Various Swell Sounds is a collaborative playlist series from Shana Hartzel of Swell Tone, Jon Chin of Cereal and Sounds, and myself. Instead of constantly exchanging tracks amongst each other, we have decided to work together to bring them to more ears. Every month, we will match a selection of our old and brand new favourites to a specific theme, as decided on a revolving basis month by month.

2018 Warped: the final Various Swell Sounds offering of the year, and perhaps of all time. Here, all constraints go out of the window, and instead we present a collection of songs from all styles, sounds and eras that have been with us this year.

If you enjoy 2018 Warped, be sure to check out the other instalments of Various Swell Sounds. You can find those we hosted here, and the others on Swell Tone and Cereal + Sounds.

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Atticus Lish’s Preparation for the Next Life is, on the face of things, a relatively simple story. Girl meets boy under less than perfect circumstances and they struggle to make something of it. A classic love tale. But that’s where simplicity, or even any semblance of understanding, ends. This is a novel about post-9/11 New York, a tale of immense confusion, mistrust and paranoia, about poverty in a city smothered by it, about millions of people trying to make a life out of nothing.

Zou Lei is an illegal immigrant from China, a Muslim of the Uighur tribe, Skinner a PTSD-suffering Iraq vet who scraped through three tours of a war that’s followed him home in more ways than one. Queens is bursting at the seams with people looking for something better, or else ways to distract themselves from the present, a roiling, screaming sea of humanity. Lei and Skinner end up together, bonding through a common sadness and a shared appreciation of discipline and exercise. Their unsentimental yet gentle relationship serves as a recognisable, familiar way-in to a recognisable but wholly unfamiliar place. All of this is written in some of the best prose I’ve read in a long while. Beautiful and terrifying and sad, it captures New York as a gritty, humming place that’s crumbling in time with America’s perception of greatness.

Just like the characters, the reader is in alien territory. The overwhelming majority of us cannot fully understand the positions in which these protagonists find themselves. The fringes of society swamped by an overwhelming Lack Of. A lack of money and respect, of kinship and trust, as well as lack of material stuff (Zou Lei has a bed to sleep in but is essentially homeless, Skinner renting a basement with decidedly finite savings). But both are still subject to the American bombardment of dreams and nightmares that constitute the consumerist culture. They see shop-fronts and billboards, they see mistrust in the media and the faces of passers-by. The paradox of feeling isolated and lonely in a crowd of people seems designed specifically to torture them.

But the confusion is deeper than that, one that might impinge on Lei and Skinner more than most but hangs over us all. Not only are there no answers here, there are barely any questions. If 9/11 provided the West with a new narrative, a renewed sense of moral importance and superiority , then events like those at Abu Ghraib snatched away the veil. Technology has made it impossible to ignore that the ‘Bad Guys’ are mostly innocent, scared people like us, that our dirty secrets in exotic wars will not be buried. Everyone lives in this grey area but Skinner personifies it, pining for the purpose and friendship of war while being eaten alive by the truth of it.

“He took a drink from a flask of Bacardi Scorched Cherry and watched an execution on his laptop”

Here’s a collection of songs which we feel are somehow relevant to the themes and feel of the novel.

Tracklisting:

1. I’m New Here – Gil Scott Heron
2. Wish it Was True – White Buffalo
3. Drinking at the Dam – Smog
4. There I was in the pouring rain again, but this time I was at the drive-thru at Mac Donalds’ – Talons’
5. Beacon Hill – Damien Jurado
6. Heartbreaker – Noah Gundersen
7. Cold Apartment Floors – Vagabon
8. Travel Map – Hip Hatchet
9. Death By Dust – Miles Benjamin Anthony Robinson
10. Linens – Water Liars
11. The Modern Leper – Frightened Rabbit
12. No Future (Pt. I) – Titus Andronicus
13. Shitty City – Moonface
14. The Whip – Jesse Marchant
15. Third of Life – A Weather
16. Bloodkin Push (Forget the Ones) – Will Johnson
17. Wall Around Your Heart – Huck Notari
18. The Trapeze Swinger (Iron & Wine Cover) – Gregory Alan Isakov
19. I Could Only Stand By – The Weather Station
20. Fake Empire – The National

Preparation for the Next Life by Atticus Lish is out now on Tyrant Books (US) and Oneworld (UK + Aus). Quiet, Constant Friends is available digitally and on cassette via the Wake The Deaf Bandcamp page.

