into,” are seamlessly repeated at the end of the closing “80s.”  “Into” is the perfect song to begin an album with.  It is simple and mellow and step by step, patiently, it builds tension and suspense, until it explodes to a wordless musical chorus that stretches to the far corners of the stratosphere and then rebuilds again.  During the second explosion, we find what seems a pronounced Pink Floyd influence, as a guitar solo takes command (not sure who plays what) in a similar tasteful style of David Gilmour.  This wonderful guitar work also shows up midway through on “Reality” and the previously mentioned “80s.” 

Meanwhile, “Realdaze” and the first single “Pink Socks,” are absolutely stunning pop songs – the kind that should be dominating the hit charts all over the world, but don’t ever seem to.  “Realdaze” has grit and emotional impact along with its lyrical refrain “I choose you,” while the more atmospheric “Pink Socks,” glides along with a bassline that makes one instinctively bounce along.  Come to think of it, the fourth song, “Carriage,” should be a huge single too, as Sara Cândido’s varied vocals really stand out on this song. 

Speaking of varied, Fita, has a nice mixture of styles and tempos as it progresses, without breaking from the very strong vibe that unifies the entire collection.  The second half runs a little long, but once you’re in the album’s zone, you really don’t want it to end anyway, so that’s a minor issue.  Like I said earlier, their sounds hit just the right notes.  “Trying” is a fairly straightforward rock song, while the penultimate, “6^th Sense” covers all kinds of ground with its catchy guitar melody, fast chorus, and alternately dreamy and chaotic bridges.  I bet that one is a highlight live.

It seems as though shoegaze is alive and well in Brazil.  I’m surprised by the resurgence over the last ten years in places like Texas, but I’m learning that it has caught on all over the world.  As long as we keep getting great music out of it, I’m all in.  Please do yourself a favor and listen to this wonderful collection.

(https://oxyuniverse.bandcamp.com/)

Oxy "Pink Socks"

Top 40 of 2011 Part I

The hardest part about writing about music is that it's nearly impossible to say anything that makes any sense. Instead one is left with a bunch of repetitive adjectives that may or may not connect the reader to the actual music that's being described. In this age of information, it's so easy to find even the most obscure new music, that it's easy for people to check stuff out without spending money or really with that much of an effort, so that's helpful...which is nice.

Another year has passed and it's time for me to aimlessly post my list of favorite music releases of the year. The only reason I do this is because I have this burning desire to share my love of this stuff!  Plus, like so many, at times like these, I like to reflect on the events of the past year, and even though the best music is timeless, it's also the way I keep track of events in my life.  I remember what I was doing when I was listening to certain songs.
Since I'm so long-winded and there're so many releases here, I have chosen to break the list down into 4 parts of 10 releases and I'm going for the American Top 40 Casey Kasem style, so we'll start with 40 and work our way to the # 1 pick of 2011.

Happy New Year!

40. Telekinesis
 12 Desperate Lines
(Merge)
This is my first exposure to Michael Benjamin Learner’s music. He definitely takes major cues from early period Death Cab for Cutie here (no surprise with Death Cab’s Chris Walla producing and playing along for this second album) – just check out “50 Ways” or “Dirty Thing” for a sample. It could be a lost track from Death Cab's We Have the Facts. There are also clear influences of the Teen Beat label’s vision of dryly recorded new wave and the bass-lines throughout would not sound out of place on an Unrest, or Flin Flon album. Check out the new wave bass line of the standout track “Please Ask for Help,” or the sing-along chorus of “Car Crash” to see that this guy can write very addictive tunes. I haven’t heard Telekinesis’ earlier work yet, so I do not know if there has been significant growth away from their/his influences, which could be important, but the influences are sound as far as I’m concerned. This is a solid cohesive collection that is worth a listen.
(telekinesismusic.com)

39. Radiohead
King of Limbs
(Ticker Tape)
Radiohead have reached a level of exposure that I am not especially comfortable with. It’s become more about their aesthetic then their music these days. I appreciate that in 2000 they radically changed their sound and direction with Kid A, and even more so with Amnesiac (which King of Limbs most reminds of), but everyone knows that their best work came during the mid 90s with The Bends (a huge creative leap forward from their debut) and their peak OK Computer in 1997. Whether it’s their fault or not, since then they’ve been stuck in a media blitz which obfuscates their music with their supposed politics and message. Having said that, they have done some pretty great work, if not as solid as their “rock” phase, but their last LP 2007’s In Rainbows found them regaining their strengths. King of Limbs is a bit of a step back or sideways. These eight songs are built on complex sounding drum loops and various electronics with Thom Yorke putting his patented creepy moan over the top. Lucky for them, they have serious talent, so it all sounds pretty good – save for the terrible Casio keyboard sound effects that distract the opening “Bloom.” It’s the final four tracks that rate the real attention. “Lotus Flower” makes an obvious single choice with its actual dance-ability, while “Codex” is a moving piano driven ballad that lingers like a bad hangover. “Give Up the Ghost” is a strange folk/electronic hybrid that is oddly effective, and finally the closing “Separator” finds a sing-along chorus with Yorke harmonizing against himself. Not sure how this rates in their lexicon, but it’s worth an actual listen, as opposed to listening to everything that gets said about them.
(radiohead.com)

