26 Jan

Week 246: “This Means Something” by Hiatus



Sometimes I really wish that North America had adopted the siesta tradition.

While many Mediterranean cultures shut business down for an hour or two in the afternoon, in North America we have a tendency to equate sleeping with laziness, relaxation with procrastination. And the working world seems to have a restraining order against sleep; there’s no bigger sin as an employee than “sleeping on the job”.

Even when we do allow ourselves a bit of daytime sleep, we use clever language to make ourselves feel like we’re not being lazy; a “siesta” is far too luxurious for us, but a “power nap”…hey, that sounds like it takes some work ethic. Might even be good for the economy.

Meanwhile, there are all kinds of biological benefits to an afternoon nap. It can make you less cranky, more productive, it might even improve your memory. (Although it should be noted that a suspicious amount of pro-siesta research comes from scientists working in countries where the siesta is a tradition.)

The music of Britain’s Hiatus has all the ingredients of premium nap music: he makes brief, floating instrumentals, filled with hypnotic samples, easy-going but with just a hint of energy. In short, it’s highly recommended for the next time you need to take a hiatus from the busy-ness of life.

What makes this a beautiful song:

1. The piano sample, from the musical “Rent”, is a never-resolving cadence that will lull you to sleep.

2. The drum sample, from a funk track by The Meters, is a frenetic, syncopated loop that will ensure you don’t fall into a deep sleep.

3. The sampled dialogue (from “Close Encounters of the Third Kind”) floats into the song like those half-formed dreams that only naps can provide.

Recommended listening activity:

Scheduling a “meeting” for tomorrow after lunch.

19 Jan

Week 245: “The Miller and the Brook” by Franz Schubert



Classical composers were dying young way before rock stars made it cool.

Mozart famously (and mysteriously) died at 35. Italian comic opera legend Pergolesi succumbed to tuberculosis at only 26. The Belgian composer Guillaume Lekeu died the day after his 24th birthday. But of all the composers who checked out too early, Schubert is my favourite.

Although he barely made it past 30, he is credited with over 1000 compositions. One thousand. I’m not sure if I’ve even sneezed a thousand times in my life, and yet here’s Schubert, putting together consistently gorgeous and powerful music as easily as if he were scrambling eggs. When asked to explain his prodigious output, he explained quite matter-of-factly: “When I finish something, I just move on to the next thing.”

The story told in his song cycle, “The Maid of the Mill”, is based on a series of poems by Wilhelm Muller. The poems follow a young miller as he wanders through the countryside. He finds a stream, follows it to a mill, falls in love with a girl who lives there, realizes she doesn’t love him, and then drowns himself in the same stream that led him there in the first place. So yeah, heartwarming stuff.

This particular piece is the second-last song of the cycle, and in my opinion, it’s one of the most powerfully, darkly poetic pieces of Schubert’s powerful, darkly poetic, 19th-century rock star life.

What makes this a beautiful song:

1. Like a tormented lover, it floats easily but unpredictably from major to minor.

2. Like a rock star, it has its ups and downs, flowing fluidly from the bottom of the keyboard to the top.

3. Like a poet, it’s fairly restrained volume-wise, rarely raising its voice above an apologetic mezzo-forte.

Recommended listening activity:

Getting in touch with your inner rock star.

12 Jan

Week 244: “Infant Eyes” by Wayne Shorter



I’ve always thought that a baby’s cuteness peaks at around 8-14 months old. It’s the age where they’re most likely to laugh like crazy, interact adorably with dogs, and bite people’s fingers. Cuteness is a daily occurrence for them.

Newborns, on the other hand, aren’t exactly cute. The newborn is a wriggly and wrinkly and raisin-like creature, but unless you’re one of his parents, you probably don’t find him very cute.

But what newborns lack in cuteness, they make up for by being completely fascinating.

Stare at a newborn for a while and you’ll be captivated by the weird noises, the sudden flailing limbs, and the ability to scroll through every single facial expression in under a minute. Toddlers are obsessed with routines and repetitive games, but with an infant, no two minutes are ever the same.

Smile frown sneeze. Kick punch hiccup. Squeak yawn yelp.

It’s as if their bodies are flipping through the instruction manual at random and trying out every movement and noise that they might need later in life. Completely fascinating. This fascination is probably what was going through Wayne Shorter’s mind when he wrote “Infant Eyes”, a composition for his daughter, who was an infant at the time.

