Emotional Listening #25

Homogenic - Bjork (One Little Indian, 1997)
Vespertine was the first Bjork album I got into. It is dramatic, intense and absolutely gorgeous. This was the summer of 2007, and not long after, I gave Homogenic, her previous album, a listen and was completely bored by it. What a dummy I was. Coming back to it in 2012, Homogenic has elements that are even more appealing than Vespertine, which I used to swear was the only thing Bjork had her hands on that I would ever care about. Sure, the arrangements and melodies on Vespertine are a bit more impressive, as the contrast between organic and inorganic (or, strings and synths/computers/beats) is more obvious and even fascinating, and all of those songs are just dripping with eerie, sexual tension. Homogenic is much more simple. It's still strings vs. synths and beats, but in a much more subtle way. These arrangements are stark in nature, and sometimes build up into more, or just fade into nothing. The songs are relatively formless, yet they still have some pop sensitivity, especially in the symphonic "Joga" and the computer pop of "5 Years" (which I think is the album's best, or at least most interesting, track). Homogenic is flawed and far from the masterpiece that Vespertine is, but it is a noble attempt at something grandiose and entirely unique for its time.
Top jams: "Hunter," "Joga," "Unravel," "5 Years," "Immature," "Alarm Call"


Woke On a Whaleheart - Bill Callahan (Drag City, 2007)
I got into Bill Callahan's first post-Smog record back when it was originally released in 2007. It took continuing on my interest and listening to his more recent albums to completely understand the level of quality that Woke On a Whaleheart is. In case you didn't know, Callahan composes gorgeous, autumnal folk tunes that tell dark, quirky stories and showcases a larger palate of colors than one would expect from such a husky, smokey voice. While 2009's Sometimes I Wish We Were an Eagle and 2005's Smog swansong, A River Ain't Too Much to Love are both better albums, Woke On a Whaleheart is excellent in its own right. What draws me to it most recently is how much fun it seems that Callahan is having on this record as opposed to his other ones, where he songs much more focused on the sadness he portrays and overall beauty of the recordings. Comparatively, Woke On a Whaleheart seems a tiny bit rushed, which isn't a bad thing here, and there is a lot more variety and everything is bouncier. Songs like "Diamond Dancer," "The Wheel," "Day," and "A Man Needs a Woman or a Man to be a Man" are great representations of this. There is something to enjoy on every song here, and thus, I have absolutely nothing to complain about.
Top jams: "From the Rivers to the Oceans," "Footprints," "Sycamore," "The Wheel," "Honeymoon Child," "Day"


Write Your Own History - Field Music (Memphis Industries, 2006)
There are very few bands or artists who come close to the consistency and quality of music as Sunderland's Field Music. I have not heard a song by these brothers (literally, David and Peter Brewis are brothers) that I have disliked. My love for them started in 2007 with their sophomore LP, Tones of Town, a study in complex song structure and arrangement with blatant pop hooks and other Beatles-isms. It ended up as my third favorite album of that decade. Their 2005 self-titled debut has a little more XTC in its sound, 2010's Measure is a bit more prog and even classic rock in places (and was ninth on that year-end list). This year's Plumb falls somewhere in between it all. Anyway, the focus here is this little collection of singles, b-sides and early recordings. For what it is, Write Your Own History is surprisingly cohesive, and you won't find a bland or sour moment here. These songs still showcase the Brewis' tangent for expansive arrangement, but here they are at their most subtle. "You're Not Supposed To" is relatively loud, very upbeat 60s up, and really is one of Field Music's absolute greatest tracks. Everything after on this collection mellows out quite a bit, but not in a bad way. "In the Kitchen," "Trying to Sit Out," "Test Your Reaction" and "Alternating Current" are other big time highlights.
Top jams: "You're Not Supposed To," "In the Kitchen," "Trying to Sit Out," "Feeding the Birds," "Test Your Reaction," "Alternating Current," "Can You See Anything?"


Sam Prekop - Sam Prekop (Thrill Jockey, 1999)
Can you imagine that Sam Prekop, voice and guitarist for Chicago's best band, The Sea and Cake, has released music that is even MORE chill than that of his band? Believe it. Prekop's first foray into solo territory doesn't sound too distant from The Sea and Cake's early albums, but these recordings are slower, quieter, and even more vague. While it is apparent that collaborating with his bandmates leads to a more fruitful product that is pretty much some of the best music ever, Prekop's skills are formidable on their own. His traditional jazz chords and smooth, smokey voice are present, and any time that is the case, all things are good. The music here can meander a little too much, but on "Practice Twice" and "Faces and People," it lends to some beautiful results. "Showrooms" and "So Shy" are by far the best songs, and that they are the album's bookends helps the flow of the album. It would be interesting to hear what Archer Prewitt, John McEntire and Eric Claridge would have contributed to these songs.
Top jams: "Showrooms," "The Company," "Practice Twice," "A Cloud to the Back," "Faces and People," "The Shadow," "So Shy"


Look Now Look Again - Rainer Maria (Polyvinyl, 1999)
During my senior year in high school, or maybe it was the summer after, a good friend of mine put a few Rainer Maria songs from their sophomore LP, Look Now Look Again, on an emo mix CD for me, and they have stuck ever since. I feel like this band is often forgotten when discussing the midwest emo greats, and that is unfortunate, as they put out at least three gems in this baby, A Better Version of Me (2001) and Long Knives Drawn (2003). Overall, Look Now Look Again might be the weakest of the three, but "Planetary," "Broken Radio," and especially "Breakfast of Champions" are among the band's career highlights. The boy/girl vocals are a nice touch, especially when Caithlin De Marrais' are so strong. Kyle Fischer's guitars shift between between open chords and nice, twinkly licks, and the upbeat, quirky drumming bring it all home. This is some great power trio emo shit. When's their reunion tour?
Top jams: "Planetary," "Broken Radio," "Feeling Neglected," "Breakfast of Champions," "The Reason the Night is Long," "Centrifuge," "I'm Melting!"