Author Archives: David James
This album is GOD.
I haven’t been back to Optimistic Underground in a while. There has been a lot going on in life but as always I’m continuously immersed in music. Lately, with a few notable exceptions, I’ve been listening to a lot of my personal favorite albums in an effort to tap into the exhilaration of something I know I love. I think I’m also looking for inspiration, and answers. What elevated these particular pieces of music to a realm of formative life experiences? These are the albums I used to burrow into for months, knowing every nook and cranny, knowing the texture and contours like my own skin.. and yet they’re a revelation once again with the right mixture of time, decay, perspective, distance, environment and attitude. It’s probably more than that. My ears have changed, not to mention my tastes. Yet the true greats will always have a place; it takes at least time to sort them from the intense but short love affairs with slightly lesser albums.
One of the most striking moments in my listening life happened the night I heard The Flaming Lips‘ 1999 masterpiece The Soft Bulletin, driving though rural back roads with a friend who had just purchased the CD blindly. He’d picked up Yoshimi Battles The Pink Robots and asked if the band was any good; I replied with some half thought that I’d heard “their older stuff was better” without any clue if I was even thinking of the right band. In response, my friend bought the only other CD available and inadvertently changed my (musical) life forever. The warbling tape orchestra, the out-of-nowhere bass thunder on the second track, and that melody on The Spark That Bled had me instantly. I was distracted to the point that I remember images of my stereo, the booklet in my hands, the music and exclaiming about it, and not the drive itself. The friend wanted a blank CD and I gave him one on the condition that I borrow this new Flaming Lips thing for the night. I listened half a dozen times before bed. I scoured the band’s website, where the entirety of Yoshimi and a handful of earlier album songs streamed free (this was extremely novel and rare at the time, about 2002). I became a total diehard fan in a matter of weeks.
This is all to preface the fact that when I dug through my collection after moving – when the cds and vinyl are all out in the open like that, it’s easier to become excited about certain albums – I had a lurch in my heart toward this album. I needed to hear it. My soul was calling to it, or being called. The next thing that happened was.. despite never having had much of an extended break from hearing it, I was getting the fresh, brightening outlook, rising sun, open chakra, wide eyed feeling all over again, a decade later. The thing that meant most to me at the time, I believe, was this feeling of new possibilities and opportunities everywhere. This adventurous, brave, open and attentive nature was overtaking me and my outlook on life literally widened in scope. It was a confluence of events and life changes, but The Soft Bulletin crystallized that feeling in a single disc I could grasp forever. It was exciting; all the rough, unnerving bits that hit me by surprise like sudden deer in the headlights became the very signposts for the change I was seeking. This album is not only different from what the band was doing, what was accepted and loved in pop music, and what I’d been into until that moment, it actually embodies that jarring, eye-popping thunderclap of sudden and real change in life. The songs each take off like a homemade rocket, reaching space against all odds in some miracle of ingenuity and love. This is not something I take lightly.
I came here today merely to share the following documentary but was overcome by my continent of feeling for this album. I could drift for days on how this makes me feel. I know it was released last year but I only came upon it during my recent binge and was blown away by the reverence and passion the band still have for this masterpiece. It not only delves into the nuts-and-bolts creation of the music itself but also dissects a bit of what makes it such a personal touchstone for a certain set of folks. If you’re already a fan, be prepared to have your nostalgia drive working overtime and keep the album handy for an inevitable post-viewing listen. If you are unfamiliar, I kind of envy your position. This is beautiful new territory, and in my view the documentary will make a perfect introduction.
I must note for the diehard fans that the audio used in most of this appears to be from the 5.1 and/or recent vinyl issue of the album. If you’re as irredeemably familiar with this music as I am, it’ll be a nice experience to get hands on either of those releases and hear this music rendered in a slightly different (clearer?) light.
When I purchased the 2lp edition of Destroyer‘s 2011 pop masterpiece Kaputt, I had no idea that the bonus track promised on side C would slowly become the languid circulatory system of the entire album. It swims in an embryonic well from which the other tracks drink, all held breath and deep plunge. It’s patient and fragile, and just may comprise twenty of my favorite minutes.