What makes this a beautiful song:

1. The saxophone wanders around, occasionally leaping up to high notes, like the unpredictability of an infant’s vocalizations.

2. The chord changes are slow and slightly haphazard, like the random opening and closing of an infant’s hands.

3. At 4:27, the piano starts a set of rapid arpeggios, like the sudden and brief occasions when a newborn opens his eyes, to take a quick look around and the weird new world he’s stumbled into.

Recommended listening activity:

Rediscovering the patterns on your ceiling.

05 Jan

Week 243: “re: stacks” by Bon Iver



I used to think falsetto was for chumps.

This might be because the first time someone explained to me what falsetto was, it was in the context of “In the Jungle”, a song that I found extremely irritating at the time.

But falsetto has a long and proud history in popular music. Over the years, male singers have used their falsetto voices in a surprisingly varied array of contexts; sometimes to make us dance, sometimes to make us hurt, sometimes to make us kiss. In fact, the more I thought about it, the more I realized that the high-pitched male voice is a tool used across the spectrum of popular music. Then I felt an uncontrollably nerdy urge to make a graph to illustrate the point. Here it is:

Falsetto Analysis

So, having spent a mildly embarrassing amount of time making the graph above, I invite you to enjoy what has now been (scientifically?) proven to be the indie-est, heatbreaking-est song of them all.

What makes this a beautiful song:

1. It’s so very indie. And I don’t mean that in a snarky way. I mean that it’s the blueprint for independent music: recorded by one guy in a cabin in the middle of nowhere. Recorded with lo-fi equipment. Recorded with no greater ambitions than a small-scale self-release. Recorded independent of the structure and expectations of the music industry.

2. It’s so very heartbreaking. Justin Vernon was fresh off a break-up and the dissolution of his previous band when he wrote this, and it shows; “This my excavation…this is pouring rain, this is paralyzed.”

3. The vocals and the guitar are each recorded twice, one panned left and the other panned right. It gives the impression of someone singing in front of a mirror, the only audience he can find.

Recommended listening activity:

Looking longingly out a coffee shop window.

29 Dec

Week 242: “Valediction” by Showroom



As the sun sets on another year, I’m reminded that I have no idea how sunsets work.

Sunsets are one of those everyday phenomena that seem so simple until you try to explain it to a small child. You tell them it’s complicated, fumble over a few science-y sounding words, and then invent something about an angel spilling spaghetti sauce on the clouds.

Well, thanks to the internet, I now have something approaching a proper explanation, in case a small child decides to tug on my shirt one evening and ask me about it.

It’s all about the atmosphere, you see. As sunlight passes through the atmosphere, it bounces off all the air molecules and other tiny particles in the air, and the light is quite scattered by the time it reaches your eye. This happens regardless of the time of day, but when the sun is close to the horizon, it’s got more particles to get through before reaching your eye. Because of the angle at which you’re viewing it, there’s more atmosphere to scatter the light. The only wavelengths that manage to get to you are the yellowy-reddish-orange types. There are other wavelengths, but the atmosphere doesn’t let them through.

So that’s the internet’s explanation. Now where was I going with this? Oh yeah.

The sun is setting on another year. As you look back on 2014, what you see will depend on the atmosphere in your brain. If you’re looking back and only seeing the failures and disappointments, the sunset will be drab and muted. But if you let the memory particles in your brain do their work, you might be treated to a richer, more colourful view.

What makes this a beautiful song:

1. The voice. Showroom was a Toronto-based band that was as brilliant and short-lived as a sunset. I miss them, and I’m not the only one. One of my favourite things about them was the lead singer’s powerful voice.

2. The guitar. My other favourite thing about them was the guitar. It’s tough to get a “full” sound with just one guitarist, but Showroom did it with a unique, shimmering guitar tone.

3. The title. I knew what a “valedictorian” was, but I didn’t know that “valediction” was the simple act of saying farewell. That’s the second thing the internet has taught me today.

Recommended listening activity:

Waiting for the sun to rise.

22 Dec

Week 241: “It’s De-Lovely” by Sarah Vaughan



We’re deep enough into the Christmas season that you might be getting a bit tired of the standard grocery-store collection of Christmas music by now. Is Bing Crosby starting to get on your nerves? Is Mariah Carey sapping your Christmas spirit?

Well, I’ve got an alternative for you. He wasn’t known for writing Christmas songs, but if you’re looking for music that will make you jollier, as far as I’m concerned nobody can beat Cole Porter.

