There’s something “magnificent” about Guy Garvey’s voice.
It soothes my musical soul and provides a lush sonic backdrop on a warm Saturday afternoon in mid-February.
Garvey’s voice quickly transports me to a faraway land with purple majestic mountains stacked against the horizon and an azure blue sea crashing up against the beige sand that’s massaging my toes.
This is the mental image I conjure in my mind while hearing “Magnificent (She Says)” by British alternative progressive rock band Elbow.
The first single from Elbow’s seventh album, “Little Fictions,” sets the scene for a 4.5-minute “head-trip” filled with love, hope and personal growth.
Editor’s Note: My husband Brian writes his third post for The Stratton Setlist about the Oct. 12 Loreena McKennitt show at the Michigan Theater in Ann Arbor, Mich.
On Christmas morning in 1994, I opened a gift from my parents that had the unmistakable shape of a CD. As I tore off the wrapping paper, revealing the cover, I was greeted by a woman with a harp, wearing vaguely antiquated clothing, standing on a hill overlooking a lake. It turned out to be “Parallel Dreams” by Loreena McKennitt, an album by an artist I had never heard of.
My dad had heard about Loreena McKennitt on public radio driving home from work one night. He knew that I was interested in Enya and other Celtic and New Age music, so he thought I’d be interested in her as well.
After looking at the hazy album art, I turned the CD over and read through the song titles – “Samain Night,” “Standing Stones,” and “Ancient Pines” among others. They certainly sounded interesting.
In August, Car Seat Headrest made their energetic late night TV debut performing “Fill in the Blank” on The Late Show with Stephen Colbert.
Will Toledo and his three bandmates pounded out the opening track from “Teens of Denial,” the band’s critically acclaimed album that was released in May.
Throughout the performance, “Fill in the Blank” song lyrics flash on four screens behind the band, and fittingly, some of the words are omitted from the lyrics.
Instead, the blank spaces beckon audience members and fans to fill in their own words.
Car Seat Headrest’s “Teens of Denial” features the opening track, “Fill in the Blank.”
As a Car Seat Headrest fan, I scratch my head wondering how I should fill in those blanks. This song couldn’t come at a better time in my life, and in a sense, it serves as my personal anthem.
It’s an anthem of internal struggle and second guessing – Who am I? What am I doing? What have I accomplished? Where should I go next?
These four questions periodically enter my head and cause me to re-evaluate my life choices and direction.
A new Empire of the Sun album, “Two Vines,” will feature contributions from Lindsey Buckingham, legendary Fleetwood Mac guitarist, vocalist and producer.
The Australian electronic music duo announced the Oct. 28 release of their third studio album Monday and debuted a new single, “High and Low,” on KROQ’s Kevin & Bean show in Los Angeles today.
“Two Vines” will feature “High and Low,” a new mix of the 2008 smash “Walking On A Dream” and 13 other tracks, including “To Her Door,” which includes guitar and harmonies by Buckingham.
The photo featured Empire of the Sun’s Luke Steele demonstrating a guitar chord for Buckingham in a Los Angeles. I smiled instantly at the thought of a newer artist working with a legendary guitarist and singer like Buckingham.
I’m convinced Taylor Goldsmith and I would be great friends.
Like the Dawes lead singer and guitarist, I reflect on the life choices I’ve made and wonder where I’m headed.
I also find meaning in everyday situations – late night drives, extra chicken wings, western skylines, cross-country flights, drinks at a bar and passing conversations – and believe they define me.
I see a similar pattern of thoughts recurring throughout Goldsmith’s lyrics for Dawes’ four studio albums – “North Hills,” “Nothing Is Wrong,” “Stories Don’t End” and “All Your Favorite Bands.”
In Dawes’ music, Goldsmith isn’t afraid to admit he’s made mistakes, taken the wrong path or wished for different outcomes. His introspective songs invite listeners to learn from his actions and apply “his plans of attack” to their current challenges.
When I was a kid, I used to leave my small purple crystal lamp on all night.
