D-Man’s 2017

It occurred to me in 2017 that experiencing music is much different than hearing it. Let’s imagine you’re at work and you give Discover Weekly a go. A carousel of data-driven reccomendations is wheeled out and you’re presented billboard climbers and diamonds in the rough – all with some potential (at least algorithmic potential) of resonating with your current state.

The reality is that most of the sounds slide right off you, disappearing back into the internet from whence they came. But some songs produce a type of friction – a sudden awareness that pulls you into the moment.

It’s kind of like Tinder. You may be compelled to believe that there are thousands of potential matches, but there’s really only a handful of people willing to meet in person and even fewer who want to connect on a deeper level.

We want to write about those second dates. The solid matches. The songs that make you experience music as an active force. The tunes you play again and again, as if by listening once more, you may get to the bottom of what’s important.

In the spirit of experience, here are a few songs that defined my 2017.

-D-man


Chris Stapleton – Tennessee Whiskey

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Despite my best efforts, I can’t get into country. Once, while visiting my brother in Montana I got close, enjoying how the sharp Southern drawl made wheel lines seem like religious labor. What could be more important than driving to feed the cows? Then, I’d hear pop country (the genre Wheeler Walker has used to shit-talk his way to fame) and would return a skeptic.

Which is all to say I didn’t expect to like Chris Stapleton, a soft-spoken Southerner who seems to inhabit a different musical universe than Luke Bryan or Florida Georgia Line. Like any country star, Chris Stapleton loves to sing about whiskey bottles and desert winds, but unlike his counterparts, he seems to bridge a transcendental gap, crafting music that can ring from the inside of honkey tonk bars to a gridlocked work commute.


Beach Fossils – Be Nothing

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You always had something

You wish you had nothing

Still a loosely defined genre, indietronica blends two disparate worlds, running an electronic current through the traditional live band set up. Imagine long hair swaying over delay peddles, downtrodden beats, and the celebration of total melancholy. Give in and there’s relief – a weightlessness or what I imagine a sensory deprivation pool to feel like.

Of course there’s a limit to so much reverb, a line that Washed Out pushes, sometimes approaching numbness. Where Beach Fossils excels is the rush of the bridge, as the song builds to a crucial guitar solo, forty seconds of intense exhilaration – a shot of adrenaline to pull us out of our stupor.


Shagabond – Sweet Magma / Kraak & Smaak – Stumble (feat. Parcels)

2017 was a hell of a year for Soundcloud. In July multiple news outlets reported that a shutdown of the music streaming service seemed imminent. Money was drying up and when you stopped to think about it, who owns a Soundcloud Pro account anyways?

Then, an emotional response surfaced, as bloggers and users ran through their lists of remixes, mashups, and bootleg tunes that only Soundcloud could produce. Anticipating the shutdown, a few engineers rushed to archive everything. I got ready to mourn my “like” tab on Soundcloud – a nostalgic tour de force of electronic misfits.

Soundcloud was saved and appears (for the moment) to be stable. Out of the turmoil, one thing became apparent, Soundcloud is valued more than it’s bottom line may indicate, and it’s still a treasure trove of galaxy hop and other futuristic sounds.


ODESZA – Higher Ground

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A few weeks after ODESZA’s new album, A Moment Apart, debuted, I still hadn’t listened. I felt like maybe I was over their brand of music. Since hearing How Did I Get Here almost five years ago, the masses had taken notice, followed by sellout shows in Berkeley and major commercial spots with top-notch brands.

That and Anthony Fantano, “the internet’s busiest music nerd,” waved off the album with a single Tweet.

When I finally did listen, I was struck by the odd sensation of parting the seas on some degree of musical snobbery. I was aware of a public persona and a private one. There was me, the music blogger, and me, the listener – both with their own agendas. One thinks about music, and the other simply enjoys it.

ODESZA’s classic refrain, a chattering, metallic rhythm section that powers their music like a locomotive train, made me realize that you should never turn your back on guilty pleasures. They’re too much fun.

Parcels ~ Anotherclock Live @ Lollapalooza Afterparty, Berlin

Tiny Desk concerts give us a rare, unfiltered experience of an artists capabilities. Sitting just a few feet away, we’re keenly aware of imperfections, or more simply put, eager to point out what parts of a song don’t sound like the studio version. We lock onto what’s missing.

But sometimes, a good live performance reveals more than it entertains. As is the case with T-Pain’s Tiny Desk show, which shows that in the absence of autotune Buy U A Drank can be a luscious, tender melody. All that empty space, intimate and oxygen rich, brings the song to life.

Parcels, an Australian band living in Berlin, thrives at this sonic trick. With some dexterous hands on the keyboard, a steady rhythm section, and a groove that fuses Fleetwood Mac with Daft Punk, Parcel’s glittery synth-pop is hypnotizing. There’s no clutter, despite having five band members, Instead they’re slick, minimalistic, and brash – characteristics that are only amplified in a live setting.

Be sure to follow Parcels closely. Especially when they make their return to the U.S. And who knows… maybe a Tiny Desk concert is in their future.

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Parcels – Herefore

My understanding of the French language is extremely limited. I spent two quick semesters in college completing workbook exercises conjugating être over and again. Je suis, tu es, il est… The only time it really came in handy was when my family and I got locked out of our hotel room in Corsica, France. Nous restons dans cet hotel!

I’m rambling on about my linguistic incompetency because tonight was the first time I’ve had to translate French in two years. Deliceuse Musique, a French music blog, recently posted about Parcels – an Australian duo who dropped an EP in March. So, with the help of my elementary French skills and a peek at Google translate, I know a few basic facts about Parcel: they’re Australian, genre-bending and their recent EP “Clockscared” is unbelievably catchy.

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