Artist: Billie Eilish Album: When We All Fall Asleep, Where Do We Go? Year: 2019 Grade: B+
In Brief: Billie’s full-length debut rather boldly defies my expectations of what a pop album, whether indie or mainstream, should sound like in 2019. She also busts some of my stereotypes about teenage singer/songwriters in general, and how they can communicate both lyrically and sonically in a way that comes across as authentic while still drawing in a huge and diverse audience. I didn’t expect to like this album nearly as much as I did, and now I can’t stop listening to it.
If you’ve never heard of Gungor at all, and your first question upon hearing a song of theirs is, “Is this a Christian band?”, then my answer is: Yes. No. Kinda.
Normally in this monthly column, I’m going to be writing about bands that are defunct, or at the very least have stopped recording and touring for the foreseeable future. Gungor is a curious exception, because there are literally days to go in the band’s farewell tour. A week or so from when I publish this, Gungor as a distinct musical entity will be considered a thing of the past. Its two members, Michael and Lisa Gungor, certainly have plans to continue making music, just not under that name. I’m intrigued to see what these two might cook up with all past constraints and preconceived notions completely gone. I feel like they’ve already done a bang-up job of challenging our assumptions, not just about the kind of music they make but about the parameters that define the Christian faith ourselves, over the years. It seems like now’s as good a time as any to honor the end of an era, and take a (shorter than my usual) walk down memory lane to revisit my favorite songs that the duo have put out in the eight years I’ve considered myself a fan.
You know you’re a huge fan of a band when a friend asks you how many times you’ve seen them live, and you realize you’ve lost count. It’s funny, because I haven’t really considered myself a massive Switchfoot fan for quite a while, probably since the mid-2000s when The Beautiful Letdown hit it big, and was admirably followed up by Nothing Is Sound and Oh! Gravity. Paradoxically, that’s my favorite era of Switchfoot’s discography, and yet I got to the point where I became downright sick of the most well-known songs from those albums being must-plays in their setlists. It’s probably because I saw them live several times that decade, and when I see a band live multiple times, I prefer to hear them play stuff from their newer albums, or if they’re gonna play old stuff, I’d like to hear a few I’ve never heard live before. The Beautiful Letdown is my favorite Switchfoot album (an area where I’d guess I’m agreement with the majority of their fans), but I’d be perfectly fine never hearing that album’s heavy-hitters “Dare You to Move”, “This Is Your Life”, or “Meant to Live”, from them ever again. I love those songs. A ton of other people do too, and I guess I can’t fault someone who shows up, never having seen the band before, for wanting the trip down memory lane. It was because of this (and a string of less than impressive albums in the late 2000s/early 2010s) that I cooled off on seeing them live for a while after witnessing a just-OK live set on their tour for Vice Verses in 2011. (Even then, there were a couple of Fiction Family shows in between, and the Jon Foreman solo show I went to this time last year, because he is simply one of my favorite people in the entire universe.) This year’s Native Tongue isn’t really one of my favorite albums of theirs, either, but 2016’s When the Light Shines Through was a pleasant surprise that seemed a bit underrated among the fanbase, and I kicked myself for missing out on their tour with Relient K that year (who themselves had just put out the startlingly excellent Air For Free). When they announced a tour with Colony House slated for this spring, I knew I couldn’t let the opportunity pass me by.
Artist: Lo Moon Album: Lo Moon Year: 2018 Grade: C+
In Brief: While Lo Moon’s synthesis of 80s pop and shoegaze aesthetics and their attention to background detail are commendable, there’s not enough interesting stuff in the foreground (hooks, riffs, variance in tempo and intensity, etc.) to make the album listening experience a particularly eventful one.
There are certain bands whose recorded material I’m absolutely over the moon for, and yet who I feel hesitant about seeing live. Chvrches was one of those bands, right up until a friend decided to get tickets to their Love Is Dead tour when it rolled through Los Angeles. They are absolute wizards of synthpop in the studio, and all three members of the band are capable of playing multiple instruments. Yet when a band plays a style of music that is sufficiently programmed, I often wonder if it’s worth showing up just to watch them press buttons on laptops. As it turns out, that’s not at all a fair characterization of Chvrches’ live shows, where really all that comes pre-recorded is the background effects and loops – the synths, bass, whatever guitar parts their songs might occasionally feature, and most obviously the vocals, are all performed live. For their latest tour, they’ve also added a live drummer. This type of music can get me really excited when delivered with a sufficient amount of live energy, and I should have known better than to doubt Chvrches in this regard. Their three studio albums thus far have been about as close to uniformly excellent as the discography of any band in my collection, so of course their setlist was going to be packed with wall-to-wall favorites, almost no matter what they chose to play. This might have been a little more expensive of a show, with a slightly bigger crowd, than I’m used to when I go to concerts these days, but at no point in the evening did I doubt that this would be 100% worth it.
Deep into Katie Herzig‘s set at the Troubadour in West Hollywood last night, as she was playing an acoustic version of the fan favorite track “Hologram” by request, two odd realizations suddenly came to me:
Wow, this was the first Katie Herzig song I ever heard, and that was 10 frigging years ago.
Why wasn’t this song a huge hit?!?!?!
Now, there are a ton of more-or-less independent artists I follow who seem to have a strong cult following on the Internet, and who I could get salty about in terms of the mainstream pretty much ignoring them. But a lot of them make music that might not be “catchy” in the conventional sense, so I’m cool with it not being mainstream radio fare. Katie Herzig, though, seems to be the type of unabashedly poppy singer.songwriter who should have had a real shot at some hits back in the late 2000s. I probably only think that because I’ve always been super out-of-touch with what it takes to actually make music popular, but regardless: “Hologram” was a fun, upbeat, ridiculously catchy, self-effacing song about relationship failure that should have found a much larger audience.