(Vinyl Love is a series of posts that quite simply lists, describes, and displays the pieces in my growing vinyl collection. You can bet that each record was given a spin during the drafting of each corresponding post.)
Artist: The National Album Title: Sleep well beast Year released: 2017 Details: Limited edition, Double LP, translucent blue vinyl, 24″x24″ poster
The skinny: The National’s seventh record landed on a number of ‘end of the year’ lists last year, notably (for me anyway) finding itself at the number three spot on my own best of 2017 list. They pushed the envelope and experimented with their sound, while keeping the general ethos of their music intact. It is atmospheric and lush and dark. It looks and sounds great on vinyl and I am about hear what it sounds like live and in person later today.
Standout track: “The system only dreams in total darkness”
By the time 2011 rolled around, Death Cab for Cutie had been at it for fourteen years. I had been following them for just over half of that time, discovering them, along with a boatload of others, with their 2003 album, “Transatlanticism”. The Washington-based indie pop/rock band has been pretty solid in releasing quality albums since that time, impressively sustained through a constantly evolving sound. But for some reason, with each album, my interest has faded some. I was fanatical with “Transatlanticism” and then, with 2005’s “Plans” but three albums later, I have been much less so. In fact, when sitting down to write this, I didn’t just listen to this one song. I had to listen to the whole album because I honestly couldn’t remember what it sounded like.
Of course, when I listened to “Codes and keys”, I loved it all over again. It was like I was back in 2011 and I re-experienced the whole gamut of emotions. From the excitement at seeing their name listed as headliner on the main stage on the final night of Bluesfest to the disappointment I felt when I realized I would have to miss it because I had a prior engagement. To the surprise when I heard their set was cancelled that night when the stage collapsed due to a violent storm and the commiseration with those attending that didn’t get to experience them live. They’ve yet to return to Ottawa as promised but I can at least say I got to see them in 2006 when they toured for “Plans”.
“You are a tourist” was the first single released off “Codes and keys” and managed the group their first hit single, charting high on multiple singles charts and hitting number one on a few of these. Written and recorded during the period where frontman Ben Gibbard was married to Zoey Deschanel, the subject matter of the album’s lyrics are less melancholic than previous efforts. The sound, too, is quite a change from its predecessors, being less guitar driven. “You are a tourist” is definitely a drums forward piece, the rhythm catching hold of the listener right away. Meanwhile, the bass line just hangs out, there in the low end, waving hello and minding its own business. The keyboards tinkle and the guitars jump in for flourishes, face grating though they can get at times, just to remind us they’re still there. Gibbard is suggesting that change is a good thing, positively positing that when you feel a tourist in your own town, it’s time to move on.
Yep. I listened to the song and wondered to myself how I let it go so long between listens. It won’t happen again.
For the rest of the Best tunes of 2011 list, click here.
Like The Raveonettes’ cover of “My boyfriend’s back”, which we saw at number ninety-seven on this list, this cover of “Everyday” by Rogue Wave appears on the soundtrack for the video game, “Stubbs the zombie”. As I mentioned in that other post, I’m the world’s worst gamer and so have never played said game but it sounds compelling, excepting of course, the other problem with it: this blogger is not a huge fan of zombies. In fact, I’m a massive wuss. I used to read all sorts of Stephen King novels and watch any horror flick I could get my hands on when I was a teenager and deep into my twenties. Then, I was indefinitely ruined by “28 days later”, a zombie scenario that almost seemed plausible by comparison and that has set the template for any zombie story that has since followed. I refuse to even watch “Shaun of the dead”, which I hear is hilarious. Nope. I just won’t do it.
But I digress.
The soundtrack for “Stubbs the zombie” is filled with renditions of 50s and 60s classics as covered by hot indie artists of the day. (Check out the rest of the track listing on the Wikipedia page for the game.) For me, this cover of the Buddy Holly standout was the biggest highlight, getting me into a band of whom I had not previously heard. It just feels so different and fresh. A song that is so ingrained in our rock and roll consciousness as Buddy Holly’s original is barely recognizable until frontman, Zach Schwartz starts in on vocals. Instead, it almost sounds like a faithful Smiths cover, all jangle and reverb, resembling a second cousin to “Please please please”, though Schwartz sounds nothing at all like Morrissey.
The original “Everyday” is tap-tappy, like a sped up grandfather clock, rock and roll’s biggest geek, rockabillying his voice and keeping our attention with upbeat chimes. Rogue Wave introduces wave after wave of rolling guitars and a much fuller sound altogether, not quite hiding the tapping rhythms in the back room. It is much more laidback but no less happy.
Which do you prefer?
The cover:
The original:
For the rest of the 100 best covers list, click here.
My (life in) music lists 