Porter’s music has a lot of things that Christmas music should have, but usually doesn’t. The melodies are catchy and happy without being unbearably sweet. The lyrics have a playfulness and cleverness to them that no Christmas classic can touch. And since so many of his songs have been recorded by so many people, you’ll never lack variety.

“It’s De-Lovely” is the perfect example. It’s got nothing to do with Christmas; in fact, the first line references the spring. But like most of Porter’s songs, it brings a smile to my face in a way that no “real” Christmas music can.

What makes this a beautiful song:

1. The opening minute is just a soft piano and Sarah Vaughan’s elegant voice.

2. The little horn stabs that start at 1:20: “The night is young… shwamp!…the skies are clear…shwamp! After the song’s quiet first minute, they’re like little snowballs of joy between each vocal line.

3. The word “de-lovely” is a great creation. The prefix ‘de’ usually implies something negative. Only Cole Porter could have made it so wonderfully positive.

Recommended listening activity:

Putting things on the Christmas tree that have nothing to do with Christmas and seeing how long it takes people to notice.

15 Dec

Week 240: “Blafeldur” by amiina


Official site.

Picking out a winter coat is a tricky business.

It’s tricky because you can’t test a winter coat in-store the way you can with other items like, just say, shoes. Doing a quick perimeter walk around the store in a potential pair of shoes usually gives you a pretty good idea of whether or not they’ll be comfortable. But with a coat, you can’t exactly ask the manager to put the temperature down to -12 degrees and pelt you with snow just to make sure you’ve made the right choice. There’s a certain leap of faith involved.

But once you’ve found the perfect winter coat, there’s nothing like it. Get it right and you’ll feel like you’re bringing the warmth of your living room with you wherever you go.

This song, by Icelandic group amiina, is the musical equivalent of a winter coat. In fact, it’s one of the coziest, fluffiest, most down-filled songs I’ve ever had the pleasure of wearing.

What makes this a beautiful song:

1. Amiina started out as a string quartet, and it really comes across in the way they use the horns.

2. The way the volume rises and falls gives the impression that the song is breathing.

3. It doesn’t exactly end by fading out…it kind of peters out, as if everyone ran out of breath at the same time.

Recommended listening activity:

Layering up.

08 Dec

Week 239: “Coffee” by Sylvan Esso


Partisan Records.

Most songs about dancing fall into one of two categories:

  • Instructional. These are songs whose sole purpose is to tell you how to do a certain dance. The hokey-pokey is probably the grandfather of instructional dance songs, but many have followed. These songs are great for people who lack confidence on the dance floor, but as songs they often fail miserably. The occasional instructional dance song can be a classic, but generally they range from mildly annoying to genuinely obnoxious to gouge-your-eyes-out awful.
  • Motivational. These are the tunes whose only goal is get you moving. No particular dance style is specified, although participants are usually urged to throw their hands up in the air, and wave them like they just don’t care. These songs are great if you just want to burn off some energy to a solid party jam. They’re plenty of fun, if a little bit mindless.

As you can tell by the lyrics and the video, “Coffee” by Sylvan Esso is a song about dancing, but it doesn’t fall into either of the above categories. It’s more introspective than instructional; more emotional than motivational. I like to think of it as a song that sees dancing as relationships in miniature. The excitement of scanning the crowd for the next partner, the electricity of initial contact, the boredom of familiarity…even despair at the possibility of not finding the right person. “The sentiment’s the same, but the pair of feet change.”

Now don’t get me wrong here. I love a good mindless dance song as much as anyone. But I’m glad that Sylvan Esso made a song as exciting to the brain as it is to the feet.

What makes this a beautiful song:

1. In the opening twenty seconds, it’s hard to tell where the downbeat is.

2. At 1:17, there’s a tiny woodpecker in your speakers.

3. The words “my baby does the hanky-panky” have never sounded as mournful and meaningful as they do at 3:03.

Recommended listening activity:

Arranging your spice rack so that the labels face each other.

01 Dec

Week 238: “Goodbye Pork Pie Hat” by Charles Mingus



Whatever happened to hats?

I mean, people still wear hats. But these days, most hats are worn either to keep the owner’s head warm, or to advertise the owner’s favourite sports team.

