Random Music CXXVI: The Woy Eet Eez

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I've known and liked the band XTC for a long time (I think I even used their song "Dear God" on a DI playlist like 10 years ago) but I think I'm finally getting to the point where I *really* like them. I'm diving into some of their albums in full (Skylarking is gorgeous, the debut is fun punk) and the songwriting is so good! It's very influenced by the Beatles but in a good way! I also think Blur might not have had a career if it wasn't for this band. Great stuff.
 
I still haven't heard the whole discography (particularly most of the early albums), but I've loved most of what I have: Skylarking, Oranges and Lemons, Nonsuch, Wasp Star, The Big Express.
 
Desert Daze final lineup just added fucking WU-TANG CLAN, DEVO, and WEEN.

Wow.

EBTfeDDU0AANXJr
 
Desert Daze is a festival who has a lineup I would absolutely love to see every single year, but I will probably never attend.
 
The more I listen to this new Russian Circles album, the more I feel the need to revise my previous statement after only a couple of listens. This one is really sticking with me, and individual tracks stand out the strongest for a good while. It's the best since Empros, probably Geneva. "Arluck", "Milano", and especially "Quartered" slay.
 
Hey Ax, have you listened to Unwed Sailor? Their newest album Heavy Age seems like it’d be up your alley. I saw them a couple months back and they killed live.
 
that's pretty good. not so sure i can handle the singer's voice for much longer than that but otherwise it's a cool tune, especially the last minute or so.



[emoji106]

Glad you liked it. Yeah the singer is very Scottish. Lol. He’s normally more melodic with a mix of screaming. They’ve lightened up a ton and the soundtrack is definitely their poppiest effort to date.
 
David Berman is dead
I'm having a difficult time processing this. He was gone for 10 years, came back to music for a second to share the intimate details of his broken life post-divorce with us, and then killed himself. He left us a suicide note, essentially.

An absolute lyrical master, I'll miss him terribly. Just read the lyrics of Random Rules and realize that no one else could have done that. RIP.
 
Is that confirmed?
Joe Pernice of Pernice Brothers, who I absolutely believe would have connections to the situation, tweeted it out and then deleted it later. I've seen it confirmed by a number of others as well. Basically it's just a matter of time until it's looked into and formally reported by his label.
 
I'm having a difficult time processing this. He was gone for 10 years, came back to music for a second to share the intimate details of his broken life post-divorce with us, and then killed himself. He left us a suicide note, essentially.

An absolute lyrical master, I'll miss him terribly. Just read the lyrics of Random Rules and realize that no one else could have done that. RIP.

Yeah I've seen some on Twitter and marvelled a bit. Can you tell me more about his story? And whether I'd like his music? :)
 
Yeah I've seen some on Twitter and marvelled a bit. Can you tell me more about his story? And whether I'd like his music? :)

I'll open this post with one of the greatest opening verses in music history:

In 1984, I was hospitalized for approaching perfection
Slowly screwing my way across Europe, they had to make a correction
Broken and smokin' where the infrared deer plunge in the digital snake
I tell you, they make it so you can't shake hands when they make your hands shake
I know you like to line dance
Everything so democratic and cool
But, baby, there's no guidance when random rules


David was a very troubled individual who had some good patches wherein he created wonderful art. His parents divorced when he was 7 and split him across the country. His father, Richard Berman, was a lobbyist and partner with some insidious forces that consistently battled labor unions and various humanitarian causes; he once said that he broke up Silver Jews because they would never be enough to undo "one millionth" of the damage his father caused to the world, so he dedicated a period to unearthing the disgusting nature of his lobbying. I think this is key to understanding what ate away at him.

At his best, he was an astonishing lyricist and talented melodicist who kept to the country tradition w/r/t his chord progressions while remaining an indie rock trailblazer with the help of Stephen Malkmus. You can hear a good amount of Pavement influence in their earliest work and fans of the band at their most placid (think the country tracks on Wowee Zowee) will find a lot to like.









After a decade in the wilderness, mostly reading Jewish texts and publishing on his blog, he put together a new band with members of Woods called Purple Mountains. Their album was full of lyrics detailing his depression and recent breakup with his wife Cassie, who was a bassist in Silver Jews. They had very different lifestyles by the end; on the album, he depicts a relationship damaged by his introversion, which was a major part of his personality.

I want to be tantamount to cordial
Tantamount to good
I want to be a warm and friendly person
But I don't know how to do it
She can't make it to her car
Without making a new friend
She's a small-town superstar
Everybody hollering her name


As a fan going back 10 years, I have many warm memories attached to his music that I'm trying to hold onto in this very dark time. American Water, an absolute masterpiece and one of the greatest albums of the 90s, was the first album I discovered before Ashley and I started dating, and it's been a frequent part of my rotation ever since. That album has always been a way of marking time and losing David feels like the end of a period in my adulthood.

