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Holy crap this Flume remix of the new Disclosure single is insane. Already a solid song, it holds up incredibly well to Flume’s slowed down, hazy molasses treatment; the vocal loop keeping things feather-light before the delicate hand claps and strings bring it all home. I had high hopes for this collaboration and it definitely lives up to the expectations.
I have a larger post to write about No Age’s relationship with the art world and artistic tropes in general, but first let’s just enjoy the new single. No Age has always been Los Angeles to me, and the further I get from there the less a sense of place I hear in the music, in the best possible way.
This has been floating around the Internet for a bit, but I saw it last night and was mesmerized. The NSJ crew is an offshoot of Minneapolis’s Y.N. Rich Kids, who brought you last year’s adolescent rap track “Hot Cheetos & Takis.”
I have nothing else to say about it. You just need to see it.
It’s pouring rain so hard on my old wooden roof that I can barely hear anything. The ground is soaked through and pooling. The pavement steams in the spring heat. The house is stifling and thick and filmy. And when the new surprise single from Boards of Canada plays it fits perfectly in place, like the last piece of the puzzle.
This is such a beautiful relief. I have been following the career of the various members of the so-called Black Mountain Army for the better part of a decade now. Jerk with a Bomb, Pink Mountaintops, Blood Meridian, Black Mountain itself, Lightning Dust. Amber Webber and Joshua Wells are constants in many of these bands, and form the backbone of Lightning Dust. I’ve been waiting this whole time, knowing that at some point they would find it, find their sound, find the perfect musical marriage to match their actual one. And they found it with “Diamonds”, the new single from their new album, Fantasy, which comes out next month.
With gated reverb on the drums and an analog synth line reminiscent of Time After Time, Amber wrestles very specifically with the idea of love as a chemical reaction and as a greater emotional entity. Love stays, over and over again. Love stays. It’s a beautiful song from a beautiful band who has finally found its sound.
One of the few frustrating things about the National is the difference between their recorded output and their live show. Even here in this video we can see a huge difference between the clean, subdued recording and the actual emotional outburst they put forth live. Early on in their career, before they recorded Alligator, they did a tour opening up for the Walkmen, who were touring on Bows + Arrows. Watching Matt Barick smash the drums and Hamilton Leithauser perfect his aggro lounge act every night rubbed off on the National, leading directly to songs like Mr. November and Abel and adding serious muscle to the rhythm section. So they got amazing live, and are worth the price of admission. But maybe it’s time to switch producers so we can match things a little more seemlessly between their capacity to cut loose and their producer’s propensity for keeping things calm.
Either way, I love the new song and I can’t wait for the rest of the record.
We could debate Tony Molina for ages. The old philosophical question, if this were released in the 1990s would it be considered good? Would it have been as successful as Weezer? The Lemonheads? Pavement? Does that solo owe as much to the Gin Blossoms as it does Dinosaur Jr? Does anyone besides aging indie rockers think about this? At the end of the day I don’t think any of that matters, because the record is just straight up fun. Super fun, fuzzy pop. Maybe it’s ol’ fashioned, but who gives a shit. As all the genres get sliced up smaller and we find ourselves in ever-tinier pigeon holes, it’s nice to just open up and like a fun pop record for its surface qualities and immediate appeal.
It’s a beautiful day, let’s let the feedback wash over us and not think too hard about it. The album is 12 songs in eleven minutes. You have the time.