It didn’t use to be this way. Hats used to be an essential part of any person’s outfit, and leaving the house without a hat would be as strange as leaving the house without a shirt. Look up old photos of crowd shots, like this one, from the World’s Fair of 1893, and you’ll get an idea of the sea of hats that once formed wherever people gathered. Or how about this photo of fans at a baseball game from the 1950s. People used to dress up to go to the game. Clearly, we used to be a very dapper people.

Even the names of old-timey hats were awesome; the Bowler, the Cartwheel, the Homburg…and my personal favourite, the Pork Pie hat.

It was the Pork Pie hat that saxophone legend Lester Young wore, and it was for Lester Young that Charles Mingus wrote this gorgeous song, after Young’s death in 1959. But when I listen to this track, I can’t help but think of it as an elegy not only for Lester Young, but for the hat itself. I’m not sure when the hat died out, but it probably wasn’t long after 1959.

But hey, fashion is cyclical, right? So maybe in a decade or two we’ll be back to the days of cranial classiness evident in those photos.

What makes this a beautiful song:

1. The melody that opens and closes the song is played by two saxophones, one panned left and one panned right. It gives an interesting stereo effect.

2. The sax soloist does something cool at 2:43. I’m sure there’s a name for the technique, but I don’t know what it is…it sounds like the saxophonist suddenly gets the shivers.

3. The whole thing has a really lazy, slightly-behind-the-beat feeling. If I was cool enough to own a classy hat, I would tilt it down over my eyes whenever I listened to this song.

Recommended listening activity:

Tipping your hat to someone.

24 Nov

Week 237: “You Got Me Singing” by Frank Eddie



Singing is good for you. Study after study tells us so: from reducing the risk of heart disease, to fighting Alzheimer’s, to boosting the immune system…singing is clearly giving laughter a run for its money as the proverbial best medicine.

And yet, most people rarely sing. Or worse, they actively avoid it. They make jokes about what a terrible voice they have. They shy away from any sort of public singing by saying things like, “you don’t want to hear me sing, trust me!” or “I only sing in the shower.”

Okay, fine, singing in front of people is different from singing alone. (Unless you’re an elf.) But there are plenty of ways, beyond the classic shower-singing, that you can add singing to your day. Some suggestions:

  • Try humming. It’s more covert than all-out singing, so you can get away with it in crowded places without people noticing. It’s like tip-toeing with your voice.
  • Karaoke: Find the closest bar that does it. Find three friends. Enjoy.
  • Caraoke: Roll up the windows. Turn up the volume. Enjoy.
  • Sing what you see. Sometimes when I’ve got the house to myself, I narrate what I’m doing by singing it. “I’m going to boil some water, soooo I’m filling up the kettle…” Making coffee is way more exciting when it’s a musical.

And if you’re not so good with lyrics, just imagine that you and two imaginary friends are backup singers on this great track by Frank Eddie.

What makes this a beautiful song:

1. The plucked guitar. If the laid-back atmosphere reminds you of Lemon Jelly, that’s because Frank Eddie is the anagrammatic alter-ego of Lemon Jelly co-founder Fred Deakin.

2. The percussion is understated. Rather than using a big crash cymbal every few bars, he throws in a triangle instead.

3. The vocals. I’m not sure where Deakin found the sample, but this lady sounds like the type who’ll sing her way up and down the aisles of the grocery store, regardless of how many stares she gets.

Recommended listening activity:

Practising your diva hand movements.

17 Nov

Week 236: “Hopopono” by GoGo Penguin



Jazz has come to an interesting point in the life cycle of musical genres.

It’s old enough that universities teach courses in it, but young enough that some of its pioneering legends are still alive.

It’s gone through all the stages that any genre goes through. In the 1920s, it was an underground scene hated by the older generation, accused of being the source of all society’s problems. By the 1950s it was a mainstream phenomenon filled with huge-selling artists. By the 1980s it had jumped the shark, bloated with hyphenated sub-genres, hopelessly out-cooled by the emergence of hip-hop. By the 1990s many people saw it as an out-of-date style of music only enjoyed by people over 50.

And now, a century after its birth, jazz is settling into a comfortable stage in its evolution. It no longer has to prove anything, it doesn’t have to try to be cool. 21st-century jazz artists are as happy covering the classics as they are melding the genre seamlessly with other styles.

GoGo Penguin has everything that a 21st-century jazz group should have. Musicianship. A wacky name. Cool videos. Sleek album cover design. Critical acclaim. A sound that is different enough to be interesting, but familiar enough to avoid alienating people on their first listen.

