'Time Was Meant to Stay' - a review of both How to Dress Well's new album and live show
It’s okay to be a “sad” person; it’s okay to struggle with a
debilitating depression or crippling anxiety. And in those states, it becomes
very, very easy to let it take over your life.
If there’s a moral, or some kind of take away from the new
How to Dress Well record, aptly titled Care,
it’s that while it is okay to grapple with the feelings that come from being
aware of the human condition, one has to remember what it’s like to feel something
else instead—what it’s like to feel good, or happy, or even to want to have fun
(if you can even remember what that’s like.)
Let’s back up for just a moment here and talk about the
progression of How to Dress Well over the course of the last six years. It’s
something that I’ve probably mentioned every time I’ve written about the
project, but it’s something that cannot be overlooked.
For the most part, How to Dress Well is the work of one
guy—Tom Krell, who started anonymously uploading music online in 2009. It was
shadowy and murky. It was “lo-fi R&B”—drenched in reverb and cavernous
noise. His self-released EPs started gaining him attention, and in 2010, Krell formally
released a collection of material from those EPs entitled Love Remains.
You could always hear the pop music leanings in his music—it
was in there, somewhere, lurking under all those lo-fi aesthetics. I read it
described once as what it would be like for a younger brother hearing his older
sister’s stereo playing Top 40 radio in the early 90s—muffled and coming
through the wall, or through the floor.
Krell started to strip away the reverb, and began bringing
his voice higher into the mix, and bringing himself out into the forefront as a
performer with 2012’s Total Loss—a
meditation on the death of his best friend.
As an artist, with each How to Dress Well album, Krell
continues to outdo himself. Two years ago, on “What is This Heart?,” I
summed up the record by saying he was making “good pop music for adults.” He
again was still evolving as an artist, relying less on the shadowy murk of his
earlier efforts, and pushing the boundaries of what “pop” music is. In a recent
interview with Vogue, w/r/t Care, he said “ I made a record
that’s actually an alternative pop record to populist pop, but is still
nevertheless just pop. I want to make music that’s formally pop, but sonically
extremely adventurous and then does things lyrically that just would fucking
make every major label A&R cringe.”
Putting it mildly, Care
is a huge, ambitious pop statement—by enlisting a bevy of producers, Krell and
his team have created a texturally dense record that manages to be thought
provoking and fun while never sacrificing its pop sensibilities and
accessibility to listeners.
As a lyricist, Krell lays it all on the line on Care—while his lyrics were always very
personal, it is here that he is most direct. Here, he’s completely self-aware
and made by these times, for these times.
On “Salt Song,” he uses dream logic to talk to his younger
self; on “Anxious,” he sings about having a nightmare regarding his Twitter
mentions; on the return to his dark, claustrophobic sounds in “The Ruins,” he
states if you’re going to have a breakdown, to do it all online. On the
breathtaking “They’ll Take Everything You Have,” he shouts out the current year—but
then adds “we fell off the globe”—only
adding to the sense of immediacy and urgency of this collection of songs.
“Change is hard,”
Krell sang as the opening line to the album’s first single, “Lost You/Lost
Youth.” And yes, change is hard—the change in Krell’s sound (i.e. the complete
embrace of a pop sound) as well as the absolute earnestness of his lyrics may
be difficult for some who preferred he remain in the shadows, drowning in
reverb.
And yes, while a change in sound or a shift in style may be
difficult to manage for some artists, and have listeners waxing nostalgic for
the glory days of their earlier material, this growth has been gradual over the
course of Krell’s four full-length efforts, and Care is the next logical step forward for him sonically.
The album itself is structured to work well as a whole, and
is sequenced to culminate into something much larger than itself. Yes, of
course there are songs that are much more successfully executed than others,
and there are songs that are more fun to listen to than others, but to get the
whole picture of Care, it’s best to
start from the beginning because the album itself, as an entity, doesn’t let up
until the somber piano key tinkles of the untitled unlisted track at the end
fade out into the ether.
Care begins with a
near flawless five-track run, leading from Krell’s “sex positive consent
anthem” “Can’t You Tell,” down into the descent of the noisy “The Ruins.” He
picks things back up with “Burning Up,” before heading into what I deem the
“feel good” section of the record—the Postal Service-vibes on the frenetic,
energetic “I Was Terrible,” and the carefree double shot of “Anxious” and “Time
Was Meant to Stay.”
I often refer to Krell’s music as How to Dress Well as a
triumph of the human spirit. Total Loss
was a cathartic experience, and it came along at a time in my life when I
needed it the most. He chooses to conclude Care
similarly to how “What is This Heart?”
ended—and that is in a life-affirming, bombastic, and powerful way.
“If you ever need
care, then just let me know,” he sings on “Made a Lifetime,” the pensive
and rhythmically driving track that makes way for “They’ll Take Everything You
Have,” a closing track to end closing tracks, where Krell piles on the layers
of sound to bring everything crashing down around you.
The aptly “Untitled” unlisted track arrives after that—and
in the days of mp3s and digital albums, are hidden tracks even a surprise
anymore? “Help a child understand its sadness.
