After a rainy spring here on the Left Coast of Canadialand, Summer is finally here. Holidays, sunscreen, the beach, Bar-B-Qs, brown lawns, wildfires, and heatstroke, here we come! While we’re engaged in the sunny, warm, hazy, fiery, smoky season in this age of U.S government-sanctioned climate change denial, there’s one thing that will provide an extra boost as we all ponder Armageddon; new tunes!
This is the fourth (!) edition of June Tunes Digest here on the Delete Bin. I can hardly believe it. As per usual, and to meet the above criteria for a summer soundtrack to make this season as memorable as is possible in a good way, below is a selection of tunes from various regions of the globe and across the musical spectrum for your consideration.
Listen, enjoy, and tell me about your favourites in the comments section.
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Listen to this track by one-time Hushdrops-honcho turned solo artist John San Juan. It’s”Someone’s Birthday”, a cut as taken from his new solo record, Smashed. The new record will be released on June 1, 2017.
That’s an historic date when it comes to album releases, of course; especially this year. Sgt Peppers Lonely Hearts Club Band was released fifty years from that date. Among the celebratory effusions that will no doubt follow the golden anniversary of that venerable musical offering, this release from San Juan is a token of allegiance to the spirit of that work. You’ll certainly find the same optimistic sheen on this new record, even if there are shadows to be found in the corners, too.
As much as there are hints to a summer of love now long past on songs featured on Smashed, the record represents a step forward into a new phase for its creator. Being a Hushdrops fan, it was a treat to chat with John and talk about this track, “Someone’s Birthday”, about the making of the record off of which it comes, and about what comes next for him. Here’s what he had to say. Read more
Listen to this track by neo-psychedelic musical vector and now Nashville-based singer-songwriter Robyn Hitchcock. It’s “I Want To Tell You About What I Want”, the crunchy, lysergically-oriented lead single off of his latest record, the imaginatively titled Robyn Hitchcock.
The record mines the songwriter’s continuing love for mid-sixties psych and absurdist imagery. He’s backed by a full-band that’s very plugged in, emphasizing the pop-jangle and fizz that characterizes a lot of Hitchcock’s mid-to-late-eighties and early nineties material. This is in part down to the sympathetic ear of producer Brendan Benson, a jangly pop musician in his own right. Helping to fill out the profile on other tracks is singer-songwriter Grant Lee Phillips, and pedal steel player Russ Pahl, who add some unexpectedly essential textures to bring everything into focus, and with extra 1966-67 psychedelic contours.
With all of that in place, the record sounds and feels like Hitchcock is perfectly at home, and yet still manages to avoid complacency. Maybe this is because there are many places on the record that sound very personal in a way that Hitchcock’s music has never really been before, taking those absurdities in which he usually deals into a very palpable social arena. Read more
Listen to this track by self-professed old-school singer-songwriter and AM radio fan from way back Ron Sexsmith. It’s “Radio”, the first single off of his 2017 record The Last Rider.
The album was the first record cut with his long-time touring band playing all the parts in an expectedly musically simpatico manner. This includes drummer and singer Don Kerr, with whom Sexsmith also produced the record on the shores of Lake Ontario at The Bathhouse in Kingston, Ontario. This is a bona-fide homegrown album in many respects, then.
Maybe that’s why the album sounds so warm and contented with Bill Withers meets Gordon Lightfoot meets The Kinks textures a-plenty. Sexsmith is known for those kinds of textures and moods through out his incredibly consistent discography. Yet on many of his releases this decade, some of his disdain for recent industry trends and his frustrations with the increasingly complicated game of putting out music in the way he wants to has definitely seeped into his optimism-under-pressure songwriting worldview.
Representing some of that soft-spoken ire is this song, “Radio”. On the surface, this song really does seem of the “things just ain’t what they used to be” variety that finds the narrator scratching his head as the clowns take over the circus and as the show becomes run of the mill. Yet here beneath what seems to be a complaint about the state of the world, there’s greater dimension to be found. Read more
Listen to this track by former Everything But The Girl vocalist, singer-songwriter, and columnist Tracey Thorn. It’s “Oh! The Divorces”, the lead track off of her 2010 solo record Love And Its Opposite. That record was the second release of the century from Thorn, preceded by 2007’s Out Of The Woods, and representative of a new phase in her career as a singer and songwriter.
By this time, she’d spent a decade raising her kids with her partner Ben Watt, also formerly of EBTG and an active solo artist in his own right. She’d given up touring as a live performer by 2000, a part of her career that she’d never really enjoyed fully, and embraced a new avenue of expression through her regular column Off The Record in The New Statesman and as a writer of books. Yet her pursuits as a singer remained. And what a singer! For an artist known for her appealingly unadorned voice, I think a mistake that’s easily made with Thorn is to link her songwriting to that same approach, to assume that she’s always telling her own literal story when she sings.