This song, especially, manages to sound new while echoing the hundred years of history behind it.

What makes this a beautiful song:

1. The slow, simple beginning reminds me of Ahmad Jamal.

2 .The fast, fluttering right hand of the pianist reminds me of Oscar Peterson.

3. The range of emotion they get out of three instruments reminds me of Medeski, Martin & Wood.

Recommended listening activity:

Researching your family tree.

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10 Nov

Week 235: “Abendlied” by Josef Rheinberger



I’ve got nothing against parties, nightclubs, pub crawls, or any event that involves a lot of people staying up until the sun rises. But as great as those things are, there is something equally and oppositely great about an evening spent alone at home. Especially when you plan it well in advance.

You know exactly which movie you’re going to download. You know exactly what kind of food you’re going to have delivered. You know exactly what type of drink you’re going to enjoy while you soak in the bath. You know that you’ll probably be asleep embarrassingly early, but you don’t care.

But most importantly, you know that within minutes of getting home, you will be in your pyjamas while everyone else worries about what they’re going to wear when they go out tonight.

What makes this a beautiful song:

1. The nice crunchy moment at 0:56, followed by a big high note in the sopranos a few seconds later. This is the sound of you stretching as you walk through the front door.

2. The way the voices keep echoing each other, like they do on the words “O bleib bei uns” starting at 1:52. This is the sound of your socks being thrown in slow-motion towards the laundry hamper.

3. The way Rheinberger keeps throwing cadences that don’t quite resolve, like the one at 2:56. This is the sound your eyes make as they almost close for the night, only to pop lazily back open to try and get through the movie you’re watching.

Recommended listening activity:

Politely declining an invitation to a night out.

03 Nov

Week 234: “River Man” by Nick Drake



For someone who’s interested in music, I feel like I’ve overlooked Nick Drake. I was vaguely aware of his existence, thanks to the “Garden State” soundtrack, but vague awareness was about as far as it went. People would rave about his music, and I would put it on my mental to-do list, along with that restaurant I should try, and that TV show I should watch. Just never got around to it. Mental to-do lists have a way of being overlooked.

But I don’t feel bad about it, because being overlooked is one of the themes of Nick Drake’s life.

His music barely registered in the public consciousness during his life. His three records didn’t sell, and he didn’t gain any kind of popularity until a generation after he died. He hated performing live, and as a result, no video footage exists of any of his concerts. Or interviews. Or studio sessions. In fact, there is no known video footage of his adult life at all.

Apart from his music, the only available insights into his life come from the recollections of family and friends in various documentaries about him. And even in those documentaries, one gets the impression that none of the people interviewed really knew him that well. In the aptly-titled “A Stranger Among Us”, his sister comments that Drake “very much compartmentalized his life…one group of friends never got to know another group of friends.” Another person recalls that he was difficult to get to know because “he wasn’t really there. He was the most spectral person I ever met.”

It’s as if he floated unseen between the different people in his life, but never anchored himself to any of them. As if he only existed in audio format, a ghost who managed to sneak into the recording studio and leave us with a few lovely songs before disappearing again.

He died 40 years ago this month. So if, like me, you’ve been overlooking Nick Drake, now might be the perfect time for you to get acquainted with one of the most ethereal figures in modern music.

What makes this a beautiful song:

1. The chord progression is wonderful. That first chord change is especially yummy.

2. The string arrangement is gorgeous. It’s the work of Harry Robertson, another forgotten composer, who spent most of his career writing music and scripts for movies.

3. Like Drake’s own life, the song fades out abruptly and unceremoniously. He leaves us with the enigmatic line, “Oh, how they come and go…”

Recommended listening activity:

Finding forgotten items in the pockets of clothing you haven’t worn in a while.

27 Oct

Week 233: “Only Growing Old” by Kate Davis

kate davis


I grew about ten inches between my 12th and 15th birthdays. Not exactly a freakish amount of growth, but enough to guarantee that adults were constantly saying things like, “hey, did you grow again?” or “I remember when you were only this tall,” or “quit growing, would ya!”

These comments were often accompanied by a hearty laugh and the kind of man-to-man shoulder-punch preferred by hockey coaches and uncles who have had too much to drink.

I knew that these people meant well, but I never really knew how to respond to such remarks. Was I supposed to thank them for noticing? Apologize for growing? I was so gangly and awkward already that it seemed unfair to shine the spotlight on me for something that was so obviously out of my control anyway.