This is a song I thought I should sing,” Krell declares in a song that
serves as a bit of an afterward to the eleven that preceded it.
Not so much a ‘concept album,’ but teetering into something
that I would call a ‘song cycle,’ the idea of “care” resonates throughout. Care is a hopeful record and even in its
darkest corners, it is brimming with light and positivity. Is it a perfect
record? No—it has its flaws, like any record does, but as a whole, it is an
impressive undertaking, both for Krell as an artist and performer, as well as
what the idea of “pop” music is capable of.
Krell’s tour in support of Care began with a show in his adopted hometown of Chicago on the
day of its release, then making the trek up to Minneapolis on Saturday, Sept.
24th with a return to the 7th Street Entry.
I’ve had the pleasure of seeing Krell’s live show twice—once
in December, 2012 (at The Entry) with his tour in support of Total Loss. He returned in March of 2013, playing at the Triple Rock Social Club, on a co-headlining jaunt with Sky
Ferreira.
I had intended on seeing his tour in 2014 in promotion of “What is This Heart?,” but, long story short, an anxiety
attack the day of the show prevented me from going.
In seeing How to Dress Well twice prior to his recent
performance at The Entry, it is interesting to see how his live show has
changed and grown along with his music—for starters, the visualizations that
use to accompany each song are gone now, and most noticeably, Krell is flanked
by an actual band on stage.
In previous performances, he was joined by one or two
additional players assisting with various laptop usage, sample triggering,
keyboards, or live violin. To translate the sound of Care to the stage, Krell has enlisted a drummer, and two multi-
instrumentalists, both of whom also happened to be in the band opening up for
him on this fall tour, Ex Reyes.
Krell himself still stands front and center, frenetically
writhing between two microphones—one effected heavily by cavernous reverb, the
other now boasting the addition of a Helicon Voicelive processor to generate
additional effects on his vocals.
With four albums to his name, the band has more of a canon
to choose from for its live sets. With the Minneapolis show, Krell relied
heavily on new material from Care,
playing eight of the album’s twelve songs, with the addition of his all-time
set closer “Set it Right” from Total Loss,
along with a revitalized version of “Suicide Dream 1.”
“& It Was U” and “Repeat Pleasure” were the other two “oldies”
to be featured, along with an acapella Beyonce cover at the start of the
encore.
During previous How to Dress Well performances, I wouldn’t
go so far as to say the mood was “somber,” but save for an anecdote about
hanging out with Maxwell, listening to Juicy J, I don’t remember Krell being as
chatty with the audience as he was on Saturday—taking time for a Q&A early
on, explaining what some of the new songs meant (going so far as to call
“Burning Up” a “country banger,”) recalling stories about his past experiences
in Minneapolis (including accidentally breaking and entering into an apartment
he thought belonged to someone else,) and cracking jokes with Mikey
Hart—frontman for Ex Reyes, and one of Krell’s bandmates on the tour.
“Sorry for so much stand-up,” Krell casually said at one
point in between songs—though the crowd did not seem to mind, and it was
refreshing to see him having so much fun on stage—both when singing, and not
singing—and the demeanor of the banter only added to the positive and hopeful
tone of the new material.
Translating an album as dense as Care to the stage was probably no easy task, and the band had no
trouble both updating the older material to a full-band sound, as well as
recreating the energy from the new record. It was obvious that Krell was having
a blast singing these new songs.
The first time I saw How to Dress Well perform live at The
Entry, you could have heard a pin drop in between each song. It was an intimate
show, and everyone in the audience wanted (or in some cases, needed) to be
there. You can never be sure what to expect from others at a concert—and
sometimes it is a surprise to discover what kind of people like the same music
as you. The audience at the Triple Rock Social Club show in March 2013 was not
as respectful or rapt—there were three college-age girls in front of me who
continued their conversation while Krell was warming up on stage, and the
chatter from the crowd in between songs grew louder the deeper he got into his
set.
Audiences at The Entry and in the First Avenue main room can
be hit or miss. Sometimes people are surprisingly respectful, and other times,
you’re standing next to someone who isn’t as big or serious of a fan as you
are, and they are talking to their friend during the entire show. Saturday
night’s concert was a 2/3rd’s mix—a majority of the crowd wanted to
be there, but as the evening went on, again, the audience chatter between songs
increased. It was specifically frustrating as Krell was attempting to explain
the inspiration for “Salt Song.”
Balancing the mix of new, joyful material with older, fan
favorite, and more emotionally weighted songs is not easy. Would I have been a
little happier had they band played “Ocean Floor for Everything” or “Talking to
You?” Yes, of course, but a setlist isn’t designed to please just one person in
the audience. How to Dress Well’s show in Minneapolis brought a well executed
blend of fun and catharsis, which at this point, was precisely what I needed it
to be.
How to Dress Well is on tour nationally and internationally until the end of November. Care is available now via Weird World/Domino on 2xLP, standard single LP, and compact disc.
How to Dress Well is on tour nationally and internationally until the end of November. Care is available now via Weird World/Domino on 2xLP, standard single LP, and compact disc.
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