Bachata: A White Dude’s Take On a Latin American Genre

Aventura – “Obsesion”

Bachata has its origins in the Dominican Republic in the early 20th century, combining African elements with Caribbean rhythms (thank you, Wikipedia). The building blocks include a lead guitar, rhythm guitar, electric bass guitar, and most importantly, two percussion instruments — bongos and güira. A güira is a cylindrical sheet of metal with perforations and sounds like maracas when played with a brush. Although the guitar is the most prominent instrument in the genre (especially as the popularity of electric bachata rose over acoustic bachata in the 1990s), to me, the heart and soul of bachata lies in the percussion. When the bongos and güira are going, it’s easy to get drawn into the beat. I love it.

The most popular bachata band is most decidedly Aventura — you can find one of their biggest hits “Obsesion” embedded towards the beginning of the post. They were instrumental in bringing bachata into the mainstream by modernizing it and adding some hip-hop and R&B flavor. My favorite Aventura song is “Por Un Segundo,” which adds in some Indian influence as well, to great effect.

Aventura – “Por Un Segundo”

Monchy y Alexandra take advantage of the male/female dynamic, letting the listener in on their conversations. In “Dos Locos,” they sing about being with other lovers, but only thinking of each other. He says “No quiero seguir así, estando con ella y pensando en ti” (I don’t want to keep going like this, being with her but thinking of you), to which she replies “A mí me está pasando igual” (I’m going through the same thing). Then they join together in singing “Que tontos, que locos, somos tu y yo. Estando con otros y amandonos.” (Very loose translation: How stupid, how crazy, it’s you and me. Being with others but loving each other.)

Monchy y Alexandra – “Dos Locos”

I also always liked “Dos Locos” because it was one of the first Spanish songs that I could fully understand without looking up the lyrics. There’s something to be said about singing clearly. I can’t imagine the struggles that foreigners must have with understanding the Red Hot Chili Peppers. Anyway, I digress.

Here’s one by Prince Royce, who appears to be one of the more popular current stars. It’s got a very mainstream feel — you can definitely hear the R&B here.

Prince Royce – “El Amor Que Perdimos”

And now, a bachata version of something you all know. And apparently, according to the always subdued and calm YouTube commentors, he’s standing on John Lennon’s grave and they are not happy.

Prince Royce – “Stand By Me”

One advantage of exploring this one area of a world (Spanish-language music) that is completely foreign to me is that I can enjoy the merits of bachata in and of itself, without worrying about the “image” associated with it, or its standing among other Spanish genres. That Prince Royce song, “El Amor Que Perdimos,” sounds very much like the Spanish equivalent of a Backstreet Boys song. As much as we try to not let “image” get in the way of our enjoyment of music, it still plays a factor, however small, in our music choices. That’s why we have “guilty pleasures.” Well, I have no previous experience with any Spanish music, so I can fully embrace bachata, and that’s awesome.

Due to the aforementioned fact that I am majorly white, I have no ability nor authority to teach you anything about the bachata dance. You’ll have to go to a club on your own. Or YouTube.

Santigold – “Disparate Youth”

I’m not going to go about trying to analyze this song, other than to say this: I can’t wait to BUMP this song with the windows down in the summer. If you don’t think this is a worthy summer jam, then you need to get your ears fixed. Santigold’s album Master of My Make-Believe comes out April 24th.

Album Reviews – Andrew Bird, Sleigh Bells, The Men, White Rabbits

Andrew Bird – Break It Yourself
The multi-instrumentalist Andrew Bird has a distinguishable sound, and his latest album puts it to good use. Break It Yourself features Bird at his most ornate, providing an even more inviting listen than previous releases. It’s choc-full of a variety of genres, from folk to classical to baroque pop. “Danse Caribe” is a perfect example of this genre melting pot. It begins with a clear Americana influence as the violin quietly imitating a slide guitar. Around the 2-minute mark, Bird employs a more “world music” vibe, reminiscent of attempts by Vampire Weekend and Beirut to do the same, before returning back to the South with an 1800s-era fiddle solo. And that’s just one song. “Lusitania” is a duet with critical-favorite Annie Clark from St. Vincent. What I love about the track is that it doesn’t go about broadcasting its obvious beauty. “Lusitania” is understated, yet gorgeous throughout, ending with a happy-go-lucky whistling melody and string bass that echoes Van Morrison in his Astral Weeks days. Bird excels lyrically as well. “Sifters” is a tale that finds him asking a lover “what if we hadn’t been born at the same time?” He wonders aloud whether they would still care for each other if one of them was much older. And “Hole In the Ocean Floor”, clocking in at over 8 minutes, is simply lovely. Break It Yourself on the whole is very pleasant and peaceful. It’s easy to put it on when the mood’s not right (i.e. like I did while riding a crowded subway to work) and miss the full effect. This album is for a lazy Sunday or a chill drive at dusk. Sit back and enjoy.
Rating: 8.5

Sleigh Bells – Reign of Terror
I like Sleigh Bells, despite the hate they get from (rightfully) skeptical critics who consider them a fad, more concerned with style than substance. Their debut Treats had in-your-face singles full of swagger. However, Reign of Terror doesn’t measure up. The songs simply lack the same punch. The double bass drum from the drum machines provide an uninspired and frankly boring backbone to most of the songs. There are some bright spots. “End of the Line” is enjoyable and lead single “Comeback Kid” is awesome, as catchy as anything they’ve done. But it’s surrounded on the album by mediocrity. In an interview with Grantland (plug time: Grantland is the best blog ever), Sleigh Bells guitarist Derek Miller himself admitted that “If every song on the record could be ‘Comeback Kid,’ it would be, but you’re lucky if you get one like that.” They really hit a gold mine on that song. The rest is okay, but nothing special.
Rating: 6.0
Sleigh Bells – “End of the Line”