This dynamic plays into an area that has forever fascinated and befuddled many a music writer, critic, and casual listener; the difference between what a singer expresses in song, and what that same singer really thinks, feels, and directly experiences in their private lives. With this tune, there are a number of elements to throw us off of the trail between the meaning of the song, and its effects on us as listeners.
After what seemed to be an endless winter this year, Spring is finally here. On the West Coast of Canuckistan, we’re used to bragging about spring flowers in February, posting Facebook pictures to torment our friends and family back east. Goshdarn it, it’s a tradition! Not so this year, though. In fact, it was balmy back east when we were still shoveling sidewalks. Thanks, global climate change!
Still, even if winter didn’t take the hint that it was time to hit the road as fast as I would have liked, what remains is the music. For every thing, said Pete Seeger (or was it the Bible?), there is a season, turn, turn, turn. And so as if to fall in line with that as the buds on the trees are finally making good on their promises, here is a collection of new tunes just for spring 2017.
Lend an ear and drink in the life-giving splendour of each. And as always, tell me all about your favourites in the comments section, Good People.
Listen to this song by precocious Kiwi singer-songwriter Ella Marija Lani Yelich-O’Connor, better known by pop radio fans as Lorde. It’s “Royals”, her smash single as taken from 2013’s Pure Heroine, her debut full-length record. “Royals” released in the summer of 2013 as the forerunner to the album.
When “Royals” hit the airwaves, it defied the very rigid format of commercial radio on a number of fronts; it was not traditionally arranged to the exact specifications of a hit song in 2013, and it enjoyed radio play on pure pop stations as well as alternative stations. It remains to be a singular musical statement that stands out among the great sea of commercial pop music that continues to play things safe when it comes to the way the music is made, how it’s presented, and even its subject matter.
To that last point, this song reveals itself to be something of a generational anthem that calls the assumptions of pop culture into question directly. But it isn’t as simple as being a song about rejecting the lust for fame and riches. This song is more complex than that and not without its cultural trip hazards, either. Read more
It’s 2017, finally! We’ve kicked 2016 to the curb and good riddance.
Last year, we lost a Dame. We lost a Prince. We lost a Poet Laureate. We lost a myriad of others who we count as heroes. Somewhere in there, the world gained a Drumpf. Last year sucked, basically.
From here, we have quite a job to do to make sure that this year, 2017, doesn’t suck as much. It’s early yet. But I get the feeling it may be a tall order. This is particularly given our political climate as racist organizations re-brand themselves, slither into the mainstream, and drip poison into the ears of the public. We have to fight them. For that, we’ll need fuel for the trip.
Among other sources of spiritual nutrients, music is pretty high up on my personal list. If you’re here, you probably share my point of view on that. With that in mind, here is a selection of new music to kick off your new year. As is the norm, I invite you to take a deep dive, and tell me about your favourite tracks, and maybe even some ways you’re going to make sure that 2017 rocks instead of sucks. So, what are you waiting for? Step into my office …
Fall is a glorious time of year, with late September being an episode of the season when the land casts off the last vestiges of summer, at least in this particular hemisphere. It’s a melancholy and often bittersweet time where we reflect on the boundless joy of summertime memories we’ve made, or at least console ourselves that it will soon be a lot cooler so that we can actually get some sleep! It’s also a time I personally associate with new beginnings, even as things are busy coming to an end. Maybe you do, too. September is like the more pertinent marker for a new year in that respect.
With all that in mind, it’s time once again for a new playlist of new music on this year’s edition of Fall Into Tunes. So, as per tradition at this time of year by now, here is a selection of new music from across the spectrum for your review and enjoyment.
Read about and listen to the songs below, and tell me your favourite tracks in the comments section, Good People. Read more
Listen to this track by singer-songwriter-satirist with a highly developed social conscience matched by a sense of humour, Jill Sobule. It’s “When They Say We Want Our America Back (What The F#%k Do They Mean?)”, a single as taken from her involvement in the recent My Song Is My Weapon project, and its accompanying album Monster Protest Jams, Vol. 1. The album is a compilation of new protest songs that includes the work of artists like Tom Morello, Todd Rundgren, Amanda Palmer, Wayne Kramer, Wendy & Lisa, and many others.
The project, co-founded by Sobule, is based around the idea that the grand tradition of artistic protest in America needs an online forum. Through Pledge Music, we can help make that a reality particularly during a time when it is very difficult to tell satirical headlines from the actual news. More to the point, it’s a time when also-ran politicians and would-be world leaders seem to deal mostly in ambiguity and emotional button pushing instead of real data, specifically around the nebulous concept of the good ol’ days when America Was Great. No one can quite remember this era in exact detail, but many feel as though they need to replicate it in our modern age by electing repressive and out and out dangerous demagogues.
So, what is the role of the protest song in a socio-political environment such as ours? Does is have the same effect as it once did in the idealistic sixties or even in the jaded seventies? In this age of technological networks, maybe the answer is less about the song, and more about the listeners. Read more