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The record opens with ‘the bird’, a song that utilises animal analogies to describe the strange intimate-yet-remote relationship we share with loved ones. “You bring me dead birds and then you go” sings Joseph, “and it sounds like all our lives and it sounds like you do not know me and never will.” The track is both unsettling and comforting in its honesty, facing up to the awful truth that we will always be separate and distinct, even from those we love the most. While this is something that is usually ignored (for the sake of our sanity) or magnified into melodrama (quite probably also for the sake of our sanity), Joseph (paradoxically, I know) lets the listener into her innermost thoughts in a way normally only possible in the strongest, most unflinching of novels.

In this way Bones You Have Thrown Me and Blood I’ve Spilled brings to mind Marilynne Robinson‘s Housekeeping. At various points during the novel the narrator Ruthie finds herself alienated from-/abandoned by her mother and sister and aunt, leaving her alone in the world. Rather than write this as the the usual hard-luck-with-happy-ending Hollywood story, Robinson’s character confronts and travels through confusion and grief and studies them from the other side, coming to appreciate the fragility of human relationships and realise that our desire to maintain them is what makes life so beautiful:

“They walk ahead of us, and walk too fast, and forget us, they are so lost in thoughts of their own, and sooner or late they disappear. The only mystery is that we expect it to be otherwise.”  

But before the clarity, Ruthie sees and does a lot of strange things, actions which barely make sense to her or those involved, let alone others around them. You get the impression that the characters are subject to forces larger than themselves, things they are not equipped to understand. With this album, Joseph paints a similar picture by presenting her feelings straight, appreciating their importance without being able to grasp their context, an autobiography that goes beyond superficial times and places. Poetic and strange but never contrived, she appears to be trying to convey something that sits just outside of her view, or else is so large that it is only possible to see a small speck at any given time. What’s more, she seems to realise that what feels vital to her is foreign to others, but, without any other option, strives on regardless, surrendering to a diligent ignorance, a promise to try and to love in a world too detailed and complex to understand.

To write about something so deep requires a skilful balance between the explicit and implicit, lyrical and beautiful yet clear and true. Thankfully, like Marilynne Robinson, Joseph proves more than capable. By knitting together abstract imagery and phrases, she crafts something larger than the sum of its parts, forgoing clear song structure and even good grammar in a way which accentuates the deeply personal feel. “I hear your babys here your babys here your babys hear your babies,” she sings on ‘the blood’, “and the wind will blow and the seed be sown and the made of blood is the only loved.” Every song contains similarly striking language, and Joseph’s voice and melancholy piano make the whole thing creepy in the way that we all secretly think we’re creepy . Take ‘the bone’ for example:

“Under the bird of the prey and black hole made of what will not grow back still and the born of the loved and lost heart hard of stone and mouth of dust you are the bone sticking in my throat”

This is a simple album about things so complicated that it’s almost impossible to put them into words. It’s about those thoughts and feelings that we all experience but never admit, the things that we, be it through etiquette and embarrassment and fear, dare not confess to others or even ourselves. Bones You Have Thrown Me and Blood I’ve Spilled is an album about people: lonely and loved, corporeal and divine, mortal and terrified yet enduring with a resilient hope that never quite goes out.

You can buy Bones You Have Thrown Me and Blood I’ve Spilled now via Bandcamp (and via Hits the Fan Records).

P.S. Bones You Have Thrown Me and Blood I’ve Spilled is up for the Scottish Album of the Year award. Joseph has some stiff competition (we really like The Twilight Sad) but gets the nod from us. You can vote too, so head on over to the website before the polls close at midnight tonight to make sure your favourite (*whispers* Kathryn!) lifts the cup.

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The first two FR albums were important to me. The third one was good. The fourth one passed me by. I can’t say why this happened. It was probably my fault. Whatever the reasons, I find myself listening to this solo album hoping that something special happens again. I’m giving it my full attention, putting the effort in on my side.

