Going To...
Say what you will of John Darnielle's voice, but concede perfection when you're lifted by the ears and thoroughly shaken.
Ah! As young and possessed as I've ever heard him. "Going to Bridlington" was never released.
Archery
A few years ago, you may remember, Page France caused considerable commotion in these pages through their stunning full-length, Hello, Dear Wind. The album showed true bravery in simple, memorable songs, examining an idiosyncratic view of Christian faith and love which contrasted nicely with another popular album which considered a nominally similar, yet very different faith. Page France's, or perhaps more accurately Michael Nau's, world was fantastic: dancing animals, windy days, kings, queens, and angels, all in a circus-- a wonderful amalgamation of a metaphor which served a very real purpose. In singing and dancing and stomping Nau embraced and overcame the inevitable mortal restrictions-- the ringleader's direction, if we're running with this-- through a beautiful and absolute faith in good. To say that this sophomore effort was accomplished would be an understatement.
Since then, and I can't really hold this against them, Page France has all but dissolved over the course of a few EPs and a full-length which never quite captured their successor's easy brilliance (Sean at Said the Gramophone voiced this well last year). And now we have Nau as the Cotton Jones Basket Ride, and I'm still not quite certain if the music is better, or I'm just more receptive after the name change. There's more soul and groove, though the sound is still small and comfortable-- give it a chance.
Brother Run Them Down
At first, as the synth wash gives way to staccato electric piano, it seems we're in for a mindless Big Moments 70s re-run, but then Music Go Music keep nailing it, and it becomes clear that this is no joke. The production, the perfectly thrumming guitar, the phased drums, the phased everything; it's all there, but it's the abandon the LA goof troop brings which sends "Light of Love" soaring.
***
Kensington Heights is a killer album by one of my absolute favorite bands, but why does it always feel like nobody's listening when it comes to the Constantines? Especially now, when everybody's so quick to draw Springsteen comparisons-- if honesty and fire and compassion are the basic tenets of a Boss sound, then why haven't we realized this truly worthy band as deserving of our highest praise? Damn.
***
I'm listening to Anywhere I Lay My Head right now, and it's much more listenable than I had expected.
Teen Creeps
I've made a Muxtape. Due to their restrictions it's a dumbed-down version of a longer mix, although maybe that's okay-- the real one's just too special.
***
I've begun purchasing vinyl instead of CDs, and Nouns came in the mail yesterday. There couldn't be anything more perfect than that.
This has got to be the most undeniable band in existence. In a way, everything I wanted punk to be when I was a teenager, to the point where I'm almost embarrassed at the optimism and empowerment I get from their perfect music/movement/aesthetic synergy.
Plus bands that skate are bulletproof.