If you have only heard the standard tracklisting, press play now. It’s rare when something labelled “bonus” actually elevates the experience of listening to a great album. The Laziest River feels absolutely essential at this point, and while I sympathize with the probable intention of encouraging vinyl purchases, it seems unfair to leave everyone else with an unfinished story. So buy it if you can, but this song can be downloaded and amended to your playlist for a quick fix.
This will loop indefinitely over the Elysian fields of an afterlife of my design.
Actress (aka Darren Cunningham) redefined ambient beauty with this piece, lighting the spiritual wires from the organ works of Camille Saint-Saëns through Brian Eno’s Discreet Music while sparking fresh air to flame. Blooming the color of Arvo Pärt’s devotional tilt in an exploratory space odyssey from the dreams of Oneohtrix Point Never or Stanley Kubrick, N.E.W. is uplifting and warm, alien and awestruck. We’re inside a nebulous pipe organ riding the cusp of a singularity, dancing on the membrane between ascension and obliteration. Let it repeat.
I should mention the video: I have no clue where the footage is from, but it strangely works. This copy was chosen mainly, however, because it can be set to 720p, so the sound quality is superb.
Before sharing a list of my favorite albums in 2012, I’d like to spread my love for the select tracks feeding my addiction throughout the year. These are the tunes flying above and beyond their albums, the ones which dug in and nested in my brain for weeks or even months. The first is easily my favorite track on Death Grips‘ breakthrough album The Money Store. It’s called Hacker.
This frantic burst of nakedly violent energy feels like it’s on the verge of exploding from the get-go, yet impossibly doubles down on its momentum, throttling away like a madman in absolute command of his vehicle. The spliced-digital-ADD edit of Ghost in the Shell footage is a stroke of genius pairing, as far as I’m concerned. Work like this is what the youtube age is all about. And why copyright laws are outdated.
While the album was loved and acclaimed by many of my friends, it was this track alone I felt completely enthralled by. Hell, this thing punches first time listeners in the face. I feel like a rocket every time I hear it.
I decided to post a series of Christmas themed tunes which I can not only stomach, but enjoy thoroughly. Here’s the first, a classic Flaming Lips tune from 1995.
What could be more festive than a song about an attempted jailbreak at the zoo? And animals asserting their free will? And confetti!
I can’t stop this ringing in my head.
With new album Luxury Problems, Andy Stott effectively rendered his pair of groundbreaking 2011 EPs irrelevant. It takes all of ten seconds for this, the opening track, to signify a giant leap. Siren vocal shards and clouds, singing-bowl ring and a Mariana trench of low-end crunch writhe like a basket of snakes, twisting through every crack in every direction.
Hit play, make sure the quality is “HD” and turn this up louder than is normally comfortable. With any luck, it’ll start snowing.
It’s strange to think of the handful of album covers in 2012 featuring high contrast b&w photography of women as all representing their respective sounds in spectacular fashion. This one is my favorite.
This video. This massive tune.
I don’t really have anything to say about this today. Just…
Edit: Ok, I will at least mention that this is one of my favorite moments from one of the best albums of 2012. I will also note that this video is fucking brilliant. You’re welcome.
I’ve been depressed lately. Melancholic. In this state I gravitate toward music that either obliterates with minimalism or force, for the most part. I can drown myself in a long piece from Oren Ambarchi or Klaus Schulze or even Swans. I can really get lost in something wordlessly spiritual like Alice Coltrane or Pharoah Sanders. But occasionally I just crave the kind of song designed to wallow in heartache. Spiritualized is an obvious go-to (I have two albums in my car at all times now) but Bradford Cox is nearly as adept at tapping these feelings, albeit in a less direct manner. In other words, this song pops in my thoughts often.
The album version is fantastic, inverting his usual icy claustrophobia, wrapped inside a warm blanket of sad love spiked with hope. This take opens the song up with fresh air and light, without ever leaving the bed. Lay down and enjoy.