Tag Archives: intimacy

Tuesday Musics: Kevin Coyne & Dagmar Krause, “Come Down Here” (Babble, 1979)

by Carl Wilson Babble: Songs for Lonely Lovers is a concept album (based on or the basis of a musical) by the late British rock songwriter Kevin Coyne and German singer Dagmar Krause (perhaps best known as a member of … Continue reading

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Scud Mountain Boys at Lee’s Palace in Toronto, Sat. Feb. 25, 2012

by Carl Wilson Memory, as everybody knows, is an odd, perverse thing. When I first saw the reunited Scud Mountain Boys’ stage setup at Lee’s Palace last weekend, I said, “Oh, that’s funny, it’s just like the photo on the … Continue reading

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How Should a Person Be, Teenager Hamlet and Don’t Go to School: MFA, Oct. 14, 2010

by Carl Wilson

To adapt to your life being sampled may be a 21st-century necessity. Continue reading

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“Hawaiian Baby” by The Spinanes (1992)

by Carl Wilson

(The subtitle up top says, “Untimely talk,” so I thought, let’s go for it with an 18-year-old indie-rock single, obscure and yet still venerated enough in mixtape-type-cult circles not to be any special discovery. It was just on my mind this week. In the midst of doing it I learned it wasn’t as “untimely” as I’d thought, as Rebecca Gates is on the verge of finishing her first album in 9 years, partly recorded at Hotel2Tango in Montreal. Exciting.)

(By the way, this post is lengthy, but it will be a lot more worthwhile if you also listen to the embedded songs.)

[youtube=http://www.youtube.com/watch?v=wvr75rZmZ2A&hl=en_US&fs=1]

What is this odd, enchanting tune by long-defunct Portland duo The Spinanes, from a time when “underground” was just turning into “indie rock,” as you almost hear happening here between chords? (In another song they had the line, “Have you given up punk for Lent?” This is how that might sound.) Is it a breakup song? A song about infidelity?

It’s surely somebody gumming up the works of love, willfully or by helpless reflex. But its viewpoint is so interior as to yield not much more than a hint at how the process the singer’s going through – perhaps that of going through a shoebox full of mementos – resolves. Or whether it does.
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L to the O, V to the E

The-Dream is famous enough as a performer, but the roles he played in his biggest hits were invisible. He wrote Rihanna’s “Umbrella,” allegedly in 15 minutes (more like a passing drizzle than the single’s Biblical tempest). A year later he partnered with Christopher “Tricky” Stewart to produce “Single Ladies,” striking up the beat that Beyonce and thousands of emulators bounced on. Patronizing tracks made especially for the ladies are one of modern R&B’s wrinkliest clichés, although some guys have an improbable knack for the subgenre. But Dream writes a striking number of his best songs for women, interweaving those trademark synths from one remove, obliged to balance pure craft with the necessary empathy. Continue reading

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Working in Close-Up: Fiery Furnaces, Patti Smith, Will Munro, Tracy Wright

by Carl Wilson

When I first saw Eleanor Friedberger of the Fiery Furnaces perform, I was (like many others) reminded of Patti Smith. But it’s in the angle of E.F.’s nose and the insolence of her mouth and the willfully untended hair, not in her voice really. E.F. has a well-bred, kids’-TV-meets-cabaret approach to singing a story, like a book on tape, her consonants so crisp it’s like they’re sweating little beads of tart apple juice. It’s more as if Edith Nesbit fronted a rock band, or Edith Wharton. Still, Smith and the Fiery Furnaces both build word-drunk narratives over a musical scaffold from the heavier end of classic rock (though in Smith’s heyday those classics were new); and they both depend on partnerships between a woman who sings and a guy who plays guitar. Smith’s most famous collaborator is Lenny Kaye, though there have been others. Eleanor Friedberger’s foil is Matthew Friedberger, her brother. Continue reading

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