The Men – Open Your Heart
Much like my post on Japandroids’ “Wet Hair” from their awesome 2009 album Post-Nothing, The Men capture that same raw, youthful energy. I’m tempted to say it’s a very “listenable” album, but just as we call political candidates “electable,” those terms can be kind of hollow. Isn’t every album “listenable” in a way? But the term fits. I’ve breezed through the album multiple times and it’s just a joy to listen to. Opening track “Turn It Around” starts Open Your Heart off with a bang as good as ever, pounding us with a riff that would make Rod Stewart and the Faces proud. The title track is also loud, catchy, and riff-heavy. In my opinion, the seventh song on the record, “Candy”, is one factor that brings this album from good to great. “Candy” is an acoustic Rolling Stones-esque number that provides a perfectly-timed break from the onslaught of electric guitar. Not only does it prove the Men’s versatility, but aesthetically it makes the album more enjoyable as a whole. It’s a welcome drink of ice-cold water before you get back in the game and start melting people’s faces off again. I hadn’t heard of the Men until a week ago, but they’ve made my favorite album of the year so far. Get it.
Rating: 9.0
The Men – “Open Your Heart”

White Rabbits – Milk Famous
Milk Famous sounds like a Spoon album. A lot. And it’s not a coincidence since it’s produced by frequent Spoon producer Mike McCarthy. This Spoon-like (Spoon-fed?) sound is kind of a shock when juxtaposed with their amazing critically-acclaimed 2007 debut Fort Nightly, which is solid enthusiastic indie rock that bears little resemblance to the nonchalant swagger of Milk Famous. Don’t get me wrong, I love this sound, even if it’s blatantly lifted from a superior band. I don’t care so much about that. Lead singles “Heavy Metal” and “Temporary” are straight-up awesome. But the songwriting skill is kind of lacking in the rest of the tracks. Most of them have their moments, like the triplet shuffle in “Everything Can’t Be Confused,” but the songs themselves can hardly be classified as anything more than just that: moments. If you’re not going to have a beginning-middle-and-end verse-chorus-verse structure in your songs (i.e. if the whole song sounds the same throughout), then you need to have a supremely catchy groove to carry your interest throughout. “Heavy Metal” and “Temporary” accomplish this beautifully. The bass and piano/guitar lines are engaging enough that the repetitive grooves of the songs never lose their momentum, much like Spoon’s “Don’t You Evah”. But the thing is, the rest of Milk Famous doesn’t hold your attention. The album’s not bad. It’s actually pretty dang good. But the disappointment lies in the fact that it’s not as great as it could be.
Rating: 7.0

BOTTOM LINE
Get the whole albums by Andrew Bird and The Men. Download “Heavy Metal” and “Temporary” by White Rabbits and “Comeback Kid” by Sleigh Bells.

Beach House – “Myth”

Beach House, experts of dreamy pop, are releasing a new record Bloom on May 15. Here’s the lead single “Myth,” an incredibly beautiful track with Beach House’s signature swirling style. Check it.

The Definition of Youth: Japandroids – “Wet Hair”

Japandroids’ 2009 debut album Post-Nothing grabbed me from the start, especially “Wet Hair,” and it was originally hard to pinpoint why. All I knew was that it was three minutes and thirteen seconds of music that hit me like a rock and then resonated with me. Then I realized that the sounds in “Wet Hair” are certainly exciting in themselves, with the track’s aggressive guitar and frenetic drumming, but multitudes of songs can be described the same way. There’s more to this track than just the sounds you hear. It’s about the feeling you get.

I know, you’re probably like, “Whoa dude, cool it on the sappy cliches there.” But I’m serious. This song has an incredibly potent feeling–one that, to me, encompasses both the optimism and angst that comes from youth. Music truly transcends when it creates an atmosphere in which you can let your mind go to town, whether it’s recalling real memories or yearning for memories you wish you had. On “Wet Hair,” there’s no time for beauty or melodic instrumentation, which may put off many who listen to it, but that’s not what it’s about. It’s about creating an atmosphere that recalls the sweet, destructive turmoil of youth.

“Wet Hair” sounds like an adrenaline rush. It sounds like a Friday night with endless possibilities. It sounds like graduation and finally escaping your prison-like high school. It sounds like getting over the girl (or guy) that dumped you last week. It sounds like a party on a hot summer’s night. It sounds like messing around with your friends in the parking lot behind the movie theater and deciding what the night still holds in store. It sounds like the urge to “get to France so we can French kiss some French girls!”

The Shins – “Bait And Switch”

Port of Morrow, the newest record from James Mercer and The Shins, comes out March 20th. Brilliant lead single “Simple Song” has already made the rounds, and now we’re privileged to hear “Bait and Switch,” which is just as good, if not better. I would give a lot to be able to both write and sing a melody like that… Here’s to hoping the album lives up to its expectations.

Best Albums of 2011

For some reason, Facebook decided by Best Albums of 2011 post broke some kind of copyright, so it (and all of its HTML) got deleted. For those who are interested, here was my list (with a little less pizazz unfortunately).

25. M83 – Hurry Up, We’re Dreaming