Field Mouse “The Mirror”

Field Mouse give you exactly two guitar strums to get your bearings before blasting into the circular riff and propulsive beat of “The Mirror,” the opening song from their album Episodic. The spiraling sensation and violent momentum reminds me of Sunny Day Real Estate, but Rachel Browne’s vocals are a lot more…well, let’s say more stable than anything Jeremy Enigk ever sang. Browne is singing a break-up song of the “no, fuck you” variety, and starts with indignation before building up to bitter sarcasm on the chorus. She doesn’t sound quite as vicious as her words get, but I like that effect – smiling and composed while tearing into whoever it is for whatever the reasons might be.

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Miya Folick “Pet Body”

Miya Folick sings with a passion and flair that sometimes reminds me specifically of Sleater-Kinney’s Corin Tucker. Not so much the aspects of Corin’s voice that could blow a hole through a mountain with their volume and intensity, but certainly the times when her phrasing becomes more playful and deliberately camp. Folick leans into this approach when she’s conveying sarcasm and irony, which is to say, a lot of “Pet Body.” She’s singing about feeling alienated from her own body in humorous terms – “I’m just a brain with a pet body,” “I’m just a sack of flesh, don’t take me so seriously” – but it’s a dark joke at her own expense. This is extreme self-deprecation to the point of self-negation, and her emphasis on the fragility of this body that’s just incidentally tethered to her mind makes every part of her life seem arbitrary and precarious. Folick nails a very tricky balance of comedy and terror here, in large part because she commits so fully to her performance.

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of Montreal “Gratuitous Abysses”

I’ve been following Kevin Barnes’ career closely for about 12 years now, and in some ways it’s like being heavily invested in a hysterical psychedelic soap opera starring someone I feel like I know extremely well but have only ever met in passing. Innocence Reaches is a strange record, mainly in that Barnes’ stated goal of making something open-hearted and positive fizzles out after the first couple tracks, and then “Gratuitous Abysses” comes along and throws the rest of the album off on a very different set of textures and themes, most of which won’t be surprising to fans of post-False Priest of Montreal.

“Gratuitous Abysses” mainly concerns Barnes’ struggles with establishing a new relationship with his ex-wife, and his fears about over-mythologizing their past while worrying that they’ve become boring. This fear of being boring and predictable comes up at other points in the record too, and it’s both sad and funny that he’s doing everything but straight-up declaring himself to be a messy bitch who lives for drama. (Not sure how he feels about robbery or fraud, though.)

There are other songs on Innocence Reaches that address other relationships and flings since he’s been divorced, but the songs that are most obviously about his marriage are the most potent. Maybe it’s because Barnes’ darkest sentiments have become so blunt over the years, and he’s so merciless in the way he picks at his own flaws, and those of other people. It’s very compelling to me, and it’s particularly difficult when I relate to what he’s saying. He’s holding a mirror up to himself, but a lot of the times you just see the worst of yourself in the reflection.

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AJJ “American Garbage”

If I were to make a Girls character quiz at BuzzFeed, I would go in assuming that very few people would want to get Shoshanna as a result. She’s strange, awkward, and extremely abrasive. A lot of people hate Marnie, but would still like to be told that they’re like the show’s most conventionally attractive woman. A lot of people think Jessa is a sociopath, but would still like to be told that they’re sexy and charismatic. Up until around the fifth season, Shosh is mostly portrayed as this strange cartoon character and her sexuality is typically played like a joke at her own expense.

And yet AJJ’s Sean Bonnette has written this song declaring that he’s a Shoshanna, and identifies with her two defining qualities: confused and rude. He goes on to compare himself to other unflattering things, and the album this song comes from is essentially a litany of Bonnette’s flaws and failures. It can be hard to tell whether his goal is to self-flagellate, to preemptively counter criticism, or to display his worst qualities with a perverse pride. Maybe it’s a little bit of all of those things. I can’t imagine Shoshanna doing any of that, though – she’s more about trying to seem normal and failing in her attempts to obscure her weirdness. Oversharing your worst qualities is more of a Hannah thing, you know?

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Thee Oh Sees “The Axis”

Let’s skip ahead in this song and focus on the ending, in which John Dwyer plays a guitar solo that starts off as compelling yet fairly standard shredding, but gradually shifts until it sounds like the notes are literally shredding. It’s a beautifully ugly sound, and it’s the perfect, magnificently cathartic conclusion to a song in which he spends a lot of time moaning questions like “don’t you know how much I don’t love?” in an uncharacteristically inert voice. You don’t really ask a question like that if it’s not at least somewhat untrue, and that guitar bit at the end is like him saying “You know what? I do love you, but fuck that and fuck you –– I’m outta here!” and slamming the door behind him.

