My favorite band, Girls, broke up this summer. I wasn’t too distraught, because I held the hope that the two guys in the band would continue making music, but it was still upsetting; I had no idea what was next for Girls, so as a fan, I was in limbo. I was mainly focused on news from Christopher Owens, the lead singer and primary force behind Girls’ success. Aside from a few twitter posts from his account “Cri55yBaby,” there was no real news. It wasn’t until October that Owens resurfaced, announcing his intent to release his solo debut Lysandre in January 2013.
The only tracks from Lysandre released to this point have been “Lysandre’s Theme” and “Here We Go.” In my opinion, both tracks are successful, yet it’s necessary to acknowledge that musically, Christopher Owens solo project isn’t really similar Girls. Sure, the singer is the same, but the instrumentation is very different, with Owens citing classical guitar as one of his inspirations. It shows. “Lysandre’s Theme” is an instrumental, consisting of Owens on guitar, with a flute laced through the track. It provides an effective transition to “Here We Go,” in which the flute serves as continuation. Owens opens with guitar, largely similar to Girls’ “Just a Song,” before providing vocals, about 20 seconds into the new track. Hearing Owens’ voice for the first time provides relief and familiarity, and for a moment, it’s like Girls are back again. This nostalgia primarily was at the 2 minute mark, in which Owens solos on electric guitar, but it’s only for about 10 seconds.
Although there is only a glimmer of Girls in Christopher Owens’ solo project, fans should still find solace lyrically. The themes of heartbreak and love, focuses central to Girls’ prior success, are still present, and Owens still is able to convey the multitude of emotions he encompassed while still part of Girls. “Lysandre’s Theme” and “Here We Go” are both definitely work checking out, they’ll get you through until the album’s release.
The single ‘Loose Fit’ from the Happy Mondays came out in 1990. Off of the label Elektra Records, the acid house band combines influences of funk, house, and dancehall hits. Check ‘em out in the WOBC vault!
I had a lot of work due right before Thanksgiving break; it wasn’t terrible, but it reminded me that finals are approaching. I know I’m going to be barricaded in the library soon, so it’s really important to have some music to listen to. Some people can work to music, others can’t, and I find myself in between. I can’t really read as I bump Drake, but I can write as I bump to Drake, albeit a little bit slower. I find it a reasonable trade-off, mainly because music helps relieve some stress and it’s great for keeping time, in the “I’ll take a break when this song is over” sense.
In picking music, it’s important to listen to something familiar. I’m all for finding new stuff, but it’s probably not ideal to catch up on some “Best New Music” when you’re swamped with work. Listening to new music requires divided attention, and it’s hard enough to focus on your work without any distractions; stick with what you know.
I already have some music lined up for my busy weeks. Here is some stuff that I think is work getting familiar with:
“Guillotine”, Death Grips – The musical equivalent of “I-smoked-two-packs-of-cigarettes-and-drank-too-much-coffee.” However, pretty good for subtly “going hard” in the library.
“Marvin’s Room”, Drake – Marvin’s room is just R&B, crooning Drake, which is great easy listening. He gets pretty emotional too.
“Vomit”, Girls – Girls broke up, which is terribly sad. So is this song, but it is definitely pop oriented and kind of perky in some parts. Make sure to check out the guitar solo around the 2 minute mark of the song.
“Last Kiss”, Jay Frank Wilson – This song was released in 1964, so it’s fairly dated. It’s really catchy and it’s generally an exciting, old, simple song. The bass is pretty cool too.
These ladies are from New Orleans. They sounds like the Andrew Sisters. They are friends (see below).
Here is a sample of their music. This song is called Mood Indigo.
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This band is one of those bands from the 80s who made a website and never updated it. We like them anyways. They are kind of folk rock-ish. This picture is called Hanukkah Nights (see below).
This is a song by Antietam. Here- it is called Camp Folk.
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Exceedingly strange punk funk band out of Boston. “Dogzilla is made of up five people, each one of a different sex.” Here are some stills from their music video Lunch With Ed. Everything that happens in this video is crazy (see below).
Recent additions of note to the WOBC classical collection:
JAKOB KULLBERG W/ SZYMON BYWALEC, NEW MUSIC ORCHESTRA: Momentum: Nordic Cello Concertos (Aurora) — includes Amers, a lush piece for cello, orchestra, and electronics by the never-disappointing Kaija Saariaho.
JONNY GREENWOOD: The Master: Original Motion Picture Soundtrack (Nonesuch) — Radiohead guitarist once again demonstrates his composing chops with his work on a P.T. Anderson movie. Warm, organic compositional voice, sometimes mixing in just the right amount of paint thinner.
MICHAEL TILSON THOMAS, SAN FRANCISCO SYMPHONY: American Mavericks: Cowell, Harrison, Varèse (SFS Media) — iconoclastic American music, feat. Oberlin alum Jeremy Denk on the Henry Cowell Piano Concerto. [soundcloud]
SONAR QUARTETT: Walter Zimmermann, Songs of Innocence and Experience (mode) — works for string quartet and solo strings, sometimes with drones, tape, or voice. Folk melodies and children songs, seen through an avant-garde lens.
EDDY VANOOSTHUYSE W/ PAUL MEYER, BRUSSELS PHILHARMONIC: John Corigliano, Elliott Carter, American Clarinet Concertos (aeon) — rewarding Belgian take on two engaging late-20th century American clarinet concertos.
THE KING’S SINGERS: Royal Rhymes and Rounds (signum) — crisply sung a capella vocal works centered around British monarchs, released for the Diamond Jubilee. Includes some works by Henry VIII — perfect Bring Up the Bodies reading music.