This loss reminds me very much of Bowie informing us of his struggles on Blackstar, only to lose him shortly thereafter. This track in particular is barely listenable for me now. I can hardly stand it:



The dead know what they're doing when they leave this world behind
When the here and the hereafter momentarily align
See the need to speed into the lead suddenly declined
The dead know what they’re doing when they leave this world behind

And as much as we might like to seize the reel and hit rewind
Or quicken our pursuit of what we're guaranteed to find
When the dying's finally done and the suffering subsides
All the suffering gets done by the ones we leave behind
All the suffering gets done by the ones we leave behind

Ghosts are just old houses dreaming people in the night
Have no doubt about it, hon, the dead will do alright
Go contemplate the evidence and I guarantee you'll find
The dead know what they're doing when they leave this world behind

This world is like a roadside inn and we're the guests inside
And death is a black camel that kneels down so we can ride
And when the dying’s finally done and the suffering subsides
All the suffering gets done by the ones we leave behind
All the suffering gets done by the ones we leave behind

On nights that won't happen
Time we won't spend
Time we won't spend
With each other again
Nights that won’t happen
Never reaching the end
Nights that won't happen
We can't even begin
We can't even begin


Anyway, that's all I can say for now. We can all focus on his mental struggles in light of the way he passed, but I would rather emphasize his songwriting talent. Please listen to American Water and The Natural Bridge, enjoy them and recommend them to others. His music always should have been more popular, but it wasn't in the cards. He rarely even toured. I was contemplating buying tickets for his September 22 show here with Purple Mountains, but the tour never even began. It was going to start on Saturday.
 
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I just realised he's the vocal on a track from the last Avalanches album, a Rushmore track for me...



Which started from this, released a few years earlier, and along with a Hunters & Collectors remix, the only thing they released between 2000 and 2016.



Thanks for your post LM, take care. I will look into his music.
 
Hey Ax, have you listened to Unwed Sailor? Their newest album Heavy Age seems like it’d be up your alley. I saw them a couple months back and they killed live.

Now there is a band I haven't thought about in a long time! Just slipped off my radar for no specific reason. I'll have to rectify that, cheers. :up:
 
I'll open this post with one of the greatest opening verses in music history:

In 1984, I was hospitalized for approaching perfection
Slowly screwing my way across Europe, they had to make a correction
Broken and smokin' where the infrared deer plunge in the digital snake
I tell you, they make it so you can't shake hands when they make your hands shake
I know you like to line dance
Everything so democratic and cool
But, baby, there's no guidance when random rules


David was a very troubled individual who had some good patches wherein he created wonderful art. His parents divorced when he was 7 and split him across the country. His father, Richard Berman, was a lobbyist and partner with some insidious forces that consistently battled labor unions and various humanitarian causes; he once said that he broke up Silver Jews because they would never be enough to undo "one millionth" of the damage his father caused to the world, so he dedicated a period to unearthing the disgusting nature of his lobbying. I think this is key to understanding what ate away at him.

At his best, he was an astonishing lyricist and talented melodicist who kept to the country tradition w/r/t his chord progressions while remaining an indie rock trailblazer with the help of Stephen Malkmus. You can hear a good amount of Pavement influence in their earliest work and fans of the band at their most placid (think the country tracks on Wowee Zowee) will find a lot to like.









After a decade in the wilderness, mostly reading Jewish texts and publishing on his blog, he put together a new band with members of Woods called Purple Mountains. Their album was full of lyrics detailing his depression and recent breakup with his wife Cassie, who was a bassist in Silver Jews. They had very different lifestyles by the end; on the album, he depicts a relationship damaged by his introversion, which was a major part of his personality.

I want to be tantamount to cordial
Tantamount to good
I want to be a warm and friendly person
But I don't know how to do it
She can't make it to her car
Without making a new friend
She's a small-town superstar
Everybody hollering her name


As a fan going back 10 years, I have many warm memories attached to his music that I'm trying to hold onto in this very dark time. American Water, an absolute masterpiece and one of the greatest albums of the 90s, was the first album I discovered before Ashley and I started dating, and it's been a frequent part of my rotation ever since. That album has always been a way of marking time and losing David feels like the end of a period in my adulthood.

