Hot New Joints: David Bowie and Atoms For Peace
“Where Are We Now?” by David Bowie
This morning, in checking the music news, I let out an
audible “oh shit” when I saw the headline that David Bowie was releasing a new
album (his first in a decade) and that the first single off of it was available
AT THAT VERY MOMENT.
It’s funny that David Bowie has chosen now to return to
music. Everybody presumed that he had retired from recording and performing,
and it’s fascinating that he was able to quietly record a new record, and
announce its arrival in two short months.
As a gigantic Bowie fan, I had given thought to writing a
piece about him for this blog—specifically his decade of musical silence. So I
guess don’t have to write that piece.
“Where Are We Now?” is the first single from the forthcoming
album The Next Day. The song strikes
a balance between grand and reserved—Bowie turned 66 today, and you can
certainly hear that in his voice. But that’s not a bad thing at all. It
actually serves this song very well.
Musically, the song sounds very warm and lush—expertly
produced by long time Bowie collaborator Tony Visconti. While many naysay
Bowie’s last 20 years of work—beginning with anything released after Scary Monsters and ending with 2003’s Relativity, for some reason it is
strange for me to hear “modern” production values on a classic artist like
this.
The feeling the song gives off, upon my initial listens, was
similar to “Strangers When We Meet,” the closing track off of his bizarre 1995
album Outside. “Where Are We Now?”
burns much slower though, but is equally as somber in tone.
Some, who may be reading way too much into this, are seeing
this new album as a call back, or some kind of response, to his land mark 1978
record “Heroes.” There’s the title—The Next Day—it could be taken as the
day following the “just for one day,” from the song “Heroes.” There’s the
unsettling video for “Where Are We Now?” that features Bowie’s face, and some
unidentified woman’s face superimposed on two small stuffed dolls—apparently an
allusion to West and East Berlin. Then there’s the cover art itself, which has
caused quite a stir already.
Naysayers will say nay to revered, elder artists who
continue to release new albums. There hasn’t been talk of a tour in support of
this record, but many would probably go to a Bowie concert to see him play the
hits—not the new stuff.
I hope that the musical landscape of 2013 is ready for
something new from David Bowie. It will
be interesting to see how this record fits in with contemporary popular music,
as well as in the Bowie canon. The idea of a new David Bowie album is something
that I haven’t give much thought to, so the fact that this is right around the
corner is a strange feeling. I have faith that the rest of the record will
build on the promise of this single.
“Judge, Jury, Executioner” by Atoms For Peace
On New Year’s Day, my wife and I were in the car. Rather
than fumble around with what cds to bring with us, I opted to listen to the
radio—something we really don’t do all that often. The station I picked is a
rather popular station based out of the twin cities—89.3 The Current. Perhaps
you’ve heard of it?
It’s part of Minnesota Public Radio, and at one point, early
in its inception, The Current was a really great, really diverse radio station.
I distinctly remember The Twilight Singers’ cover of “A Love Supreme” once when
listening, way back in the dark ages of 2005. At the time, I recall thinking to
myself; “this is a radio station for me.”
Cut to eight years later. The Current, while much loved by
many, has become an awful station—losing sight of what it originally set out to
do. While it is “public radio,” it is blatantly commercial in the sense of the
songs that it has to play. The
Current is also “member supported,” so they are constantly begging for your
money. If you become a member, you get the cd of the week—and I can recall in
August of 2011 hearing an advertisement inciting you to become a member,
because if you did, that week’s reward was the latest Red Hot Chili Peppers
record.
Need I say more about how un-current The Current has become?
But I digress. On New Year’s Day, The Current was counting
down its Top 89 songs of 2012, as picked by listeners who voted online. One
song I heard while we were in the car, much to my surprise, was the debut single
from Atoms For Peace, entitled “Default.”
Atoms For Peace formed in 2009 when Thom Yorke (perhaps
you’ve heard of him) wanted to go on tour and play songs from his 2006 solo
effort The Eraser. So he recruited a
band to come along with him. Sticking out like a bit of a sore thumb in the
line up was, Flea, of the Red Hot Chili Peppers (coincidentally enough,) on
bass.
As “Default” ended, the on air personality came back, and
proceeded to say “everything that features Thom Yorke on vocals sounds like
Radiohead,” and then went on to complain about not being able to hear Flea in
the song at all.
I bring up this somewhat longwinded story for this
reason—Atoms For Peace really doesn’t sound like Radiohead. Sure, they share
the same unmistakable vocalists, but the sound, and the feel, is completely
different.
It’s pretty common knowledge; I think anyway, that Thom
Yorke prefers to listen to more beat oriented, electronic music when he’s not
writing and recording with Radiohead. His solo effort threw many for a loop
since it was so drastically different from what people were accustomed to
hearing. And while Atoms For Peace is still five people playing together (same
as Radiohead), the results are different.
The new Atoms For Peace single, “Judge, Jury, Executioner”
proves that point. Taken from their forthcoming debut LP Amok, due out in February, there are elements of this song that I
argue you wouldn’t find within Radiohead’s output. Rhythmically, it’s based
around a very strong bass line (hey, there’s Flea!), along with handclaps and
light percussion. Oh and sure, once Yoke comes in singing and the acoustic
guitar plucking begins, you could draw some parallels to Radiohead there—but
there’s something about this song that lets you know that it is, in fact, not Radiohead.
“Judge” is the second single off of Amok—an album that only contains nine tracks. A “lean motherfucker”
is how Yorke would probably describe it (that’s a direct quote on how he felt
about The Eraser—also containing nine
songs.) I look forward to Amok’s
arrival to hear what else this group can do to distinguish itself as its own
band.
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