I have some tough news. Are you sitting down? Emotionally braced? If you’ve lost a pet in the past month or two may be you should step away. Ready? OK, here it goes: The 878 words on this page comprise the last Trending I will ever write…well, until like December 18th. I know, I know. Breathe. Now breathe again. It’s not going to be easy for any of us and I want you to know that I still love you as I always have— passionately and without condition—but it’s just that there is a half-restored Camaro of a Masters’ thesis sitting amongst the weeds of finals and employment in the shaggy, appliance-strewn lawn that has become my pre-frontal lobe. I could tell you its not you, it’s me—which is true—and I could drive you away with messy sentence structures and Kelly Clarkson singles just so I won’t be “the asshole who ended it”—but I won’t. Instead all I can do is ask you to wait for me, to hold on just a little bit longer, to know that when I return it will be with a newfound veracity that promises really positive growth and experimentation in the bedroom department. This isn’t the end, everyone; it’s the first new beginning.
Entering the world of music now, where this thing does not (but should) resolutely reside, I feel compelled to begin with the slightly more disconcerting and far more dramatic farewell of WU LYF, or at the very least frontman Ellery James Roberts. Accompanied by the band’s apparent swan song “T R I U M P H”, Roberts penned an Axl Rose-ian pillowcase goodbye note including poetic pinups like “WU LYF is dead to me”, “apocalypse looming, I am not going to spend my final hours waiting in purgatory”, and “J C Hung himself up for the easy way out” that seem to suggest the gyre is now fully dilated.
Situated on an entirely different pie-chart slice of the indie circle-of-life are the Mac DeMarco-helmed Warrant TV and their new cassette (yep) APPETITE. Since DeMarco was given the gilded BNM distinction by Pitchfork brass back in early October—quickly followed by several touted CMJ sets (including our own)— the singer/songwriter/whatever-waver’s stock has been sleepwalking up the guitar string-strung rope-ladder, in this case pairing emergences with that of the post-neo-vinyl medium, the cassette. It’s a bull market on the Indie Exchange so check out the full-stream if you’re looking for a low-risk investment opportunity.
Oh, and if you’re still not getting enough of DeMarco’s fuzzy, shag-rug retro fondness then give the VHS-indebted video for “Ode to Viceroy” (a track off his newest solo album, 2) a play, a stop, a rewind, and another play.
In more news that makes us feel, well, like we only go backwards, Tame Impala are sharing their performance of “Feels Like We Only Go Backwards” on Jools Holland’s always-awesome variety show with worldwide bandwidths while Fleetwood Mac got the indie-cover treatment for the second time in three months. Normally I would lather these retreads in so much facetious harassment that by the end of their probably multi-clause sentence my nasally tenor would have all but replaced the Stevie Nicks coo, rendering them all but unlistenable (so much for music journalism). Seeing as “The Chain” and “Second Hand News” are two of my favorite Mac tracks, however, I am willing to let these Liars and Yeasayer reimaginings slide without any ego crotch-shots/senile senior-cit grumblings. If you’re a fan of what you hear, or Rumours in general, make sure to pick up the latest issue of Mojo. Not only will you get the whole cover album, Rumours Revisited, but you will also be helping to protect the endangered-but-beautiful species that is the print music magazine; a medium that MSL (despite our digital serving tray) supports to the coffin and perhaps back.
Dream pop contingent Chromatics, in stark contrast to many of the bands above, tend to occupy a headspace, not a period in time, and their new video for the track “Cherry” plays out as an 8mm testament to that fact. This grainy, spasmodically shot pseudo-making-of-a-video video should provide satisfactory prelude to the band’s upcoming triple LP tome-of-trippy, After Dark II, and help to recalibrate our cross-eyed, not-so-20/20 hindsight perceptions just in time for another “new” year of history-cribbing acts, albums, and jams.
And as long as we are talking about jams, do not miss the Georgian (meaning of Georgia, not the architectural aesthetic) duo Dream Boat, whose aptly-titled debut Eclipsing is a non-FDA approved dosage of woods-wandering psych that boasts performances by former members of Olivia Tremor Control and Neutral Milk Hotel.
Wrapping this whole thing up in suitably maladjusted fashion is jack-of-all-publicity-garnering-trades Wayne Coyne and his McSweeney’s-backed, 50’s-harkening, made-for-radio drama Human Head Shaped Tumor. The hour-long narrative (which you can listen to here) aired on Saturday and featured appearances/tuneful craziness by freak-folk heavy hitters like Bill Callahan, Will Sheff, and Ed Droste among, of course, a Jackson Pollack-esque splash of others. I have yet to devote a full hour to this thing but if you have the time, wherewithal, and hallucinogens, I strongly encourage going for it. See you on the other side, friends.
As always, thanks for listening.