October Retrospective: Stars and Trench Wanderers
I know I haven't written a post in a while, but I only write when I feel the urge. I find things end up more compelling that way. Plus, I need a break from working on my thesis... With that in mind, I felt particularly compelled to write about these October releases - all have greatly informed my most recent thoughts on pop culture, and I wanted to share those thoughts with the world!
I'm also trying something a little different than usual by combining three reviews into one! Please bear with me if it's long - these things are mostly stream-of-consciousness.
Without further ado, here are my October reviews:
Twenty-One Pilots' breakout album Blurryface (2015) was a smashing pop breakout thanks to singles "Stressed Out" and "Ride," and the follow-up release "Heathens" proved they could still write songs that hundreds of millions of people wanted to hear. Even so, nothing from that group of tracks could have prepared audiences for the conceptual heavyweight that is Trench. Primed to make their most accessible pop album and bow to media pressures to break through to an even wider audience, they instead chose to make their most gripping musical experience to date.
From first listen, the variety of musical styles is drastically apparent even in just the first four songs: "Jumpsuit" and "Levitate" stand as some of the groups best by melding a heavy alternative rock build-up with sparse and literate rap, while "Morph" and "My Blood" turn out vocal showcases of modern R&B and funk influences. This expansion of their sound seems natural, as their past work has famously been a cross-pollination of popular styles. The consistent quality of these style applications adds the most noticeable difference on Trench, as well as the beautiful mess of the lyrical concept.
To dig deep into the concept, you should check out the Wikipedia page for Trench, cobbled together numerous interviews to piece the album's inspirations together. In short, I can tell you that Twenty One Pilots have found inspiration in Zoroastrianism, the now-fading religion that influenced Islam and Christianity. Familiar characters return from Blurryface, including this eponymous amalgam as the head bishop of the Zoroastrian city of Dema called Nico (short for Nicolas Bourbaki). This conflation is hardly fan service, but instead complex puzzle presented to anyone who dares listen. The lyrics are far more universal than they appear on the surface: "Leave this City" shows singer/songwriter Tyler Joseph's struggle with Christian beliefs, while "Neon Gravestones" discusses media glorification of suicide. Though it seems dark (and even bleak on occasion), there is a running current of hope throughout, which surprisingly never gets lost on the listener.
Trench blends high concept and musical diversity for a greater exploration of dark lyrical themes through their brooding and cathartic music. It is not, however, meant to feel exclusive or inaccessible. A band as famous as Twenty One Pilots would never intentionally shake their popular appeal, but this time around it is not the goal of the music. On Trench, the band wants to create - and the result has something for everyone. They write for the fans, creating a fantastic maze that requires multiple listens to solve; they write for the public as well, hoping the casual listener will catch a hook and stay long enough to hear something that will move them.
Ultimately, Trench is for themselves, which is nowadays a rare but worthy approach for songwriting. Coasting on a team of pop producers may give plenty of Spotify spins, and writing for fans can make an underground hit that never breaks into full stardom. However, by trying to wrestle with difficult subjects and musical endeavors, an artist can make something resonant, and that is what this album does expertly - resonate. It ripples and sticks in your ear more than almost any other of the year, and for that alone it is impressive.
The music of 2018 hardly escapes the political climate of the US - coming right in the midst of midterm elections, this release warrants a comparison to the difficulties surrounding all of us as well as any other. The ongoing struggles in daily life reflect the messages of Trench, which demonstrates both individuality and community within its text. By finding an intersection where he can both vie for important truths and mediate his demons, this group has produced an essential document of 2018 listening. Trench presents personal and universal musings to the world in the form of catchy pop songs, urging listeners to dig deep into the problems of themselves and the broken world around them. At least we don't have to do it alone.
I'm also trying something a little different than usual by combining three reviews into one! Please bear with me if it's long - these things are mostly stream-of-consciousness.
Without further ado, here are my October reviews:
Twenty-One Pilots - Trench
Twenty-One Pilots' breakout album Blurryface (2015) was a smashing pop breakout thanks to singles "Stressed Out" and "Ride," and the follow-up release "Heathens" proved they could still write songs that hundreds of millions of people wanted to hear. Even so, nothing from that group of tracks could have prepared audiences for the conceptual heavyweight that is Trench. Primed to make their most accessible pop album and bow to media pressures to break through to an even wider audience, they instead chose to make their most gripping musical experience to date.
