
On the menu tonight: Chill, Canadian folk-rock.
Perhaps no band’s lyrics better lend themselves to pseudo-academic analysis than those of The Decemberists. The Annotated Decemberists is an attempt to puzzle through the Portland, Oregon, group’s entire catalog song by song—examining all the obscure vocabulary, historical references and poetic subtext—or go crazy trying.
This song is a bit problematic. I’ve been dreading writing about it ever since I started in on Castaways and Cutouts, because essentially what we have is a fairly horrific description of the gang rape of a prostitute set to jaunty accordion music. While it’s not exactly played for laughs, it is a bit quirky—it can’t help but be with that oom-pah rhythm. The theme of women at the mercy of dastardly scoundrels comes up again and again in The Decemberists’ discography, but nowhere else is Colin Meloy quite so … flip about it. And then there’s the grim punchline at the end of the song, which confirms the song’s setup: This whole cautionary tale is being told like a bedtime story to a child as some sort of ill-conceived lesson about appreciating one’s mother. Continue reading
These are the posts where I gush about some song that I’ve got a huge crush on at the moment, and you put up with it and listen because you’re a good friend.
“Closer Than This,” St. Lucia
A lot of the ’80s-inspired music out there—and there is a lot out there—annoys me. I have a tough time pinpointing exactly why. After all, the ’80s provided the soundtrack of my youth. There are plenty of ’80s songs that I still enjoy and listen to regularly. But when some modern-day bedroom-pop whiz fires up his synthesizer and sets it to “Wham,” my gut reaction is an eye roll. Maybe it’s because ’80s nostalgia comes so easy—a lot easier than, say, ’90s nostalgia—to most people. (Just try throwing both an ’80s party and a ’90s party, and note how much more fun people have with outfits for the former.) Or maybe it’s just because a lot of these musicians, frankly, just aren’t as good at crafting pop hooks as the hit-makers of the ’80s. Continue reading

This is the jump-bluesy, western-swingy Reno band Golden West Trio with Miss Kay Marie, part of a celebration of American roots music from the ’30s through ’60s. There are a ton of folks all gussied up in retro dresses and dashing hats, all cutting a rug–I believe that’s what they call it—on the dancefloor. I think they’re also serving tamales, which I’m about to go check out.
Two songs enter. One song leaves. Well, OK, both leave. It’s not like we erase all traces of the losing song from the Internet, but we determine once and for all which tune has the right to their strikingly similar titles. This is SONG DUEL!
Man, this Gotye song is everywhere. I was at the KFC on Lake Park Avenue the other day; they had the radio tuned to a local “urban”-I-believe-is-the-polite-term-nowadays station, and it was playing some sort of remixed version with a hip-hop beat. It is seriously approaching “Rolling in the Deep” territory in terms of overexposure. But can its across-the-board acceptance compete with the deep respect that the late Elliott Smith‘s songwriting inspires? Let’s find out, shall we?
These are the posts where I gush about some song that I’ve got a huge crush on at the moment, and you put up with it and listen because you’re a good friend.
“Don’t Get Married Without Me,” Punch Brothers
In my youth, I was a bit of an acoustic-music militant. As a high schooler, I pretty much didn’t give bands a chance unless there was some acoustic guitar involved (which wasn’t so rare in the mid-’90s–even Alice in Chains went unplugged). As a college student, I tried to start an all-acoustic band; the only rule was “no amps allowed.” Continue reading