This loss reminds me very much of Bowie informing us of his struggles on Blackstar, only to lose him shortly thereafter. This track in particular is barely listenable for me now. I can hardly stand it:



The dead know what they're doing when they leave this world behind
When the here and the hereafter momentarily align
See the need to speed into the lead suddenly declined
The dead know what they’re doing when they leave this world behind

And as much as we might like to seize the reel and hit rewind
Or quicken our pursuit of what we're guaranteed to find
When the dying's finally done and the suffering subsides
All the suffering gets done by the ones we leave behind
All the suffering gets done by the ones we leave behind

Ghosts are just old houses dreaming people in the night
Have no doubt about it, hon, the dead will do alright
Go contemplate the evidence and I guarantee you'll find
The dead know what they're doing when they leave this world behind

This world is like a roadside inn and we're the guests inside
And death is a black camel that kneels down so we can ride
And when the dying’s finally done and the suffering subsides
All the suffering gets done by the ones we leave behind
All the suffering gets done by the ones we leave behind

On nights that won't happen
Time we won't spend
Time we won't spend
With each other again
Nights that won’t happen
Never reaching the end
Nights that won't happen
We can't even begin
We can't even begin


Anyway, that's all I can say for now. We can all focus on his mental struggles in light of the way he passed, but I would rather emphasize his songwriting talent. Please listen to American Water and The Natural Bridge, enjoy them and recommend them to others. His music always should have been more popular, but it wasn't in the cards. He rarely even toured. I was contemplating buying tickets for his September 22 show here with Purple Mountains, but the tour never even began. It was going to start on Saturday.
This is a fucking beautiful post, man. Thanks a lot.

Also, what are your thoughts on XTC? I feel like their power-pop stuff is right up your alley.
 
The reason I even knew about Silver Jews (and I'm sure this is true of many people back then) was because of Berman's association with Malkmus/Pavement. The debut album Starlight Walker features Malkmus (who co-wrote one track) and Bob Nastanovich backing Berman and all 3 are featured in the "band photo" on the back. Pavement's Steve West and Wowee Zowee producer Doug Easley also contribute.

Malkmus came back for American Water (and co-wrote a couple of those tunes) and him and Nastanovich returned for Tanglewood Numbers, where you also had Bonnie Prince Billy aka Will Oldham and Paz Lenchantin playing. There are albums between each of those where neither was part of the band.

I respect Berman's work a lot, it can perhaps be a little more difficult to get into compared to Pavement. Less personality (or a more subdued one) in the vocals, less hooks. As long as you don't go in expecting too much you can enjoy it on its own. American Water is indeed a great album, for starters.

Really nice article on THE FORK!, too:

David Berman Changed the Way So Many of Us See the World
 
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American Water seems great so far. Heaps of Malkmus. There are a LOT of similarities between the Berman-led stuff and The National's first two albums.
 
Yeah the Pitchfork review of the National's first album goes on and on about how they are (were) an inferior version of the Silver Jews.
 
This is a fucking beautiful post, man. Thanks a lot.

Also, what are your thoughts on XTC? I feel like their power-pop stuff is right up your alley.

Thanks. Introducing his catalog to others is the least I can do for all he gave me through his music.

I'm a huge XTC fan and have heard everything they released through their proper albums; they have a wealth of great b-sides that I haven't gotten to yet, but one of these days I'll sort through all 4 hours of Coat of Many Cupboards and get the full picture.

There isn't a XTC album I dislike, though the first two are pretty inconsistent and Nonsuch is overlong. They really jelled on Drums and Wires, which I consider one of the best new wave albums ever. There's so much spiky personality in every track and it's bursting with energy and verve.



They cleaned things up for the next four albums, crystallizing a sound and delivering some amazing singles in the process (Generals and Majors and Senses Working Overtime are both classics), but their masterpiece really was Skylarking. Todd Rundgren pushed them to tie their songwriting together into a suite of songs that celebrated life and all of the great things about it - the beauty of nature, sex, weed, fulfilling relationships - it is a wonderful and life-affirming album that must be heard on the first warm day of spring. I've made it a personal tradition.

Along the same lines is their Dukes of Stratosphear side project, which they developed during a potent creative phase from 1985-1987. Anyone who even remotely enjoys psychedelic pop in the vein of Syd Barrett era Pink Floyd needs to hear every shred of music they put out via the Chips From the Chocolate Fireball compilation:



As for the rest of their career, Oranges & Lemons is a fucking mess but King For a Day and especially The Mayor of Simpleton are pop masterpieces. Chalkhills and Children is no slouch either. They needed to cut a lot of fat from that one and navigate those waters with a more forward-thinking producer. It's a bit dated now, but still enjoyable enough.



Much better is Apple Venus Vol. 1, which shares many themes with Skylarking but approaches them from a lush chamber music angle. An astonishingly composed and joyous record that illustrated their maturity and mastery over their influence going into the 21st century. It's perhaps my second favorite XTC album, sandwiched between Skylarking and Drums and Wires.

 
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