The lamp’s bright glow illuminated my small nocturnal world, where I delved into late night reading, TV viewing and music listening. Its 100-watt incandescent bulb also served as the spotlight for my creativity – poetry, short stories and vinyl albums – during carefree weekend and summer nights.
Unfortunately, the lamp dimmed from my memory after I went to college, but its warm sheen cast brief, intermittent flashes of creativity in my subconscious for nearly two decades.
One of those intermittent flashes shined brightly enough to catch my attention in December 2014. At the time, I was driving home from work while listening to Modest Mouse’s “Lampshades on Fire” single on SiriusXMU.
The green, orange and red beaded butterfly curtain is my passageway to another land.
As I hear the beads collide against one another, I feel the energy change around me. The laws of science no longer apply and the power of logic is defeated by magic and art.
I’ve just stepped inside a medieval land dominated by knights, dragons, elves, wolves, wizards and royalty.
Radiant hues of sap green, yellow ochre, phthalo blue and alizarin crimson adorn the mystical landscape. The brilliant scenery is a painting in my mind’s eye that comes to life to right before me.
As I absorb the lush beauty around me, I suddenly hear a voice cry out:
“Can you tell me where my country lies?”
I quickly turn my head and see Peter Gabriel singing a cappella to me dressed in shiny plate mail wearing a galea.
Gabriel’s question is the opening line to Genesis’ 1973 prog classic “Dancing With the Moonlit Knight.”
The door to our hotel room slowly clicked open at 5 a.m.
I grumpily shifted in my sleep on June 14, 2008 as I heard my brother Steve creep into the DoubleTree hotel room. He quietly tried not to wake Brian and me after spending all night at Bonnaroo, but I was already up.
After opening both eyes, I saw his feet and legs were covered in mud, while the smell of sweat, rain and humid Tennessee air filled the room.
“Are you just getting back now?” I asked.
Steve triumphantly looked at me and said, “Yes, My Morning Jacket played for four hours in the rain at Bonnaroo tonight. It was one of the best live shows I’ve ever seen.”
“Was it really worth staying out all night?” I asked.
“It was. You guys should have stayed,” Steve said.
“No artist is worth standing in the rain for four hours in the middle of the night to watch,” I said.
“Your loss,” Steve said with a victorious smile.
“Whatever,” I tiredly muttered and rolled my eyes as I went back to sleep.
Sadly, he was right. It’s not often I admit that, especially since I’m the younger sibling. (Steve will do a victory dance when he reads this part.)
I didn’t reflect back on that memory until two years later when I stood in the rain at My Morning Jacket’s May 2, 2010 show at Lifestyle Communities Pavilion in Columbus, Ohio.
The moment I hear the eerie echoes and whistles I’m instantly transported to another dimension.
The dimension I’m entering is “The X-Files,” which features the iconic TV theme developed by composer Mark Snow in 1993.
“The X-Files Theme” represents the hidden paranormal world I find so fascinating throughout the beloved sci-fi series.
It’s only in the last year “The X-Files Theme” has played loudly in the foreground of my life. The theme was always there. I just had to listen closely enough to hear it.
In the late ‘90s, I heard quiet whispers of the theme, but it wasn’t enough for me to stop and listen.
In June 1998, I heard the TV theme and entire score for “The X-Files: Fight the Future” while watching the movie. My husband Brian and I went to see the movie since a college friend was a diehard fan. I enjoyed the movie, but for some reason my interest in the show didn’t stick.
I flipped through the pages of SPIN magazine’s September 2010 issue and noticed a photo that made me smile.
The photo showed Kim Schifino of Matt and Kim standing on a drum throne holding her drumstick proudly in the air before crowd of thousands at New York’s Coney Island in August 2010.
With bandmate Matt Johnson sitting nearby at his keyboard, Schifino made her signature move to pump the crowd up.
Those guys look like fun, I thought. I need to check out one of their shows.
Later that month, I noticed Matt and Kim had a show scheduled at Detroit’s Majestic Theater. I bought tickets to the show without even knowing what their music sounded like.
I had a gut feeling they wouldn’t let me down, and I was right.
