Friday Music Focus returns with eleven brand-new or recent songs to enrich your sonic experiences in 2017.
Courtney Barnett, “How to Boil an Egg” (single, 2017). From a YouTube user comment: “0/10. recipe was difficult to follow, eggs were terrible.”
Lindsey Buckingham and Christine McVie,”On with the Show” (appears on the album Buckingham/McVie, 2017). It’s not easy to write a good pop song. It’s probably even more trouble for artists who have been around for decades, constantly being compared and contrasted with the entirety of their own lengthy history. To be totally frank about my own music-awareness deficiencies, I don’t know the entire Fleetwood Mac songbook, so I’m not judging Lindsey Buckingham and Christine McVie’s new duets album (described by The Guardian’s Jude Rogers as “like togetherness put on, not poured out” and by Pitchfork’s Sean T. Collins as “fun—just not fundamental”) against the weight of a half-century-long catalog. I am therefore delighted to be so unbiased as to consider “On with the Show” a pop gem. In fact, it gives me the same joy that case/lang/veirs’ lovely tune “Best Kept Secret” did last year. How could that possibly be a bad thing?
The Dirty Dishes (Zoe Lister-Jones, Adam Pally and Fred Armisen), “Love and Lies” (music video made for the film Band Aid, 2017, dir. Zoe Lister-Jones; studio version appears on the album The Dirty Dishes EP, 2017). The new movie Band Aid, which was written and directed by Zoe Lister-Jones, stars Lister-Jones and Adam Pally as a couple who tackle the thorny problems in their marriage by writing and performing songs in a band they form in their garage. The trio is rounded out by a neighbor (played by Fred Armisen) as their unendingly kooky drummer. “Love and Lies” is the best of the movie’s original songs, and its music video (also directed by Zoe Lister-Jones) points out the fact that the film had an all-female crew behind the scenes; seeing Armisen pretentiously micromanage the video shoot is icing on the cake.
Feist featuring Stephen Colbert, “Century” (performed on “The Late Show with Stephen Colbert,” 6/6/17; studio version, featuring Jarvis Cocker, appears on the album Pleasure, 2017). My favorite track on Leslie Feist’s new album is updated with a contribution with my #1 late night talk show host. From the guitar riffs to the stage setup to the outfit worn by Feist, has there been a more satisfying musical performance than this on TV all spring?
Marika Hackman, “Boyfriend” (music video; studio version appears on the album I’m Not Your Man, 2017). Despite a glaring likeness to Radiohead’s “My Iron Lung,” Marika Hackman’s first single from her sophomore album (after 2015’s We Slept at Last) is an undeniable earworm. It has been called a riposte “to ignorant boys who try to delegitimize and objectify lesbian relationships,” or in Hackman’s words, “payback for all those times I’ve been interrupted mid-snog by some seedy wanker asking to join in.”
Hudson Mohawke featuring Remy Banks, “Passports” (from the “Silicon Valley” soundtrack, 2017). The artists at the helm of the HBO sitcom “Silicon Valley” have an unrivaled track record for choosing the perfect song to play over any given episode’s end credits. “Passports” appeared at the end of last Sunday’s episode, “Hooli-Con,” and if we are to believe the lyrics as foreshadowing, the song points to the possibility that Richard and the rest of the Pied Piper team will need to flee the country in this Sunday’s season finale (long story short: they committed cyber crimes). The “Silicon Valley” gang is usually the least cool bunch of dudes in the room, so the decision as to which song will cleverly underline that basic precept is incredibly important. “Passports” does that to the max in just over two minutes; it even seems to evoke the subplot involving Erlich Bachman’s (T.J. Miller) voyage to Tibet with the somewhat Eastern-sounding instrumentation.
Lorde, “Sober II (Melodrama)” (appears on the album Melodrama, 2017). I don’t hide the fact that I have never really joined in on the Lorde bandwagon. (The world seems to consider her the most talented young singer-songwriter around, but all I see is a Kate Bush wannabe utilizing current pop hooks.) It is therefore no surprise that Lorde’s new album, Melodrama, which is being applauded by journalists on every continent (I wouldn’t dream of making assumptions and excluding Antarctica), doesn’t wow me. The two songs that work for me, however, are the exuberantly upbeat “Green Light,” which has grown on me immensely in the last few months, and “Sober II (Melodrama),” about which I wrote these words after first hearing it: “oddly tantalizing – the strings make me finally feel the emotion that the album claims to be focused on – I wish the song lasted longer.” There may be hope yet for me as a potential Lorde devotee.
Ride, “Lannoy Point” (appears on the album Weather Diaries, 2017). “We’ll be wiser when we fall/Like the dinosaurs before/When we’ve swept ourselves away/A better sense can start again,” sings Mark Gardner on the opening track of Weather Diaries, the new album from British shoegaze/dream pop/Britpop band Ride (returning after a two-decade hiatus). The group takes on modern politics and Brexit, the aftershocks of which are felt throughout the album and give Ride a fresh (though, of course, obviously unwanted) source of inspiration for their new music.
Sigrid, “Don’t Kill My Vibe” (music video; studio version appears on the album Don’t Kill My Vibe EP, 2017). I don’t know much about Sigrid, a twenty-year-old singer-songwriter from Norway, but I was so impressed by her performance of this song on “The Late Late Show” last month that I’ve been replaying the single ever since. It’s a simple and effective pop song, the kind that instantly and happily lodges itself in your brain.
Slowdive, “Don’t Know Why” (appears on the album Slowdive, 2017). Like Ride, British shoegaze pioneers Slowdive spent two decades on hiatus. Their recent return with a self-titled album has garnered stellar praise, and “Don’t Know Why” is a beautiful highlight that pays homage to the shimmering, melting guitar tones of one of the group’s influences, Cocteau Twins. I hope that I get to hear this particular song when I see Slowdive in concert this November; I’m sure the reverb must be heavenly in person.
Texas, “Great Romances” (appears on the album Jump on Board, 2017). Like the critically lambasted Buckingham/McVie album, Texas has been derided for blandness. It’s not clear to me exactly what critics want out of frontwoman Sharleen Spiteri and her bandmates; they first appeared on the Scottish alternative rock scene in the mid-80s, so maybe the British music press is just bored with them. But I ask you: what’s wrong with a song like “Great Romances,” an enjoyable little number that bounces along? Sure, it borrows the beat from the classic Angels hit “My Boyfriend’s Back,” but is that a worse musical crime than Ed Sheeran copying TLC?