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Tennis “Ladies Don’t Play Guitar”

I’ve never had a grasp on Tennis’ identity as a band. I’m not totally sure if they do either. They definitely have an aesthetic – very clean and glossy, but also refined and not particularly flashy – but their personality is rather vague and seems to shift with whatever their inspiration happens to be in the moment. This is a good moment for them, though. “Ladies Don’t Play Guitar” has a sexy but understated late ‘80s/early ’90s groove – think “Justify My Love” by Madonna or “Back to Life” by Soul II Soul – and lyrics that are considerably more pointed and direct than you’d expect from a typically quite mellow and agreeable act. Alaina Moore’s vocal part isn’t particularly aggressive, but it’s clear that she’s pushing back against a lot of aggravating assumptions in her own way, and probably also challenging herself to say a bit more with her music. This is certainly the best song I’ve heard by them, so it’s a move in the right direction as far as I’m concerned.

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Britney Spears “Private Show”

Britney Spears has been mainly singing like a horny cyborg for nearly a decade, a move that originated in necessity circa her public breakdown album Blackout but has persisted as an aesthetic choice ever since. It suits the sort of electro pop that she’s focused on over the years, and can be read as a commentary on the public perception of her as a zonked-out yet hypersexualized person who has lived most of her life as a heavily mediated product. Less charitable people would say that it makes up for her limitations as a vocalist, but I think “Private Show” ruins that argument. Her voice is processed but she’s singing the hell out of the song, and veering into an adventurous R&B space that has more to do with Beyoncé/Destiny’s Child or TLC than anything Max Martin has ever done. The lyrics aren’t especially noteworthy – it’s basically her singing about doing stripper moves for her dude, which seems like exactly what you’d expect of her even if she’s never done it before. But the track, which is produced by T-Pain protégé Young Fyre, is exceedingly slinky and falls in the same odd zone between classic soul and clipped robotic pop as her vocal performance. It’s traditional but slightly off, and makes something that might otherwise seem a bit trashy sound genuinely sweet and wholesome.

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Wild Beasts “Alpha Female”

The major through line of the Wild Beasts discography has been Hayden Thorpe and Tom Fleming’s deeply conflicted relationship with masculinity – their own, mostly, but also in broader terms. Sometimes it’s a critique, and other times it’s a celebration. Thorpe’s early vocal performances would toggle dramatically between masculine and feminine extremes, as if different parts of himself were struggling for dominance, which would sit in contrast with performances by Fleming that exaggerated his handsome, deeper voice to the point of sounding like he was playing a knight in shining armor type.

Wild Beasts were becoming steadily more subtle, cerebral, and sedate over their past two albums, but have abruptly shifted gears with Boy King, their fifth record. They’ve eliminated all subtlety and delicacy in favor of thrusting, throbbing electronic grooves and lyrics that directly state much of what had been gently implied in their words on the past four records. I appreciate the blunt approach, though I don’t think a lot of this record stacks up with their best work. That said, they do sound liberated and reinvigorated, and that confident energy makes a song like “Alpha Female” much more powerful. I mean, would a song declaring admiration for and subservience to a powerful woman be as potent if the guys performing didn’t sound like strutting, virile rockers? The song is making an important point: Giving power to women does nothing to diminish the masculinity of men.

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This is the final installment in my series of 1980s survey mixes, which have been anthologizing each year of that decade in reverse order. These compilations are designed to give context to the music of this era, and give a sense of how various musical niches and trends overlapped or coexisted in their cultural moment.

Early on in the process of doing this project I made preliminary playlists of each year so I knew the general shape of things in advance. So I knew from more or less the start that 1980 was going to be one of the best years in the series, and maybe the best of any decade series I could make. The sheer number of enduring classics in 1980 is staggering – I think the only year in the ‘80s as ridiculously fertile as this is 1987. There’s a lot of different trends coming to a head at once – new wave/post-punk, metal, disco, prog, country pop, early hip-hop – and you can get a sense just by listening to this that almost everyone represented here was feeling inspired, enthusiastic, and ambitious. Everything just sounds so vital and electric, and in a lot of cases, the music doesn’t sound dated at all.