From first listen, the variety of musical styles is drastically apparent even in just the first four songs: "Jumpsuit" and "Levitate" stand as some of the groups best by melding a heavy alternative rock build-up with sparse and literate rap, while "Morph" and "My Blood" turn out vocal showcases of modern R&B and funk influences. This expansion of their sound seems natural, as their past work has famously been a cross-pollination of popular styles. The consistent quality of these style applications adds the most noticeable difference on Trench, as well as the beautiful mess of the lyrical concept.
To dig deep into the concept, you should check out the Wikipedia page for Trench, cobbled together numerous interviews to piece the album's inspirations together. In short, I can tell you that Twenty One Pilots have found inspiration in Zoroastrianism, the now-fading religion that influenced Islam and Christianity. Familiar characters return from Blurryface, including this eponymous amalgam as the head bishop of the Zoroastrian city of Dema called Nico (short for Nicolas Bourbaki). This conflation is hardly fan service, but instead complex puzzle presented to anyone who dares listen. The lyrics are far more universal than they appear on the surface: "Leave this City" shows singer/songwriter Tyler Joseph's struggle with Christian beliefs, while "Neon Gravestones" discusses media glorification of suicide. Though it seems dark (and even bleak on occasion), there is a running current of hope throughout, which surprisingly never gets lost on the listener.
Why this album is important:
Trench blends high concept and musical diversity for a greater exploration of dark lyrical themes through their brooding and cathartic music. It is not, however, meant to feel exclusive or inaccessible. A band as famous as Twenty One Pilots would never intentionally shake their popular appeal, but this time around it is not the goal of the music. On Trench, the band wants to create - and the result has something for everyone. They write for the fans, creating a fantastic maze that requires multiple listens to solve; they write for the public as well, hoping the casual listener will catch a hook and stay long enough to hear something that will move them.
Ultimately, Trench is for themselves, which is nowadays a rare but worthy approach for songwriting. Coasting on a team of pop producers may give plenty of Spotify spins, and writing for fans can make an underground hit that never breaks into full stardom. However, by trying to wrestle with difficult subjects and musical endeavors, an artist can make something resonant, and that is what this album does expertly - resonate. It ripples and sticks in your ear more than almost any other of the year, and for that alone it is impressive.
The music of 2018 hardly escapes the political climate of the US - coming right in the midst of midterm elections, this release warrants a comparison to the difficulties surrounding all of us as well as any other. The ongoing struggles in daily life reflect the messages of Trench, which demonstrates both individuality and community within its text. By finding an intersection where he can both vie for important truths and mediate his demons, this group has produced an essential document of 2018 listening. Trench presents personal and universal musings to the world in the form of catchy pop songs, urging listeners to dig deep into the problems of themselves and the broken world around them. At least we don't have to do it alone.
Cat Power - Wanderer
Cat Power (aka Chan Marshall) has not made music this necessary in many years. What caused the change in the many years since Sun (2012)? Namely, it turns out it was a baby, a label change, and of course a case of hereditary angioedema, a disease that involves her throat swelling up according to Wikipedia. These life-altering events are the kinds that break you down, and with that Marshall has broken down her music as well. Wanderer rarely goes above the most sparse arrangement possible, yet holds an extremely resonant beauty (check out the opening title track). Her blend of atmosphere and melancholy suits the intimate introspective lyrics, all of which come across as depressing but in an affirming rather than (overtly) bitter way.
One of the best uses of this is on "Woman" - the lyrics are certainly powerful and very personal alone, but as a duet with Lana Del Rey, the unified, celebratory elements emerge, and ultimately the song shows great pride in the singers' womanhood. The following three songs have an equally impactful bittersweetness, with "Horizon" and "Black" tugging the heartstrings better than almost any other song she has written. The Rihanna cover "Stay" works far better than it should, emphasizing its vulnerability with an even more stripped down and tender arrangement. Despite Marshall's delicate presentation, not one song on Wanderer feels weak. She uses her powerfully alluring voice to carry every track with weight and strength, an ability reserved for artists who have now been doing this for ten albums.
One of the best uses of this is on "Woman" - the lyrics are certainly powerful and very personal alone, but as a duet with Lana Del Rey, the unified, celebratory elements emerge, and ultimately the song shows great pride in the singers' womanhood. The following three songs have an equally impactful bittersweetness, with "Horizon" and "Black" tugging the heartstrings better than almost any other song she has written. The Rihanna cover "Stay" works far better than it should, emphasizing its vulnerability with an even more stripped down and tender arrangement. Despite Marshall's delicate presentation, not one song on Wanderer feels weak. She uses her powerfully alluring voice to carry every track with weight and strength, an ability reserved for artists who have now been doing this for ten albums.
