If I am being completely honest, these last few months haven't been like the english summers I used to love. Sure, you expect slightly rubbish weather, but there were always those hot evenings that made it so special, a contrast to the usual grey skies. Overall I'd say that this one was relatively bleak, even by english standards, and especially considering that June seemed to promise one of the hottest english summers in recent years. It was around this time, the end of spring and beginning of the summer months, when I was rediscovered how blissful drinking stubbies in the heat, while your own soundtrack rings out in the background, can be. Exams came and went, things seemed to get less constructive. Vodka lemonades became more and more frequent on nights out and structure seemed to disappear completely. Even though one of the most enjoyable days I had this summer begun with getting drenched while walking down Regent Street to meet friends, I can't help but feel weather was a let down, and could have been a great pick-me-up during the many slow and uneventful days that became commonplace as August dragged on. Musically, it's been an interesting summer for me, quite a lot of old favourites re-appeared in my playlists, and I often let shuffle take hold. When I didn't leave my soundtrack down to chance, there were a few artists that became my summer's favourites. Here's an overview of the music that graced my ears in the last three months.
This was a summer of discovering artists that were slightly older, mainly bands that stemmed from the roots of some of my favorite modern bands, one such example being Tim Kinsella's American Football. One of his first bands, the first in a long and prolific career, and likely the one that established him as an artist to follow. The self-titled album, American Football, reminds me of a time when the umbrella-term 'emo' actually encompassed bands that had something to offer musically, as seen by this band's ability to create great harmonies; intertwining jangly riffs from two guitars, while cuts through the strong and supportive bass and the driven, yet tasteful drums. The vocal delivery sounds like the youthful undeveloped singer-type that you'd remember from the early days of pop-punk (The Get Up Kids for one). Their sound is very organic, contrary to what this sort of genre's sound would evolve into, and serves as an example why grand production isn't at all necessary to have a full and distinct sound. Moving on from this band, I would recommend "Never Meant" as a first listen by the way, this is where I have to discuss a few songs that, seemingly out of nowhere, became very contrasting songs to the mix of albums that became the soundtrack of my summer. Stepping back to retro, yet not-so retro music, I uncovered classics from Curtis Mayfield and Paul Simon, the latter of which resulting in a short-lived infatuation, perpetuated by a relatively thin, yet still exhilarating, exploration of his back catalogue.
Keeping things more modern, consistent favourites, The Matches, became my personal 'go-to' band for most of the summer, which set me up for the absolute heartbreak that was their mid-summer announcement of a hiatus. They are an example of a fantastic band that were a victim of circumstance, left behind in a flailing system for discovering and buying music. Lack of commercial success, and the resulting debts that were amassed by the band during the production and touring for their last two albums led to a bleak end for a band that was truly starting to make it's mark on the modern punk scene. This hiatus, due to poor sales and finance troubles, came about, somewhat surprisingly, despite a huge build up in momentum within their sister-scenes, their personal critical acclaim, and seemingly growing popularity and appreciation. I can say with some confidence that there will never come a day when I don't get a thrill out of having "Chain Me Free" or "Between Halloweens" come on my car stereo.
Also, The Whitest Boy Alive's newest album "Rules," which received regular rotation on my playlists around June, is yet more great output from the Kings of Convenience's singer Erlend Øye. Their music consists of Erlend's trademark wispy vocals layered over some groove-heavy yet sparse GBD instrumentation with the added pleasure of a keyboardist riffing over the backline with an old-school funk sound.
While there was a resurgence in old favourites and a discovery of older gems, there was one artist that became a summer staple. Swedish singer/songwriter Jens Lekman has two albums and a collection of EPs that show immense diversity, and more importantly, consistently great music. Although his catalogue is still relatively small, he showcases a number of charming, unique narratives developed into these wonderfully layered pop songs. On his latest release, he decorates his songs with full rock-band instrumentation, supported by plenty of wind instruments, horns, piano and glockenspiel. This thick instrumentation is seen in single "Opposite of Hallelujah," which starts off with a syncopated drum beat, leading into a nice little melody shared in unison by xylophone and violin. Contrary to this, on his first two releases there is a mix in styles and textures, with some songs showcasing astonishingly beautiful string samples on top of echo-y sampled drums, with added guitar and piano, while others are very thin; a strummed acoustic guitar with voice, or even just singing a cappella, with only the occasional finger-clicks or claps.
Here are five reasons why Jens should be your favourite singer-songwriter:
1. His Voice - it is absolutely gorgeous, deep and full, yet sensitive and soft, he has one of the best voices in pop music today. (see all.)
2. His Narratives - who doesn't want to hear of a humorous tale involving a lesbian telling her father that she's engaged to the unsuspecting narrator to divert the her father away from knowing her true sexual persuasion? (see "Postcard to Nina")
3. His Sampled strings - they are lovely, yet very ethereal, and sound very distant to the singing. It gives his earlier music a wonderful sound, and it is one hell of a backdrop for his soulful voice. (see "Maple Leaves" and "Sweet Summers Night on Hammerhill")
4. His Quirks - he's a very interesting character, and since for most of his songs he is narrating a story or a feeling, you get a feel for the fact he is, well, different. It's a part of his charm, and he has no inhibitions about leaving his dry sense of humor littered throughout his lyrics. (see "A Man Walks Into A Bar" and all else)
5. "Kanske Ar Jag Kar I Dig" (Swedish for "Maybe I'm In Love With You") - one of the my favourite songs of both his, and all that I've heard up 'till this point.. that vocal sample, those horn samples at the end, the charming and ever so slightly odd lyrics, all reasons why I love this song. It is a collage of samples and ideas, yet somehow being totally coherent - a brilliantly unique and interesting song.
Playlist:
1. The Matches - Didi (My Doe, Part 2)
2. The Cure - Close to Me
3. The Hold Steady - Massive Nights
4. Jens Lekman - A Sweet Summer's Night on Hammer Hill
5. Ted Leo and the Pharmacists - Hearts of Oak
6. The Format - Oceans
7. Paul Simon - You Can Call Me Al
8. The Whitest Boy Alive - 1517
9. American Football - Never Meant
10. The Get Up Kids - I'm a Loner Dottie, A Rebel
11. Curtis Mayfield - Move On Up
12. Jens Lekman - Kanske Ar Jag Kar I Dig
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