Melody’s Echo Chamber
This appeal is simple: Aussie Kevin Parker — Tame Impala’s sonic mastermind, the lovechild of The Beatles and a supernova — has teamed up with a French lady singer. And her name is Melody!! Have no doubt; this product is indomitable. She is, maybe, the Nico to Kevin Parker’s Lou. Hyperbole, you say? Undoubtedly. But I implore you to show me a bolder soundsmith/songwriter combo than Tame Impala’s frontman.
From its guttural guitar to its vocal’s reverb, “Endless Shore” is clearly of the same ilk as much of Tame Impala’s finery, but it’s been tweaked just so, so that it embraces Miss Melody Prochet’s voice like the setting for a jewel. Melody’s Echo Chamber is a nice name too, as I think you’ll be listening again and again. A 7-inch is out presently from Fat Possom Records, featuring Melody’s track “Crystalized” and an Unknown Mortal Orchestra version of “Endless Shore.” A full album is in the works and will cometh September. Oui, oui. Aussie oi. Oui.
Dan Deacon’s quite legendary in his hometown of Baltimore. As a Charm City native myself, I frequently hear stories of the jolly, bearded man jumping into the crowd to lead them in raucous sing-a-longs, more psychedelic summer camp than corporate concert. He’s like Santa Claus around there, and his shows are as fun as Christmas morning. Of course, Deacon couldn’t stay local for long — America, his first album on new label Domino, will bring that joyous bleepity-bop to thousands of hungry ears worldwide. “True Thrush” is classic DD, with burbling synths and more of the multi-layered vocals we’ve come to expect. It’s a more polished sound, sure, but it retains the childlike wonder that made Deacon so noteworthy.
Look for America August 28, and check out his tourdates here.
Blanche Blanche Blanche
I love xylophones, but bongos and washed-out oceans sounds are a close second. Blanche Blanche Blanche’s “Green Light” totally captures that close second in the “solo” section of the track; very “Soul Sacrifice” maybe. Maybe-maybe Blanche Blanche Blanche, a.k.a. keyboardist Zach Phillips and singer Sarah Smith, are overdoing it on releases this year. Don’t matter. SCRILL! Just, I have no idea what Blanche Blanche Blanche are singing about in this song, but ya-ya it’s catchy. Traffic catchy. (OMG: I hate driving in New York!) Yeah, this song is all about traffic. But Blanche Blanche Blanche’s off-poppy jangles are unusually soothing on the road. And they also weirdly remind me of college and my ex-girlfriend, but in a good way. All world-building. Maybe just my own world. But they definitely provide an atmosphere for listeners to build a personalized world.
Check out Blanche Blanche Blanche’s new-new-new-new LP Papas Proof on La Station Radar. Act now, for they only popping 300 copies.
“Flights of Fancy”
“Many times, artists are afraid of technology, and many times scientists are afraid to create art. But if you cross that boundary, miraculous things can happen.” –Ed Tannenbaum.
“I compose because I must.” –Maggi Payne
Read these interviews, and watch these videos, and you will see why these are some folks we probably should have heard of before. Root Strata has released Maggi Payne’s music for Ed Tannenbaum’s various dance/video projects that occurred in the mid-80s in the form of an LP called Ahh-Ahh Music for Ed Tannenbaum’s Technological Feets 1984-1987, and thank goodness for that.
Television Sky [album stream]
You’re gonna have to give both sides of this tape a couple of minutes up front, lest you immediately (and wrongfully) allow the words “Neon” and “Indian” to rudely creep into your thoughts and keep you from really exploring the celestial tunnels of Television Sky. So I implore of you, let it be. Have a drink. Blink a few times. Pick your nose. Just give Gemini Trajectory the space and time Gemini Trajectory so absolutely needs and deserves, and soon you’ll find yourself off the couch, pizza boxes magically cleaned up off your coffee table, and instead of staring at an 8-bit video game, you’ll be inside of it. Yeah, Tron-style or something, but better. The intros are like the taxi of the plane just before takeoff — fun mainly in the anxious anticipation of the flight that’s about to come. And quite the ride Television Sky is: through miles of silicon skyway, this thing soars. It’s a night ride, a pitch-black backdrop peeking through beams of Lite-Brite synths. Lightly dance, heavily Kraut, moderately ambient, and 100% dreamy throughout.
I heard a rumor that this may be Gemini Trajectory’s last release. Not sure if the assertion carries much weight or not, but if it is true, you’ll want to get all over this. Stream or download here:
The Music Tapes
“The Dark Is Singing Songs (Sleepy Time Down South)”
Historically, the longevity of melodies has depended largely on their reproducibility. As popular music arose in the 20th century, this reproducibility often hinged on its method of dissemination (via sheet music, player pianos, gramophone players, TV, film, etc.), but running in parallel with these technologies was the oral tradition of folk musicians, which necessitated melodies that were, at the very least, memorable in order to be refashioned and retransmitted.
It’s no surprise that a song like “Sleepy Time Down South” has lasted over 80 years. The song, originally performed in 1931 by Nina Mae McKinney (in a film called Safe in Hell) and later popularized by Louis Armstrong (who, importantly, was the first jazz artist to actually choose which songs he played), is a perfect example of where the two above-mentioned methods of reproduction meet. Not only was the song heard widely on TV, film, and radio, but it also had a downright gorgeous, heart-wrenching melody that has survived its many variations, from Billie Holiday and The Boswell Sisters to Wynton Marsalis and Louis Prima.
With “The Dark Is Singing Songs (Sleepy Time Down South),” the intro track to The Music Tapes’ forthcoming album Mary’s Voice, Julian Koster takes the melody and runs with it. Aside from removing the beats, which already serves to highlight the melody, Koster stretches it the way he does his own melodies, straining his voice to emphasize the song’s dynamic range in the process. By the time he mutters the refrain, he sounds exhausted. Interestingly, the lyrics are altered by Koster too, most notably the second line of the song. Which is a good thing: the original tune is about the Great Migration of African-Americans from the South to the North and featured the lyrics “Darkies crooning songs soft and low.” Somewhere along the way, the line was changed to “Folks are crooning songs soft and low” (which is the version Louis Armstrong sang, but not without losing a portion of his African-American audience). Koster, however, goes back to the original lyrics as a source of inspiration, changing “darkies” to “the dark is,” a play on words that both undercuts the melody’s racist origins and keeps in line with his aestheticization of nature.
While the information age has pushed aside the necessity of memorable melodies for reproduction (I can hear you downloading Merzbox right now), I can’t help but have a renewed faith in the power of melody not only to provide continuities with our past, but also to revise it. Listen here:
Mary’s Voice, the follow-up to Music Tapes for Clouds and Tornadoes (#30 on our Favorite 100 Albums of 2000-2009 list), is part one of a two-album series. The album, due September 4 on Merge, features pop-up artwork (seen above) and is available now for pre-order.