Since this will be my last “Friday Music Focus” post for a while – I will be on vacation starting next weekend – I hope I can make this one count. These ten entries form a small percentage of my musical intake. I am constantly listening to new albums, singles, live performances and random, weird stuff; the following list may introduce you to some exciting new sounds. Enjoy!
Glass Animals, “Life Itself” (single, 2016). My favorite new song that I heard on a BBC radio program this week: the first single released from British indie rock group Glass Animals’ upcoming second album, How to Be a Human Being (due out in August). I always like a song that tells a story.
We Are Scientists, “Buckle” (live on “The Late Show with Stephen Colbert,” 2016; studio version appears on the album Helter Seltzer, 2016). Seen last week: a catchy song by a band that I have heard of (their first album came out ten years ago) but never listened to; the new album, Helter Seltzer, turned out to be disappointing, but this lead single is really good and I was impressed by what I saw in this TV performance.
Red Hot Chili Peppers, “Dark Necessities” (music video; studio version appears on the album The Getaway, 2016). Much less impressive than the previous number on the list is the first single from the new Red Hot Chili Peppers album, The Getaway. (Anthony Kiedis and Flea have been doing this music thing since 1983, so it’s a miracle that they aren’t fossils yet.) The music video was directed by actress Olivia Wilde, which is interesting since the skaters seen in the clip are all women – God knows the Peppers are not the world’s most feminist band, so I guess this is a step forward – and perhaps Wilde contributed some ideas to the concept. I cannot, however, get over the fact that Josh Klinghoffer, the guitarist who joined RHCP after longtime member John Frusciante’s departure in 2009, both plays and sings like Frusciante. Same guitar tone, same high-pitched background vocals. He even has a hairstyle similar to John Frusciante’s funky late 80s/early 90s ‘do. I wish Josh would carve out his own niche instead of being a replacement and a mimic.
Tacocat, “Talk” (music video; studio version appears on the album Lost Time, 2016). If you want to hear and see a real feminist rock band, try Tacocat.
Mick Harvey, “Deadly Tedium” (music video; studio version appears on the album Delirium Tremens, 2016). From Tacocat to a music video co-starring a cat. Mick’s translation/interpretation of this Serge Gainsbourg song has a jazzy, loungy cabaret quality and there is a delightful sense of humor, sort of like an oddball film noir in color, evident in the video.
Pi Ja Ma, “Radio Girl” (music video; studio version appears on the EP Radio Girl, 2016). Utilizing another pop-throwback type of sound, Pi Ja Ma (aka Dominique de Tarragon, a French musician/visual artist) offers a memorable beat and a ton of whimsy.
Meilyr Jones, “Strange/Emotional” (music video; studio version appears on the album 2013, 2016). There is something immensely charming about Meilyr Jones, whether in his music or in soft-spoken interviews. Reviewers have described his style as “chamber pop,” a categorization that aptly describes many of his slow, lushly orchestrated songs but which I think also applies to the more upbeat track “Strange/Emotional.”
The Anchoress feat. Paul Draper, “You and Only You” (music video; studio version appears on the album Confessions of a Romance Novelist, 2016). The Anchoress, aka Catherine Anne Davies (or “Catherine AD”), first appeared on my radar when I saw a review of her debut album in The Guardian this past January. But the Welsh singer-songwriter permanently earned a place in my heart when she wrote a guest column for Q magazine last month, detailing her lifelong obsession with her fellow countrymen, the Manic Street Preachers. One paragraph contains some of what I consider the best assessments anyone has ever made of the group: “…as a Manics ‘groupie’ (and I use the term very loosely here) you were more likely to end up with a PhD than an STD. This was a band that encouraged you to devour books and films and suck in culture; to open your mind, not your legs. They were a band that glamourised the idea of being intelligent – a notion that can be endlessly empowering for a young girl looking for a way to be valued in a world that seems only concerned with the value of appearances. As the working class kid who’d been taught that education is your only route to social mobility, and as that kid who’d been relentlessly bullied for being ‘smart,’ this was a revelation to me. You could be well-read and wear fake leopard print. You could have intellectual aspirations and be glamourous. The two were not mutually exclusive. Wow, I thought. This changes everything.” And now here she is as an artist in her own right, a pop-rocker with a PhD (literature and queer theory, University College London), opening for the Manics when they perform in Cornwall tomorrow.
James Dean Bradfield (of Manic Street Preachers), “Together Stronger (C’mon Wales)” (live on “The Andrew Marr Show,” 2016). Last Sunday, JDB made a solo acoustic appearance on BBC One to promote the Manics’ beloved Welsh football anthem for Euro 2016. Although the team lost to Portugal in their semi-finals match two days later, “Together Stronger” may yet become a chart-topper in the UK since there was a push for it to happen by both fans and footballers alike (star player Gareth Bale retweeted the Football Association of Wales’ post about getting the song to become a hit). Also on the couch with James, prior to the start of the song: Neil Kinnock, a Labour Party politician who is also from South Wales and apparently recognized the talent in the Manics when they were wee lads at Oakdale Comprehensive School.
Viola Beach, “Boys That Sing” (single, January 2016); Coldplay, “Boys That Sing” (live at the Glastonbury Festival, June 2016). Rather than play David Bowie’s “Heroes,” as has become a standard tribute in the last half-year, Chris Martin and company decided to honor the members of British band Viola Beach, all of whom died in a car crash in Sweden in February. (Their first – and sadly, their last – album, self-titled, will be released on July 29.) I can think of a couple of similar tragedies that befell young bands just starting out; the lead singer, bassist and tour manager of alternative rock band For Squirrels died in a crash right before the release of their major-label debut album in 1995 (which, ironically, had a minor radio hit with a song about the death of Kurt Cobain, “Mighty K.C.”) and three-fourths of the punk/power pop band The Exploding Hearts died in a car wreck only a few months after the release of their 2003 album Guitar Romantic (featuring the wonderful song “I’m a Pretender”). At least nowadays when such a horrible loss happens, the world can talk about it on social media and spread the love so that the band is not forgotten before they even had a chance to begin. The “alternate future” that Coldplay collectively create for Viola Beach by allowing them to “headline Glastonbury for a song” is a beautiful gesture.