Years later, I now find myself on the other side of these conversations. With no warning, it starts happening; the toddlers in your life are tiny one day, and towering over you the next. It’s shocking, and it reminds you just how quickly time passes. When I see a kid who surprises me with their rapid growth, I am so genuinely surprised that I find myself tempted to laugh heartily and throw a quick, jocular shoulder punch.

But I don’t. I bite my lip. I complement them on their shirt. I ask what they’re up to these days. I remind myself that as much as I might want to defend myself against the passing of time, teasing some poor kid who’s at the mercy of a growth spurt isn’t the right approach.

What makes this a beautiful song:

1. Kate Davis is a fantastic songwriter. This song takes the topic of aging and somehow manages to treat it with optimism, pessimism, and indifference all at once.

2. Her voice is as comfortable being delicate as it is being big.

3. There’s a children’s choir that hangs out in the background for most of the song, and then joins her for the last lines.

Recommended listening activity:

Getting rid of anything in your bathroom that has “anti-aging” written on the packaging.

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20 Oct

Week 232: “You Can Call Me Al” by Paul Simon (as covered by The Honey Ants)



Because Paul Simon’s Graceland album was a staple of my family’s long road trips, I have heard the original “You Can Call Me Al” many, many times. And, with all due respect to the undisputed songwriting prowess of Paul Simon, this version is better.

Actually, let me rephrase that: this version brings out everything that was good about the song already. The original “You Can Call Me Al” has the quirky and introspective lyrics that are a trademark of Paul Simon’s career. The problem was that it was released in 1986, and so it is stamped with everything that was silly about music in the 80s. Dated synthesizers. Bland-sounding horns. Echoing drum kits. Chevy Chase. Quirky and introspective comes off as campy and fluffy.

Pretty much the only thing it had going for it was the world’s greatest 5-second bass solo.

Okay, I’m being too hard on it. It’s a classic tune from one of the 80s’ best albums. But you’ve got to hand it to The Honey Ants; this is a lovely version of Simon’s song.

What makes this a beautiful song:

1. The synths are replaced by a sweetly plucked acoustic guitar. And even better, they don’t try to imitate the famous synth line from the original.

2. Without all the extra instrumentation, the lyrics have more room to breathe. To be honest, I never realized that the lyrics included the word “bonedigger” until I heard this version.

3. The harmonies, not present in the original, are reminiscent of the Simon & Garfunkel days.

Recommended listening activity:

Re-kindling a connection with a childhood friend.

13 Oct

Week 231: “Home Again” by Michael Kiwanuka


Official site.

One of the weirdest things about growing up is that at some point, in conversations about visiting home, you stop calling the place you’re visiting “my house.” Suddenly, it’s “my parents’ house”.

Suddenly, you realize how dated the décor in their house is. You notice that the way they organize the kitchen doesn’t make sense. And how is it possible that they still don’t have a flat-screen TV?

Like most growing-up-type things, this change happens imperceptibly, and it’s only really obvious after it’s happened. But you can’t let it get to you. After all, one day someone else (who may or may not be born yet) will feel the same way about your house.

What makes this a beautiful song:

1. The only percussion in the first verse is the tapping of his foot.

2. The shaker that comes in at 1:09 sounds like a tiny train.

3. Something about Michael Kiwanuka’s voice gives you the impression that he’s not singing “to” anyone; he would sing the same way whether he was in a sold-out stadium or the basement of his parents’ house.

Recommended listening activity:

Re-discovering your childhood house’s best hide-and-seek spots.

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06 Oct

Week 230: “Within It, Along” by Tess Said So

I Did That Tomorrow (front)


My house is the last one on the street, and all down the west side of the house is a row of trees. My knowledge of trees is somewhere between patchy and laughable, but I think these trees might be honey locusts.

In addition to having a pretty cool name, the honey locust’s leaves turn a vibrant yellow in the fall, and last weekend, whenever the sun shone through them, the whole house was bathed in an amazing golden glow. But the honey locust’s yellow fall colour is as fleeting as it is pretty, and within a couple of days the leaves had all been blown off by the wind.

Nature seems to do that all the time; giving us these brief blasts of awesomeness, and then moving on to something else while you scramble to find your camera.

This lovely song, by Australian duo Tess Said So and scheduled for release this week, reminds me of the delicate and temporary beauty that nature seems to specialize in.