Owl John is strange in that it is both closer to and further away from what I consider the FR golden years (I mean this terms of sound, not quality). Opening track ‘Cold Creeps’ sounds like it could fit in quite nicely on Sing the Greys. ‘Songs About Roses’ is pretty close to something that might have made Midnight Organ Fight, or is at least inspired by that period in Hutchinson’s career. I consider ‘Los Angeles, Be Kind’ more like a Winter of Mixed Drinks track, while ‘Stupid Boy’ is the essence of FR’s self-deprecating style. There are deviations, with ‘Two’ featuring a Gaelic (?) spoken word conclusion that brings to mind Aidan Moffat, and ‘Hate Music’ which sounds like FR doing a great Manchester Orchestra impression.

[THE MOMENT THE REVIEWER CHANGES DIRECTION]

I’ve realised there is something strange at work here. I’m talking about old albums. This is unfair to Hutchinson and any other artist trying to top previous albums. I don’t want to do it. I consciously tried to stop myself from doing it.

I think it’s all to do with Hutchinson’s personal style of song writing. It’s ironic that listeners connect with his songs because his lyrics are so intimate, so honestly him, but it is true. He shows us his innards and we see ourselves. It’s no exaggeration to say that The Midnight Organ Fight was part of my life for a fair period of time. When something is that important to you, it’s natural to look for more, to expect more. But consider it from Hutchinson’s point of view. Those songs were his and he had to hand them over and repeat them for years to crowds of people who had taken them. And now he tries to do something new all the fucking bloggers are talking about are how each song might fit on the old FR records.

[THE REAL REVIEW]

So, Owl John. Owl John is an album that mixes up sad self-deprecation with confusion and love and regret. It tells of people far away from home making new homes. It speaks of vast stretches of introspection dotted with those incandescent moments of feeling that make it all worth while. Hutchinson uses his supreme talent for song writing to conjure a person before us, a person who cries and bleeds and yells with joy just like any other person. That’s all you need so know.

You can buy the album from the Owl John webpage.

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The title is taken from The Pharmacist’s Mate by Amy Fusselman, where she is describing that almost miraculous nature of music. She sums up by saying:

“And how even though the vibrations are invisible, I can feel them in the air. I can feel them, they are there, they are as there as I am.”

A song is a strange thing. The way in which the writer captures it and builds it up to what we find on our records and CDs is unique to each artist. A whole host of changes are possible from that first spark of inspiration, be it a certain lyric or series of notes. What we hear on studio albums may be an evolved version of the original. It may have been sped up or toned down, altered to sit with the other nine or ten songs with which it shares the album. Conversely, what we hear during live performance may itself be the evolved state, an shift of empahsis or tone to better suit the context.

Whatever changes occur, live songs are different to their recorded counterparts, and this mix contains songs that are different and/or special when performed live. Sometimes there are obvious differences from the recorded track (such as the frenzied ending to ‘Wolves’ by Phosphorescent) and other times it is subtler, increased emphasis on just a word or two. Sometimes there is nothing obviously different apart from some sense of  purity, something organic in the single take delivery.

I’m sure even the most seasoned concert goer will be able to point to two or three moments where a live song somehow transcended normal experience, becoming something so inherently personal it’s hard to believe others were in the room. For me, great art is about the trading of emotions to some empathetic goal, the artist allowing the listener/viewer into themselves to see something pure, something to which everyday labels and descriptions do an injustice. In truly great art, seeing inside another is not fascinating in a some voyeuristic way but instead because it stirs a recognition in the listener. The indescribable feelings within us are given voice, they are painted for us by the artist and shared so that others can see. In this way, the song becomes as much about us as it is about the artist (something which much prove difficult for musicians, which is another debate entirely).

Adam wrote about his choices for the mix in his own blog post, so be sure to go and check that out too.

Hopefully the tracks below contain some sort of spark, that indesribable magic that Fusselman describes.

I Can Feel Them In The Air (Wake The Deaf Side):

1. A Few Kind Words (Live at the Queen’s Hall) – Meursault
2. Tapes (Live at WMSE) – Conrad Plymouth
3. When My Time Comes (Live at the R&R) – Dawes
4. Dead Letter & the Infnite Yes (iTunes Session) – Wintersleep
5. Lately (Live on KEXP) – BOAT
6. Something, Somewhere, Sometime (Daytrotter Session) – Ben Sollee
7. Last to Swim (Weekender Session) – Strand of Oaks
8. Medication – Damien Jurado
9. Mountain Song (Live in Munich) – Evening Hymns
10. Red (Live at Schubas) – Okkervil River
11. Allahu Akbar (Daytrotter Session) – Emperor X
12. The Twist (Quietly Now) – Frightened Rabbit
13. Wolves – Phosphorescent
14. Blood Bank (Live at Glastonbury) – Bon Iver
15. Wasp Nest (Black Session) – The National
16. Jeanne, If You’re Ever in Portland (Daytrotter Session) – Casiotone for the Painfully Alone
17. Down in the Valley (Live on KEXP) – The Head and the Heart
18. Wake (Live at the Bowery Ballroom) – The Antlers
19. First Night (A Positive Rage) – The Hold Steady
20. Robots (Live at Shorefest) – Dan Mangan