Why this album is important:
Without albums like Wanderer, it is easy to see music as a product. Record executives may ultimately produce the music we love, but deep down we feel that they are following the formula that returns them the most money and popularity. Cat Power is an artist, and with her art comes artistic integrity. I can only imagine the difficulty for any musician to come out of life-threatening illness, child rearing, and over 20 years of networking with Matador Records to make an album. But Cat Power knows what she wants to do, and she knows what her fans want to hear. There is no catchy hit single or pop accessibility on Wanderer, but I doubt anyone willing to listen to the album front-to-back will even care.
Marshall demonstrates on Wanderer that it is okay to have an artistic vision. She knows now that the traditional pop music cycle is not always the best format for producing worthwhile music for her. She is not ashamed to have her voice heard, and I think that is something to be admired. Plus, how badass is it that someone (especially a female artist in a male-dominated business) was able to stand up to her producers and say "this is the album I want to make, and if you won't release it, I'll find someone who will?" I can hardly think of anything better.
A Star is Born (Bradley Cooper)
Without a doubt, the 2018 remake of A Star is Born is a good movie. One of my friends says it will win the Oscar for Best Picture, and I doubt anyone would be surprised if it did. I think A Star is Born is more notable as a rare case in which the film and soundtrack are of very similar quality - one does not seem subservient to the other despite the "musical" genre tag. Honestly, A Star is Born is a drama (as almost all great musical films are), and like all dramas, the "text" is as or more important the music. The film did not need to be remade (my first thought seeing the trailer was that literally no one of asking for this); still, Rotten Tomatoes nails the description that "some stories can be just as effective in the retelling."
One particularly crucial aspect is that the performers had a large part in the film and music's production. While Bradley Cooper demonstrates that his direction skills still need to be honed, he has shaped his character, Jackson Maine, very successfully. Maine sounds nothing like any other Cooper role, with a deep, gravelly voice and a demeanor weighed down by some serious issues. Both he and Lady Gaga embody their characters so well that the audience easily gets lost in the story. By writing and producing these songs as well, Cooper and Gaga become fully enveloped in the characters thoughts and desires, and that extra element wonderfully shapes the experience of the film and soundtrack.
Of course, they also were helped by a star-studded cast: most involved was Lukas Nelson who co-wrote and produced seven tracks, but Jason Isbell ("Maybe It's Time"), Diane Warren ("Why Did You Do That"), and Mark Ronson and Andrew Wyatt ("Shallow") contribute some of the best songs in the film. Still, one cannot downplay the effect that Cooper and Gaga contribute, especially to the film and score respectively. Cooper's continual intimate close-up shots become an essential interaction with the characters, and despite being a musical, there are moments so quiet that you will hold your breath to preserve the silence. Gaga's lyrics are like a well-written script, never feeling out of place and always staying in line with the plot.
Why this album is important:
This unusual level of involvement from the main actors of A Star is Born is particularly elevating in a way that could not have happened otherwise. Cooper and Gaga are not stepping into someone else's shoes, so to speak; they have both done the work and put in the time to make and become these characters. Ally is practically a mirror of Lady Gaga, who is a superb tunesmith but made a name for herself through glossy chart-topping pop music. Both characters feel natural because the actors try to become the characters, and they mold their reactions based on their interpretations of the characters. They can more naturally play off each other's emotional states because they are allowed the freedom to do what they want in the acting and music.
Of course, the film has its derivative archetypes, but it delivers so well that the audience does not care. We all know what happens in the end, and it will still make you cry when Ally and Maine sing "I'll Never Love Again." This film shows the tried-and-true style done right, which makes 10% of audiences cry "Oscar-bait" and 90% to say "So?" Musical films are not everyone's favorite, but you cannot deny that the emotions of the characters feel real. The way the film and its songs will cement into your brain is worth the experience. While by no means will it be my favorite film of the year, it's hard to escape this movie's universality.
Also, a note about the soundtrack: skip the dialogue tracks. They are designed to create an experience akin to watching the movie, but all they do is slow the momentum of an already lengthy but otherwise solid set of songs. The extra 30 seconds between almost every song don't add enough to the story but are still long enough to make you bored. Highly recommended to delete from the queue.
Thanks for reading!
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