You can find all of the other 1980s surveys on this page. I have updated most of the surveys to include some key songs and artists that I accidentally missed the first time around. Thanks to Chris Conroy, Sean T. Collins, Chris Ott, Rob Sheffield, and especially Paul Cox for their help in compiling these mixes. I don’t think this project would’ve worked without Paul, so please send him a shout out if you can.

DOWNLOAD DISC 1

Talking Heads “Once In A Lifetime” / Blondie “Call Me” / Lipps Inc “Funkytown” / Kool and the Gang “Celebration” / Diana Ross “I’m Coming Out” / The Rolling Stones “Emotional Rescue” / Queen “Crazy Little Thing Called Love” / Dolly Parton “9 to 5” / The Pretenders “Brass In Pocket” / The Clash “Train In Vain” / Billy Joel “It’s Still Rock & Roll To Me” / Bruce Springsteen “Hungry Heart” / Daryl Hall & John Oates “You Make My Dreams” / Steely Dan “Time Out of Mind” / Pink Floyd “Another Brick in the Wall Pt 2” / Devo “Whip It” / Mission of Burma “Academy Fight Song” / Squeeze “Pulling Mussels (From the Shell)” / The Police “Don’t Stand So Close to Me” / Van Halen “Everybody Wants Some!!” / Kurtis Blow “The Breaks” / Loose Joints “Is It All Over My Face (Larry Levan Mix)” / Christopher Cross “Sailing”

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U2 “I Will Follow” / Joy Division “Love Will Tear Us Apart” / Colin Newman “& Jury” / Peter Gabriel “Games Without Frontiers” / David Bowie “Ashes to Ashes” / Prince “Head” / Change “The Glow of Love” / George Benson “Give Me the Night” / Cristina “Mamma Mia” / Kid Creole and the Coconuts “Mr. Softee” / Pointer Sisters “He’s So Shy” / The B-52’s “Give Me Back My Man” / Elvis Costello and the Attractions “New Amsterdam” / The Jam “That’s Entertainment” / X “The Unheard Music” / Wipers “Alien Boy” / Ozzy Osbourne “Crazy Train” / Magazine “Because You’re Frightened” / The Cure “A Forest” / Siouxsie and the Banshees “Happy House” / Sister Nancy “Papa Dean” / Jackie Mittoo “Lovers Rock” / Herbie Hancock “4 A.M.”

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The Slits “In the Beginning, There Was Rhythm” / Afrika Bambaataa & Soul Sonic Force “Zulu Nation Throwdown” / Grandmaster Flash & The Furious Five “Freedom” / Paul McCartney “Coming Up” / Chic “Rebels We Are” / James Brown “Rapp Payback (Where Iz Moses)” / Spoonie Gee & The Treacherous Three “New Rap Language” / Sugar Minott “Jah Got the Handle” / Delta 5 “Try” / Y Pants “Off the Hook” / The Pop Group “Justice” / Barbra Streisand “Woman In Love” / ABBA “The Winner Takes All” / Kate Bush “Babooshka” / The Roches “My Sick Mind” / Bob Marley & The Wailers “Redemption Song” / Willie Nelson “On the Road Again” / Van Morrison “Wild Honey” / Bob Dylan “Saved” / Bob Seger & The Silver Bullet Band “Against the Wind” / George Jones “He Stopped Loving Her Today” / Bette Midler “The Rose”

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AC/DC “You Shook Me All Night Long” / Pat Benatar “Hit Me With Your Best Shot” / Judas Priest “Breaking the Law” / Neil Young “Union Man” / Dead Kennedys “Holiday In Cambodia” / Mötörhead “Ace of Spades” / Bush Tetras “Too Many Creeps” / Young Marble Giants “Credit in the Straight World” / Grace Jones “Warm Leatherette” / Chaka Khan “Clouds” / Brother D & Collective Effort “How We Gonna Make the Black Nation Rise?” / Bad Manners “Here Comes the Major” / Stevie Wonder “Master Blaster (Jammin’)” / Jermaine Jackson “Let’s Get Serious” / Donna Summer “The Wanderer” / Daryl Hall “Something In 4/4 Time” / Olivia Newton-John “Magic” / Dexy’s Midnight Runners “Geno” / Madness “Baggy Trousers” / A Certain Ratio “Shack Up” / Glenn Branca “Lesson No. 1 for Electric Guitar” / Fred Anderson Quartet “Black Woman”