I Can Feel Them In The Air (Songsfortheday side):

1. Years/Cleo’s Song (Daytrotter Session) – JBM
2. Grown Ocean – Fleet Foxes
3. Ghost of the Beast – Kelli Schaefer
4. Ocean Open Wide – Hoots & Hellmouth
5. First Sight – These United States
6. Nobody But You – Langhorne Slim
7. Yellow (Piano Version) – Coldplay
8. Blackout (a capella) – Pickwick
9. Everything Trying (Fuel/Friends Chapel Session) – Night Beds
10. I Won’t Be Found – The Tallest Man on Earth
11. To Sing For You/Brand New Colony – Ben Gibbard
12. Kathleen (Live from Dublin Castle) – Josh Ritter
13. Outfit – Jason Isbell & The 400 Unit
14. Acuff-Rose – Jeff Tweedy
15. Catapult – Counting Crows
16. Evening Kitchen – Band of Horses
17. Always on My Mind – Iron & Wine/Calexico
18. Born to Run – Bruce Springsteen
19. Since I Fell For You (ft. Mike Noyce & Justin Vernon) – Eau Claire Memorial Jazz I
20. I Just Wanna Love U (Give It 2 Me) – Jay-Z

You can find both mixes here as a collection.

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Edinburgh’s Shooting Stansfield look to be the next act to join this list. Their new EP, We Know Not What We Do, features six melodic tracks driven by guitars and with focused songwriting. Without wanting to pigeonhole them, they come across as a blend of all the bands mentioned above. The opener, ‘Blue Turns Black’, could be straight off a Frightened Rabbit record, whereas the single ‘Greater or Lesser’ (which is available as a free download in exchange for your email address) is much more of a folk song, with the finger-clicking, guitar strumming sound associated with Admiral Fallow.

This is far from a bad thing. Each of the six tracks tries out a slightly different style and tempo, providing some interesting changes of pace and keeping things interesting. Maybe the band are still figuring out exactly which direction they are going to take, but that does not mean that these songs do not stand up to the test now.

My favourite track, ‘There Are No Greater Truths’, is a slow burning song with some of the strongest writing on the EP. The song gradually becomes more immediate, with drums reminiscent of The National supporting the increasingly earnest lyrics. You get the impression that the narrator is getting more confidence in his message as the song progresses, with a quiet and unsure start developing into a louder conclusion where the lyrics and delivery are impassioned.

One of the lines stuck in my mind, an idea which I think runs through a lot of writing on the human condition (for lack of a more every day description).

’If hollow is not a normal thing then I need filling in // If emptiness comes from within, then we are struggling.’

Upon further listens you discover that there are clever lines like this throughout the record. Meaningful, purposeful words behind the catchy tunes. I think this EP will reward repeated listens as these nuances come to the fore, and I strongly suggest you keep an eye on this band for the future.

The EP is available via the Shooting Stansfield Bandcamp page.

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Tracklisting:

1. I’m Going Down (Bruce Springsteen Cover) – Vampire Weekend
2. Weird Sisters (Sparklehorse Cover) – LØZNINGER
3. Chiamami Adesso (Paolo Conte Cover) – Julia Holter
4. When Rosa Speaks (Pickwick Cover) – Kevin Long
5. Woody (Hayden Cover) – Winter Makes Sailors
6. Cheers (Blake Mills Cover) – Floating Action
7. The Park (Feist Cover) – Anna Scouten
8. Momma You’ve Been On My Mind (Bob Dylan) – Matthew Ryan
9. Reason To Believe (Tim Hardin Cover) – Horse Feathers
10. You Can Call Me Al (Paul Simon Cover) – Colossal Gospel
11. Kiss Me (Sixpence None The Richer Cover) – Mikal Cronin
12. Holocene (Bon Iver) – Rounak Maiti
13. One Day At a Time (Willie Nelson Cover) – Pure X
14. Back Home Again (John Denver Cover) – Low
15. Ultraviolence (New Order Cover) – Seekae
16. The Eagle And The Hawk (John Denver Cover) – Bonnie “Prince” Billy
17. Asa (Bry Webb Cover) – Denison Witmer
18. Rust or Gold (Jill Andrews Cover) – Jeremy Squires
19. In The Aeroplane Over The Sea (Neutral Milk Hotel Cover) – Clem Snide
20. Thinking About You (Radiohead Cover) – Hezekiah Jones
21. Surrender (Cheap Trick Cover) – Frightened Rabbit
22. The River (Bruce Springsteen Cover) – Josh Ritter