What makes this a beautiful song:

1. It’s simple. I’m trying to think of another duo that pairs a pianist and a percussionist. I can’t. If Jack and Meg White ran away to join the symphony, their music might end up sounding like this.

2. It’s subtle. I’ve never heard a song this soothing that uses this many types of percussion.

3. It’s sparse. There’s a lot of space between notes, forcing your ear to focus on the echo and decay of each sound.

Recommended listening activity:

Dropping leaves from a balcony.

29 Sep

Week 229: “Sleepy Lagoon” by Harry James



I’m a bit of a sucker for plaques.

I might be late for a meeting, or running to catch a bus, or caught outside in an electrical storm. But if I see a plaque on the side of a house, I’ll read it. I can’t help myself, and it’s getting worse with age.

Seriously, if someone wanted to abduct me, it would be pretty simple: hide up a tree with a big net, put a plaque at the base of said tree, and wait. I might forget to read my emails, but if you put something in tiny letters on an oval-shaped piece of metal, I’ll read it.

I don’t know of many songs that have their own plaque, but “Sleepy Lagoon” is one of them. So hey, the next time you find yourself on the coast of West Sussex near the town of Sesley on the south coast of England, keep your eyes peeled for this one:

(image: wikimedia commons)

You might just see me there.

What makes this a beautiful song:

1. The opening 10 seconds. The official sponsor of flashbacks and dream sequences.

2. The vibrato in the clarinets. The official vibrato of the 1940s.

3. The trumpet solo. The official solo of sauntering with a martini in your hand.

Recommended listening activity:

Imagining what the plaque outside your house might say a hundred years from now.

22 Sep

Week 228: “Saendscho” by Islands Of Light



I’ve been in a few bands over the years, and I can tell you that trying to come up with a band name is not easy. Most band-name brainstorms end with hurt feelings, crumpled pieces of paper, and dictionaries hurled over the shoulder in frustration.

Cool band names are not a problem for Dino Spiluttini, however. Not only is his given name pretty cool, but consider some of the bands he’s been involved in over the years:

  • Liger
  • Duran Durandom
  • Swan Fangs
  • Yeah Pretty Boy
  • Beatismurder

The name of his current incarnation, Islands Of Light, is perfect nomenclature for the music on his new album, Ruebke, scheduled for release this Friday on the Japanese label Home Normal. It’s a floating, humming soundscape of deceptive simplicity, and the Islands Of Light moniker brings to mind the surreal view from a plane window at night, when glowing polka-dots spread out beneath you like…well, like islands of light.

What makes this a beautiful song:

1. The title. I have no idea what “Saendscho” means, so don’t ask. But if I had to guess, I’d say it’s the name of the flip-flops they sell at Ikea.

2. There’s no discernible verse or chorus, just a succession of chords. Like a piano stretching its legs before a long walk.

3. Every time the left hand starts to hint at some lower notes, the chords retreat back up high, giving the song a feeling of weightlessness.

Recommended listening activity:

Writing your name in glue and then covering it with sparkles.

15 Sep

Week 227: “Passage” by Knowledge Of Bugs



Like many people, I spent a lot of time killing bugs as a kid.

The methods varied: there was the magnifying glass, the one-leg-at-a-time, and in moments of laziness, the standard shoe-stomp.

But then, in my early teens, I saw a French documentary called “Microcosmos”. It was a fascinating look into the lives of insects. No narration, no talking-head bug experts, just 80 minutes of up-close footage of various insects going about their business. Ants building stuff. Ladybugs being pelted by enormous raindrops. Dung beetles…doing what they do. (Side note – I saw this movie on a date, which in retrospect was a poor choice. It turns out that watching dung beetles pushing around giant balls of crap is not the way into a girl’s heart.)

By the end of the movie, I was wracked with guilt. I couldn’t stop thinking of all the tiny lives I had ruined over the years. Within minutes of leaving the theatre, I promised myself that I would never harm another insect as long as I lived. I would respect the microscopic world that exists just beneath our feet. All bugs would from henceforth be my friends.

Except centipedes. I will always kill centipedes.

What makes this a beautiful song:

1. The metronomic clicking, like a marching ant.

2. The echoing slides of the guitar, like a spider spinning a web.

3. The persistent beat, like a dung beetle bravely carrying out his unfortunate lot in life.

Recommended listening activity:

Cheering for the little guy.