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Echo and the Bunnymen “Rescue” / Rush “The Spirit of Radio” / Joan Armatrading “Me, Myself, I” / Killing Joke “Requiem” / Paul Simon “Late in the Evening” / Martha and the Muffins “Echo Beach” / Arthur Blythe “Miss Nancy” / Dire Straits “Romeo and Juliet” / Carlene Carter “Baby Ride Easy” / Kenny Rogers “Lady” / Tom Waits “Jersey Girl” / Yes “Into the Lens” / The Blue Brothers “Gimme Some Lovin’” / The Blasters “Marie Marie” / Captain Beefheart “Ashtray Heart” / The Flesh Eaters “No Questions Asked” / Black Flag “Jealous Again” / The Cramps “TV Set” / Lydia Lunch “Mechanical Flattery” / Cher Never Should’ve Started” / The Vapors “Turning Japanese” / Split Enz “I Got You” / Pete Townshend “Let My Love Open the Door” / Steve Winwood “While You See A Chance” / Air Supply “All Out of Love”

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Ultravox “Vienna” / Roxy Music “Over You” / Oingo Boingo “Only A Lad” / The Birthday Party “Mr. Clarinet” / Orchestral Manoeuvres in the Dark “Enola Gay” / Pere Ubu “Rhapsody in Pink” / The Fall “Rowche Rumble” / The Residents “Perfect Love” / Public Image Ltd “Poptones” / The Feelies “Crazy Rhythms” / The Durutti Column “Sketch for Summer” / Joe Jackson “Beat Crazy” / Ramones “Do You Remember Rock & Roll Radio?” / The Soft Boys “I Wanna Destroy You” / The Knack “Baby Talks Dirty” / XTC “Generals & Majors” / Adam and the Ants “Kings of the Wild Frontier” / The Human League “Being Boiled” / The Cars “Touch & Go” / Boz Scaggs “Breakdown Dead Ahead” / Village People “Can’t Stop the Music” / The Brothers Johnson “Stomp!” / Shalamar “Work It Out” / The Specials “Rat Race”

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Art Ensemble of Chicago “Old Time Southside Street Dance” / Burning Spear “This Population” / Tanya Winley “Vicious Rap” / Kano “I’m Ready” / Teddy Pendergrass “Can’t We Try” / Carly Simon “Jesse” / REO Speedwagon “Keep On Loving You” / Pylon “Cool” / The English Beat “Noise In This World” / Bauhaus “Terror Couple Kill Colonel” / Cabaret Voltaire “Partially Submerged” / Linton Kwesi Johnson “Bass Culture” / Sugarhill Gang “8th Wonder” / Aretha Franklin “United Together” / Crystal Gayle “It’s Like We Never Said Goodbye” / Genesis “Turn It On Again” / Iron Maiden “Running Free” / Conway Twitty “I’d Love to Lay You Down” / Ronny Milsap “Cowboys & Clowns” / Charley Pride “Honky Tonk Blues” / Marcia Griffiths “Feel Like Jumping” / Captain & Tenille “Do That To Me One More Time”

DOWNLOAD DISC 8

John Lennon “(Just Like) Starting Over” / Michael Jackson “Rock with You” / Irene Cara “Fame” / Benny Mardones “Into the Night” / Robbie Dupree “Steal Away” / Dr. Hook “Sexy Eyes” / Smokey Robinson “Let Me Be the Clock” / Maze ft. Frankie Beverly “Joy and Pain” / Ray, Goodman, and Brown “Special Lady” / Ry Cooder “634-5789” / Charlie Daniels Band “In America” / Tom Petty and The Heartbreakers “Refugee” / Joe Walsh “All Night Long” / The dB’s “Black and White” / Hazel O’Connor “Glass Houses” / Barnes & Barnes “Fish Heads” / Weird Al Yankovic “Another Rides the Bus” / The Beach Boys “Goin’ On” / Kelly Marie “Feels Like I’m In Love” / Andy Gibb “Desire” / The Doobie Brothers “Real Love” / 7th Wonder “The Tilt” / Was (Not Was) “Wheel Me Out” / Henry Badowski “My Face” / Ethiopian “Hard Times”

Radiohead @ Madison Square Garden 7/27/2016
Burn the Witch / Daydreaming / Decks Dark / Desert Island Disk / Ful Stop / My Iron Lung / Climbing Up the Walls / Morning Mr. Magpie / Pyramid Song / Bloom / Identikit / The Numbers / The Gloaming / Weird Fishes/Arpeggi / Everything In Its Right Place / Idioteque / There There // Give Up the Ghost / Let Down / Present Tense / Planet Telex / Karma Police /// Reckoner / Creep