You know the drill, please support these artists. Go and buy some records, see a show, get a t-shirt, anything to enable them to keep making music.

Previous covers mixes: Volume I, II, III, IV, V, VI and VII

The Covers Mix: Volume #8 from Wake The Deaf on 8tracks Radio.

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Today is the first volume. It features a mix of styles and bands, covering classic songs and new music. We hope you enjoy these re-workings as much as we do.

WTD’s Covers Mix, Volume #1:

1. Crystalized (The XX Cover) – Holly Miranda
2. Her Vore (Coma Cinema Cover) – Fog Lake
3. There Is A Light That Never Goes Out (The Smiths Cover) – Dan Mangan
4. Don’t Haunt This Place (The Rural Alberta Advantage Cover) – Yellow Ostrich
5. Tears Are In Your Eyes (Yo La Tengo Cover) – The Antlers
6. Cars (Gary Numan Cover) – The Leisure Society (Thanks to TWR for the shout!)
7. Old Old Fashioned (Frightened Rabbit Cover) – John Statz
8. Owner Of A Lonely Heart (Yes Cover) – Grizzly Bear
9. I Fought The Law (Bobby Fueller Cover) – Titus Andronicus
10. I Will Truck (Dirty Projectors Cover) – Painted Palms
11. A Case Of You (Joni Mitchell Cover) – James Blake
12. Devil Town (Daniel Johnston Cover) – Bright Eyes
13. Like A Diamond (Glass Ghost Cover) – Sharon Van Etten
14. Ex-Girl Collection (The Wrens Cover) – Will Sheff
15. Angst In My Pants (Sparks Cover) – Signals
16. Sleep All Summer (Crooked Fingers Cover) – St Vincent & The National
17.Beacon Hill (Damien Jurado Cover) – The Head And The Heart
18. Best Ever Death Metal Band Out Of Denton (The Mountain Goats Cover) – Andy Hull
19. Godbye Again (John Denver Cover) – Youth Lagoon
20. Long Desert Train (Jason Molina Cover) – Strand Of Oaks (Thanks to CXCW)

You know the drill – support the bands. Each of the artists’ names above will take you to their website so explore further. Don’t be an Emily White, musicians have to eat too.

The Covers Mix: Volume #1 from Wake The Deaf on 8tracks Radio.

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John Statz is a folk artist from Madison WI and his latest album ’Old Fashioned’ captures this feeling of nostalgia in the Midwest perfectly. Each song conjures real people with classic problems, age old American tales with narratives that last well beyond (and before) the track’s run time, including a quite brilliant cover of Frightened Rabbit’s Old Old Fashioned. Basically this is Americana at it’s very best.

‘Old Fashioned’ is scheduled for release on 24th January and can be streamed in full over at Yer Bird Records Bandcamp page right now.

P.S. US/Canadian readers (if you exist), please feel free to correct me on the Midwest thing, I could be horribly wrong.

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Meursault aren’t exactly new, they released their debut album, Pissing on Bonfires/Kissing With Tongues, in 2008 (with local label Song, By Toad) and released another, All Creatures Will Make Merry, to critical acclaim in 2010. Neil Pennycook’s grand-sounding voice is equally suited to the acoustic folky songs, the quicker electronic numbers and the fuzzy lo-fi efforts. Neil and Co. have what it takes to become huge, at least to the audience that listens to honest, well-crafted music.

“Bury me face down. Bury me so I might see the ground.”

*Video by Song, By Toad. Read Matthew’s blog for some hidden gems and brutally honest reviews.

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