Josh's Froz-T-Freez Internet Drive-Inn

Mailing in our taxes today. That’s right, I still kick it old-school with the IRS. I love filling out forms.

P.S. This is also my excuse for not having anything new written and posted — I spent most of the day yesterday preparing said taxes, and earlier this week I was working 9-11 hour days. The prior post, a reprise of a little thing I wrote for our wedding one year ago, I had programmed to automatically post itself on the morning of our anniversary. Anyway, I will get to finishing up my favorite winter album reviews and posting some more pictures muy pronto. Thanks for watching.

We met at an art exhibit. We met in the comment section of my blog. We met in a snowstorm in a cottage in the mountains. We met at a symphony concert, sitting next to each other. We met at Family Home Evening and commiserated because we both hated Family Home Evening. We met at the library and traded poems. We met in the Provo temple. We met in empty parking lots and Mexican restaurants and our parents’ houses. We met at a movie theater where we were both making fun of the movie. We met at IKEA, buying bookshelves. We met at an art supply store. We met at a little Chinese place by the hospital. We met on the yellow BART line between San Francisco and Lafayette. We met hiking on a trail in Millcreek Canyon on the last nice autumn day before winter.  We met to shovel snow under the full moon.  We met because we both liked a painting by Brian Kershisnik.

Fleet Foxes: Sun Giant and Fleet Foxes (Sub Pop, 2008)

I don’t know that I can honestly call the Fleet Foxes’ debut a wintertime collection of songs. A few unabashedly wintry songs are included (check out “White Winter Hymnal” and “Blue Ridge Mountains” below), but they also sing songs of summer, songs of fall, and, most of all, songs of spring:

What a life I lead in the summer
What a life I lead in the spring
What a life I lead in the winded breeze
What a life I lead in the spring

the foxes sing in a cappella harmony as the needle hits the groove on side one of the Sun Giant EP. So how do I get away with calling this a featured winter album? It is exactly this full-on seasonal frenzy that made this music so appealing on those days when our house was entombed in snow. It gave me hope in the eventual arrival of other seasons. The rustic, pastoral details of the lyrics reminded me that the natural world brings life and color, not just an overbearing white coldness. And also maybe it is more simple: despite all the hype, I really just became acquainted with this pleasant folk phenomenon at the turn of the year. Since then, many of these songs have become the definitive soundtrack to my winter. My wife loves this music too, so many times we listen to it together. And as for the winter influence, it’s hard to deny the complete appeal of lines like, “Come down from the mountain, you have been gone too long / Spring is upon us, follow my only song,” in the middle of a cold February in the Wasatch Mountains.

I mentioned hype. This album has gotten a lot of it, from the time of its release last spring through to topping a lot of end-of-year lists. I ashamedly admit that I ignored this music partly because of that hype for quite awhile (although since then I have clearly humbled myself), and I’m not exactly sure what I will write at this point that hasn’t been written a hundred times already. I could mention that this music sounds natural and organic in every way. I could speak of fine folk-inspired songwriting and impeccably arranged vocal harmonies. I could describe their sound as the King Singers collaborating with the Shins. I don’t know for sure if these things have been said or not, because I’ve been trying to avoid the reviews so I can write this without inadvertently plagiarizing anyone. I’ll just end with this recommendation: if you like the song “I’ve Seen All Good People” by Yes, you’re probably going to love Fleet Foxes. If you like Crosby, Stills & Nash, John Denver, Neil Young, Simon & Garfunkel, the Beach Boys, Peter, Paul & Mary, the Byrds, or Joni Mitchell, you’re probably going to love Fleet Foxes. If you like Animal Collective, Grizzly Bear, Bobby McFerrin, or My Morning Jacket, you’re probably going to love Fleet Foxes. If you like music, you’re probably going to love Fleet Foxes.

[By the way, this is another album that sounds absolutely incredible on vinyl. I know I said that about Microcastle, too, but I promise I’m not going to say that about every album I ever talk about. The vinyl edition includes the superb Sun Giant EP as a separate record in a gatefold LP, which otherwise you would have to buy or download separately. You will want to get your hands on that EP because its songs, a couple of which are sampled above, are as good as or better than those on the full length.]

Deerhunter: Microcastle (Kranky, 2008)

Microcastle is the perfect album for a snowy winter afternoon in which you find yourself at home alone in the mountains.  It drifts, it floats, it accumulates.  It exudes a fuzzy analog warmth and an expansive ambience that blankets the whole house (our house is cozy).  Since the time that I purchased it early last November, it’s been by far my most played vinyl record, primarily because it just sounds so thick and warm and good in that format.  (Don’t let that dissuade you from trying CDs or MP3s, because the analog warmth is not it’s only strength.)

The dichotomy of cool and warm sounds are what make this album so compatible with winter listening; it’s like watching that snowstorm out of the window of a fire-warmed house, while the wind is howling through the top of the door and the walls are creaking. Much of the frigidity is in the lyrics. For example, the first lines sung on the record are “Cover me, cover me / Comfort me, comfort me,” and on the track “Never Stops” (press the play button at the top of the article to listen to it if you haven’t already), you’ll learn that it’s none other than winter that never stops.

This is a tight collection of songs with just enough sonic variance around the edges to keep things interesting.  The style? It’s basically 60s guitar pop/garage rock with the occasional 50s-styled rock n’ roll ballad.  Think of the Byrds, think of The Zombies (“Time of the Season”), and also think of early R.E.M., Deerhunter’s fellow Georgians who also revamped this 60s style in the 80s). It’s just not that straightforward, though; the songs are stormy and occasionally obscured by a tasteful amount of ambient, shoegazer, drone, and other post-punk/indie noise tricks blowing around in the background.  Think most particularly of My Bloody Valentine and Sonic Youth.

Some highlights:

• The album begins with an instrumental track called “Cover Me Slowly,” a Pink Floyd meets My Bloody Valentine widescreen slowburner which leads directly into the subtle and jangley “Agorophobia,” with the aforementioned appropriate opening lines:

• “Nothing Ever Happened,” which is just an all-around great, propulsive rock song that brings all the different sounds of the album together:

• “Neither of Us, Certainly,” because it is sonically the most snowfallingest song on the album:

• “Twilight at Carbon Lake,” the closing 6/8 ballad that starts out sounding like something Elvis might have crooned over at Sun Records, but expands and erupts into a beautiful caucaphonous climax:

A final note, to more fully secure this record’s impeccable winter credibility:  On the band’s official blog (more bands should have blogs; Deerhunter’s is great), lead singer Bradford Cox wrote a post lamenting the inadvertent leaking of this album months before the intended late October release date. (I just noticed they have now removed this post from their blog, so I’m now linking to an article that quotes the post.) One of Cox’s stated sadnesses over the leak was not that the band had lost a lot of potential sales from pirating, nor so much that the leak had undermined their publicity buildup scheme for the album, but rather that he had very much envisioned this music as a “fall/winter” record, designed to be listened to initially at that time of year, rather than the summer. I love that they think about this stuff as much or more than I do, and I love that they very much succeeded in creating a wintry record.

[This album also comes with a bonus CD entitled Weird Era Cont (even with the vinyl copy this second disc is a CD).  It is like standing out in that snowstorm looking longingly in through the window of that glowing, warm house.  Here the production is a little rougher and songcraft is sometimes secondary to sonic experimentation.  It has some real gems and greatly adds to appeal of the overall package.]