Even fans of the xx would have to concede that there’s a strict formula in play in their music — sparse percussion, simple chord progressions implied more than stated, and most importantly the hypersexual whispered interplay between dueling vocalists. “Børn Af Natten” proceeds along at a tempo that’s just a hair too fast for the xx, and this has the effect of tempering the depressing sinking feeling that emerges from the spaces between the beats.
I reviewed the new album by Trent Reznor’s new band for Spin.
The aspirations here are lofty, as always, if less reflective than your average NIN lament; the songs swell, bobble, and even leak from the seams under the pressure. It’s not just that Maandig’s petite vocals always feel incidental; Reznor himself and his signature tortured whispering are dwarfed as well, because the real star is his production expertise, which reaches new heights of maturity here even when all else fails.
The dual release format makes a lot of sense precisely because the composition almost seems to have been built from the ground up for this express purpose — each version focuses on one part of the song, at the expense of the rest. Which is not to say anybody’s any better off as a result — the median age of the band members is a crisp 21 years, and consequently the rock version sounds like a hazy reflection of rock as understood by someone who grew up in the age of Shinedown: dramatic pauses, fluttering echoes and filters, doubletracking everything to death even when the riffs don’t actually want to go anywhere useful.
Over at Spin, we debunk the notion that listening to “Gangnam Style” in any way qualifies as global cultural awareness by pointing you toward “Bloom,” a wonderful new jam that is handily beating Psy on the Korean pop charts.
Korean rapper PSY’s runaway smash-of-smashes “Gangnam Style” has long since graduated to such a level of worldwide Internet saturation that Korean pop listeners have decided it’s time to move on. Son Ga-In is by far his most exciting successor yet; she clearly wants you to have fun, but there are no dances that frat boys will be doing on Halloween, and no shots of anyone rapping on the toilet.
Today the Village Voice has some tremendous new developments which you should go read about, but meanwhile Spin has also posted my newest piece on foreign pop. This time I focus on the remix of “One Day/Reckoning Song” by Israeli folk singer Asaf Avidan, on top in half a dozen European charts and strongly reminiscent of Cat Power, whose tremendous new album you should go listen to.
As the the arrangements grow more elaborate, there quickly approaches a limit beyond which the phrase “boy band” seems unjustly dismissive. We’re well past that point here, so once you’re done swooning you can also find your way to a reading that’s at least slightly more mature.
I’m starting up a new recurring feature for Spin Magazine called It’s No. 1 Somewhere, in which we’ll look at pop songs which are doing well on the foreign charts but wholly ignored in the United States. The first installment ran earlier today — it’s about Ukrainian dance-pop singer Svetlana Loboda and the ways in which she seems to logically follow from Lady Gaga and Shakira — but since we just sort of hit the ground running with it, I’m thinking perhaps I should use this space to provide a little introduction or explanation. Or a mission statement, even?
“World music,” though in a way it feels like a term so broad as to be useless, has gradually become actually quite restrictive, since it’s mostly attached to traditional folkish forms that can sell out Carnegie Hall once a year but aren’t really getting any attention at the clubs and radio stations back at home. I mean, I absolutely adore Tinariwen, but they’re also a prime example of how the marketing of the world music genre can preclude mainstream reception for a great band even as it builds a focused and enthusiastic audience out of other people. Truth is, in many cases what’s actually bumping from the car stereos elsewhere is not aesthetically all that different from what we listen to here, except that there might be a language barrier. But so what? It’s not like we’re listening to Ke$ha for her lyrical insights.
This then means that there’s an extremely accessible pop middle ground between those two worlds that’s being largely ignored simply because western audiences are too busy sorting through their own overabundance of musicians and media files. I think we can use chart performance in other parts of the world as a sort of qualifier, a red flag indicating that we should take a break from all this navel gazing — that is, anything that 80% of Nigerian teenagers love should at least briefly register as a blip for us over here. We’re hoping to help connect foreign artists that are poppy enough to immediately feel accessible and familiar to the receptive audiences who won’t mind filing them right between Adele and Beyoncé. Both these groups are already out there, but they’re having trouble finding each other.
At the end of 2011, UCLA doctoral student Patrick Adler compiled a geographic distribution of the bands represented in Pitchfork’s “Best Songs Of The Year” list. Even though I really enjoyed many of those tunes, his terrifying histogram speaks for itself.
This is bullshit, and I want to help fix it. Won’t you join me?