• This was my first Radiohead show in a solid decade. This wasn’t for a lack of interest in that time, only that circumstances didn’t work out and I’d seen them many times over between 1996 and 2006. The band remain as great as ever, though I have mixed feelings about the addition of Clive Deamer as a second drummer on about half of the set. Deamer mainly plays on material from The King of Limbs and A Moon Shaped Pool, and helps Phil Selway recreate the dense rhythmic patterns you hear on songs like “Bloom,” “Morning Mr. Magpie,” “Ful Stop,” and “Identikit.” It’s very impressive to witness, though it doesn’t work quite as well as it does on record where they can have more control over the edit and mix. A lot of the time this just sounds cluttered and distracting from the other elements in the arrangement. It’s also a questionable way of showcasing the new material, which aside from King of Limbs leftovers “Ful Stop” and “Identikit” are focused mainly on Jonny Greenwood’s string arrangements and piano parts, floaty guitar parts, and ample negative space. Songs with prominent string parts, like “The Numbers” or “Burn the Witch,” had those parts either transposed to another instrument or cut from the arrangement entirely, which I think cheated them somewhat. I wish they had sidelined Deamer for this tour and brought along a small string section instead.

• Radiohead have always been good about playing a mix of songs from throughout their catalog, and this show in particular included at least one song from all nine of their records. (This is fairly unusual, mainly because Pablo Honey material is only performed on special occasions.) The oldest songs felt like rewards and palette cleansers in this set, but they played them with so much energy that they never felt like pandering. The impression I’ve always had is that they are very proud of what they accomplished on The Bends and OK Computer and enjoy playing those songs, but have largely avoided working in that mode since because a) they have other things they’d like to accomplish b) they’ve already written so many perfect songs in that mode that it’s sort of unnecessary to go back. The difference between the latter day Radiohead songs and the old classics is not so much inherent quality as where they place the emphasis of their craft. The ‘90s material is very streamlined and melodic, and in the context of the King and Moon songs, they felt so much more dynamic. Given how much is going on in a lot of those newer songs, this is pretty ironic. But it is certainly possible to make a song so busy or fussy that it can become inert.

• This was the first time I’ve seen “Planet Telex” performed since 1997, and I was overjoyed to experience that as it may be my all-time favorite Radiohead song. “Telex” and “My Iron Lung” were played in part as a commentary on how bleak the world can seem in 2016. That chorus of “everyone is broken, everything is broken” was extremely cathartic, and Thom Yorke slightly changing the breakdown of “My Iron Lung” to “if you’re frightened, you should be frightened, you should be, it’s OK” felt very pointed and accurate in the wake of Donald Trump clinching the Republican presidential nomination. “Idioteque” also felt very of-the-moment in a rather unsettling way, but overall the darkest sentiments of the show were more like a shared sense of righteous anger and less about fear and hysteria. There’s a bit of hope in Radiohead now, and it’s clearly expressed in “The Numbers”: “The future is inside us, it’s not somewhere else…we’ll take back what is ours one day at a time.”

Radiohead “Decks Dark”

The first two weeks I had A Moon Shaped Pool were spent in Los Angeles, and the imagery of that city is now burned into my mind whenever I hear those songs. “Decks Dark” in particular reminds me of “June gloom,” and overcast skies over Hollywood in the morning. Pastel buildings, blue pools, and palm trees cast in grey light. Traffic and empty streets. I hear all of that clearly in this song’s eerie balance of stillness and restlessness.

“Decks Dark” is essentially the 2016 update of “Subterranean Homesick Alien,” but this time the aliens aren’t here to kidnap Thom Yorke and show him the beauty of the world from a distance, and their presence isn’t some secret he has to keep. In “Decks Dark,” their arrival is very much known as their vast spaceship has blocked out the sky, and everyone must go about their business trying to understand why and waiting around helplessly for something to happen – invasion, death, some transcendental experience, them just going away without explanation. This is a fantastic metaphor for undefined dread and depression, and feeling powerless in the face of everything you can’t possibly know or understand. But as dark as this gets, the most striking thing about it is how resigned it feels. What might have come across as terror in older Radiohead songs is rendered here as a cosmic joke with no particular punchline.

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