38. Death Cab For Cutie
Codes and Keys
(Atlantic)
Death Cab have made it to album number seven and now third on a major label (not that that means anything anymore) and they are finally truly showing the tell tale signs of a band that needs a break. While this is their biggest departure from their now signature sound, and I give them ample credit for that, it feels heavy and distant. Their music has always been about intimacy and the small things in life, while this new album is bloated with useless electronic trickery and is way too slick for its own good. It’s in the songs that remind of more of their mid-period work (like back to Transatlanticism) such as the single “You are a Tourist” and the title track that are the catchiest and strongest of their new direction. “Monday Morning” and “Underneath the Sycamore” also show signs that these guys are still breathing. Overall, this is a bit of a letdown, not because of lack of songwriting chops, but because this doesn’t feel like they were fully invested in its making. It’s still worth a listen.
(deathcabforcutie.com)

37.Soft Science
Highs and Lows
(Test Pattern)
When I first fell head over heels over Holiday Flyer back in the late 90s, I never thought I’d be chasing down all the various projects that now defunct band would be involved with. There's the California Oranges, Desario, and well, here’s another one. This one finds vocalist Katie Haley (Conley) leading a band with former members of the offshoot California Oranges (among others) and mining similar territory. The album alternates between very catchy pop numbers featuring Katie’s sweet voice and some shining guitar based melodies and more dream-like atmospheric or dare I say shoegaze-y numbers (more like early Lush). The opening trio of songs are an immediate highlight, with the short, pounding “When Will You Come Home,” the stratospheric “Closer to Me,” and finally the rocking “Something to Go on.” Don’t miss out on “Better Be Good,” “It’s Right ”and “No Sanctuary” or my favorite catchy tune “Take it Back.”. Just track this thing down and try and keep up with all the Holiday Flyer alumnus projects out there – you won’t be disappointed, or better yet, start out with the old HF albums and work your way forward.
(facebook.com/softsciencemusic)

36.The Radio Dept.
Passive Aggressive: Singles 2002-2010 (2 CD)
(Labrador)
I know very little about these Swedes. We sold all of their music on our old Entangled Records website, but I only heard a track or few here and there. I did always like what I heard, but was never sure if it was enough to delve further. Along came this collection early this year: two CD’s for the price of one, and singles which should represent their best tracks, so I decided to give it a try. I am glad I did, because these 14 songs definitely live up to my high expectations of the melodic Swedish pop scene. These tracks span their entire career and find them moving from in-the-red low-fi numbers that remind me of my days listening to Spare Snare and the like to an almost Pet Shop Boys sound (“The Worst Taste in Music”) to a more balanced fully realized sound of their now mature selves on the newer material such as the amazing “Heaven’s on Fire,” the strangely dubby “Never Follow Suit” and the lyrically strong “The New Improved Hypocrisy.” Of course, I also bought it because they cover the Go-Betweens classic “Bachelor Kisses” here. The B-sides are okay, but not essential. They are mostly sketches and experiments that are really of interest to fans only. This will definitely lead me to check out more of their previous work. (theradiodept.com)

35. Moscow Olympics
Cut the World (reissue)
(Happy Prince)
In 2008 this Philippines 5-piece released their debut 7” and mini album before disappearing off of the radar. This reissue of their early and only released work reminds us all why they were such a find a few years ago. These kids were clearly heavily influenced by the work of the Sarah records stable from the late 80s and early 90s. The music is mixed in a mid-fi haze of atmosphere, while the winsome vocals are barely audible. This isn’t merely a revival of that Sarah sound though. These songs feel a bit heavier and are driven a bit faster and edgier. It’s an interesting angle they take. One that puts the listener in a sleepy trance at first, but over time the details start to shine through exposing an entire new light on the premises. Thank you to the Japanese for keeping the light directed towards this valuable release and check out the first new music from Moscow Olympics with their recent mp3 “Keeping the Avenues Open.”
(facebook.com/moskva80.com)

