The Exhilarating Emotional Heights of Jamie xx’s “Loud Places”

“I have never reached such heights / I feel music in your eyes.”

The ultimate power of music lies in its ability to channel feelings, memories, and emotions. You can be transported back to places you cherish, alongside people you love, at the click of a “play” button. You’re back in the stands at that high school football game, back at that party where you made your crush laugh, back on that road trip you took with your college friends.

Jamie xx knows music has this power. In fact, he knows it so well that his songs don’t just invoke memories — the music is literally about the concept of music invoking these memories. The production on his latest album, In Colour, was inspired by underground London raves in the ’90s, but it’s not meant to actually sound like the trip hop blaring on those club dance floors. In Colour is meant to encapsulate the feelings and emotions associated with going to a late-night rave in the city. The highs and lows, the excitement and the loneliness, the boundless elation and the quiet disappointment associated with a night full of adrenaline and expectations. These aren’t the songs that were playing at that high school football game, or the party, or the college road trip — these are songs that remind you of what you were feeling during those events.

Right in the heart of In Colour lies the musical and emotional climax, “Loud Places.” Jamie xx, who rose to prominence as the backbone of The xx, employs his bandmate Romy Madley-Croft to sing about “[going] to loud places to search for someone to be quiet with, who will take me home.” She also reflects painfully on her ex, who “[goes] to loud places to find someone who will take you higher than I took you.” The subject matter is melancholy, to be sure, but the music itself is uplifting in its wide-eyed wonder. A nostalgic haze hangs over the song, as the various electronic and instrumental elements fade in and out of focus — the rhythmic bells and whistles, the handclaps, the single guitar lick. The bass hums so deeply that it feels like it’s coming from inside your chest, with the thumps of the drum machine as the heartbeat. That build-up of thumps eventually leads to the most perfect, pure element of the song: a gospel chorus breaking through the surface and releasing the tension.

The chorus is a sample of Idris Muhammad’s 1977 song “Could Heaven Ever Be Like This.” The lyric goes, “I have never reached such heights / I feel music in your eyes.” It’s a beautiful couplet that furthers Jamie xx’s meta intentions of paying tribute to music. The chorus is not bombastic or attention-grabbing. In fact, you may not find it special or distinctive at all. But it’s the context that Jamie xx gives the chorus that make it truly special — the combination of crescendoing drums and Madley-Croft’s dramatic “didn’t I take you to higher places you can’t reach without me?” line preceding it, along with the bass, piano, and handclaps that accompany it. These sophisticated surrounding touches are what Jamie xx does best.

That chorus appears three times throughout the song (at 1:01, 2:38, and 3:30). In the first two instances, the piano and percussion are also prominent, competing for space right along with the voices. The third time, the piano and additional sound effects are buried in the mix, leaving room for that beautiful chorus to dominate. Combined with the deep and permeating drum beat, the final chorus provides an enduring moment of musical catharsis. You anticipate it coming, but it’s more subtle than, say, a drop in a Skrillex song. It’s gorgeous and blissful in its subtlety. It’s exhilarating.

Jamie xx feels music in your eyes, and he just wants to celebrate it.

Five Quality Tracks: June 2015

This was a feature that I used to do for the Daily Californian’s Arts & Entertainment blog. I decided to give it life again here. At the end of each month, I’ll post a feature highlighting five quality tracks released during that month.

1. Beck: “Dreams”

Beck is back! And in a big way. If you remember, last year he released Morning Phase, a gorgeously melancholy collection of songs that won an Album of the Year grammy and the ire of Kanye West (Kanye apologized soon after and recently reiterated that he was wrong about him). I thought Morning Phase was beautiful to be sure, but I also thought it was probably Beck’s worst album. It was monochromatic and often flat-out boring. Well it looks like Beck is ready to turn up again.

Beck said that “Dreams,” his new single, is the “opposite” of Morning Phase. He couldn’t be more correct. It’s huge and hooky, perfect for dance floors and car stereos. It kind of sounds like MGMT’s “Electric Feel” — in fact, it sounds a lot like it. But we’ll give it a pass, because it’s just so awesome. Beck has been a 90’s alt-rock god, a sampling master, a funk hero, and an acoustic sad sack, but he’s at his best in psych-rock/dance mode. Hail “Dreams.”

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The 10 Grittiest Songs by the Rolling Stones

In honor of the Rolling Stones’ recent reissue of Sticky Fingers, perhaps their grittiest album ever, let’s celebrate the 10 “grittiest” Rolling Stones songs. These are the ones where Keith Richards’ riffs are dirty and Mick Jagger’s yowl hits you right in the stomach. These are not the ones with cheesy keyboards or smooth-jazz sax solos or wannabe-Beatles piano pop or Mick’s yellow pants. The Rolling Stones could excel when they put on the sheen and glitz (see “Miss You”), but nothing beats the Stones at their most gritty and grimy. Here are the 10 best examples. (Note: All the songs are collected in a Spotify playlist at the bottom!)

10. Brown Sugar | Sticky Fingers (1971)
The opening guitar riff is one of the best of all time, and Mick’s voice is all blues. Plus, this is one of the few songs where a sax solo actually adds to the grit rather than subtracts from it (it probably helps that it’s a tenor sax).

9. (I Can’t Get No) Satisfaction | Out of Our Heads (1965)
Take yourself back to 1965. The “Sixties” as we know it hadn’t taken hold yet. The hair was still short and slicked back, and the culture at-large was still a little uneasy over the foothold that rock and roll was taking. Then out come the Rolling Stones, more sinister than the Beatles, with easily the grittiest song to ever reach #1 at that point in time — “(I Can’t Get No) Satisfaction.” This was when the Stones first introduced their brand of grit to the masses.

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Five Quality Tracks: May 2015

This was a feature that I used to do for the Daily Californian’s Arts & Entertainment blog. I decided to give it life again here. At the end of each month, I’ll post a feature highlighting five quality tracks released during that month.

1. Miguel: “Coffee”

Miguel, the smooth-operating soul singer (and force behind one of my favorite songs of the past five years) is releasing a new album soon called Wildheart, and it can’t come soon enough. On lead single “Coffee,” Miguel is completely comfortable in his skin. He sounds cool and confident, but also ardent and passionate.

Miguel could easily sing over any generic beat of the moment and catapult to the top of the charts, just on the strength of his flawless voice. But the thing I love most about him is his excellent taste in production — “Coffee” only furthers this reputation. Like many of his songs, it pushes current R&B boundaries, employing a unique, seamless blend of soul, indie, and arena rock. Miguel said that he “just wanted this album to look and feel and taste like twilight in L.A.” Well, if the whole album sounds like “Coffee,” he succeeded. In the last minute of the song, you can even hear the keyboard and sound effect loops twinkle into the night sky.

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Sufjan Stevens and Our Parallel Memories of Eugene, Oregon

Sufjan Stevens and I share something in common: we both grew up spending summers in Eugene, Oregon. I used to go with my family to visit my grandparents, uncle, aunt, and cousins, often for weeks or months at a time. Stevens went to stay with his mother and stepfather for a few years, from the ages of 5 to 8.

The instant I heard that Stevens’ new forthcoming album, Carrie & Lowell, would center around Oregon, a rush of excitement flooded me (there was even a track specifically called “Eugene!”). Stevens obviously has a history of paying tribute to different states, and so I looked forward to putting the album on and letting Stevens’ always-exquisite songwriting take me on a trip back to a place that I hold dear. I knew that the album would also deal with the death of Stevens’ mother, but I subconsciously pushed that to the back of my mind. I wanted to focus on Oregon.

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