34. Mira
The Echo Lingers On: Demos, Outtakes and Rehearsals
(Projekt)
I was smitten with this band when I first heard their song “Cayman” in the year 2000. During that summer, I had a giant brain cyst that was making life increasingly difficult due to a never ending severe headache, numbness and a near constant case of the hiccups. Only a few things kept me sane. One was taking long fast walks, the other was golfing, which somehow eased the head trauma and nausea - though not the odd colors I was starting to see and the balance issues I was experiencing – and lastly, listening to the soaring voice of Regina Sosinski and the dramatic dream-like build and release of Mira’s “Cayman.” If you haven’t heard Mira’s blend of kinda gothic, ethereal, and shoegaze, then I would suggest starting with their debut self-titled album which includes the amazing “Cayman.” Next I would recommend you stop off at their third and final full length, 2005’s magically recorded There I Go Daydreamer, which includes their single “Window Seat” and sounds like its being performed right in front of you. This CD is a limited edition collection of some of Mira’s demos and such and is definitely for the old die-hards. Some of this is pretty sketchy what with rough live rehearsal recordings and some unfinished demos. However, the first four songs include their debut EP from way back in ’97 Something Ventured and it is well worth the price of admission alone! Throw in the added bonus of the surprising short pop nugget “For Now” that did not make the final cut of the debut and I found this to be a nice listen.
(mira.nu)

33.The Black Watch
Led Zeppelin Five
(the Eskimo Record Label)
John Andrew Fredrick’s band the Black Watch has now been grinding away around the fringes of the music scene since 1987 and never have they broken through towards any sign of exposure (other than a near miss with 1994’s career highlight Amphetamines, which is only notable because it could be found by the multitudes in used/cut out bins all over the record shops back then). This is a major tragedy! Fredrick is an English professor and would probably be horrified by my attempt at writing this (or any) review, but I will sing his praises anytime. This curiously titled album is the 11th full length album from TBW (the 10th for me, I have not yet found their debut) and please don’t be fooled by the name, because this is nothing like Led Zeppelin. If one were to reference a “classic” rock band as an influence, the obvious one would be the Beatles (whose “It’s All Too Much” is covered as the album closer – re-titled “Weirdly”), since these songs are streamlined pop songs full of vibrant melodies and hummable hooks. This album was released as a limited release on New Zealand label in 2010 (see obscurity reference above), but has finally been issued here on Fredrick’s own label. I highly recommend you take advantage of its availability, because this is their best work (among a discography of consistency) since maybe 1999’s King of Good Intentions. There are hit single possibilities all over the place with such songs as the hyper catchy “Emily, Are You Sleeping?” Or check out the mid tempo relate-able “Like in the Movies” and the magical “Earl Grey Tea,” which I think features lead vocals from recent guitarist Steven Schayer. I hope they continue to give this music thing a chance, because there are a few of us out there that welcome the new music every few years.
(myspace.com/theblackwatch)

32. Brittle Stars
Occasional Appearance
(Fastcut)
In 1999 Shelf-life Records released the quiet debut album by Florida’s Brittle Stars. It is the quintessential album of the entire Shelf-life catalog. It was also the only the only album they released (aside from a remix and obscurities collection), which is incredibly sad, because their soft mix of New Order and OMD electronics combined with the reflective sense of The Sundays was a perfect one. These are subtle songs that really should be heard by more people, but I think they prefer to be off to the side on their own, which is how I like to listen to such beautiful songs as “Tripping Me Up,” the momentous “You Went in Phases,” “May,” and the closing title track.  This is so good that Japanese label Fastcut has decided to release this album with a few extra tracks from the remix LP tacked on with nice packaging. Unfortunately, it has only been released as a limited edition, but hopefully this magical music will stay alive through word of mouth. This is my part.
(can be found at tonevendor.com)

31. Dark Captain
Dead Legs and Alibis
(Loaf)
Dark Captain has abandoned ship on half of their name. They may have dropped the too wordy addition of ‘Light Captain’ from their title, but their sound remains as consistent as ever. This doesn’t stray too far from the sound of their surprising and flawless debut Miracle Kicker. This is complex sounding music. Each song is built on top of busy repetitive drum percussion patterns and intertwining acoustic guitar lines that are almost too much for the mind to comprehend. It’s best to focus on the whole of their sound then the intricacies that form it. The simultaneous vocals of apparently all members of the band create an easy welcoming vibe into their dark world. When they find a groove with their unique sound, the results are really stunning as on “Submarines,” the fluttering “Right Way Round,” and the final open spaced “Flickering Lights.” They’ve added more layers of instrumentation throughout this album, but their biggest flaw may be that the songs start to sound the same with too much exposure. Much of this is to blame on the shared one voice vocals, which leaves less room for emotional inflection. Also, the sheer busyness of their sound can wear one down after so many songs. However, their sound is a great one and this is being nit-picky. Maybe their niche should be with EPs instead of LPs, just so we (me) slow thinkers can focus our attentions without so much effort. Start with Miracle Kicker and see if you like that before coming here.
(darkcaptain.com)


Please tune in next time for the next installment of the Top 40 0f 2011!



links: Top 40 #'s 30-21
                     #'s 20-11
                     #'s 10-1