Archive for James Mercer

Best & Worst of 2010, Part 4

Posted in Uncategorized with tags , , , , , , , , on February 12, 2011 by G.K. Reid

Best Singles of 2010 

from 5 – 1


5. Broken Bells – The Ghost Inside

Slinky, understated funk is the last place I expected James Mercer to flourish, but he’s never sounded better (or, dammit, cooler) than with the not inestimable assistance of Dangermouse here.  His pained falsetto neatly doubling up for both observer and subject, compromise and deep disappointment are evoked in spades. But, most importantly – those handclaps!

 

4. Alicia Keys – Empire State of Mind, Part II


Keys gives her much-mythologised hometown another anthem, albeit one that cops to the prospect of failure as much as the promise of success, and simultaneously gifts the world with one of the most lush, resplendent vocals in recent memory.

 

3. Cee-Lo Green – Fuck You!


There were many joyful, hilarious things about Cee-lo’s (second) breakthrough, aside from the song and video themselves: the initial confusion amongst many that Mr. Gnarls Barkley had apparently changed his name for some reason (‘This guy sounds like that guy who sang that crazy song!’, ad infinitum); the inventive/lazy censoring; the use of ‘fuck you’ as a noun; the X-Factor finalists doing this. Hell, this song even single-handedly restored humour and public fondness to Hollywood’s least-favourite aging starlet! Cee-lo Green is nothing short of a miracle worker. We should all bow before him.

 

2. Kylie Minogue – All the Lovers

A blissful, exultant dancefloor anthem tinged with emotional ambiguity. We’ve been here before with Kylie, sure, but if we’re to assume (with good reason; it’s certainly what she represents to her fans) that she’s motivated by a pursuit for something like purity – or, perhaps more accurately, transcendence -then All the Lovers is arguably the closest she’s come. I mean – shucks – in the gorgeous video, she’s the figurehead of a skyscraper constructed entirely out of interracial omnisexuality. Let’s all just take our clothes off and be friends!

 

1. Kanye West feat. Jay-Z, Rick Ross, Nicki Minaj & Bon Iver – Monster

The single greatest thing to happen to music in 2010 was Nicki Minaj’s rip-roaring, bracingly dexterous contribution to this track. I don’t think a star has ever been so violently born, nor a show so emphatically stolen. To this day, having listened to it countless times, I am stunned into rewinding the last three minutes of the song every time. It’s almost enough to make you forget just how phenomenally engineered and replete with choice moments and turns of phrase the rest of the track is. And it’s still only my third favourite song on the album! (Unfortunately it’s difficult to find the seemingly excellent video in decent quality anywhere on the damn internet)

 

 

Some also-rans: Kelis – Acapella; Tinie Tempah – Pass Out; Marina and the Diamonds – Oh No!; Dark Dark Dark – Bright Bright Bright; Example – Kickstarts; Rihanna – Rude Boy; Scissor Sisters – Invisible Light; Patrick Wolf – Time of My Life; Nicole Sherzinger – Poison; Professor Green feat. Ed Drewett – I Need You Tonight; Hot Chip – One Life Stand; Arcade Fire – The Suburbs; Lady Gaga feat. Beyonce – Telephone

 

And with that, I’ll resume whatever it was I was supposed to be doing in the first place.

92. ‘Phantom Limb’ by The Shins (2006)

Posted in Uncategorized with tags , on December 13, 2009 by G.K. Reid

I struggle with The Shins.  It’s not their fault that Garden State upheld them as the patron saints of limpdick, “sensitive” white boys and their kooky-ass, free-spirited, cute-as-a-button girlfriends. And yet, sometimes I just can’t listen to the music without imagining Zach Braff cry-wanking in front of a mirror and mopping up the mess with a slice of soggy milkbread. (I don’t know why he doesn’t just use a tissue, but you just know that Zach Braff always has milkbread to hand).  Compounding this problem is the scientifically proven fact that too much exposure to James Mercer’s wussy little voice can induce chronic bed-wetting.

But, these issues aside, it’s very difficult to argue against the sophistication and frequent loveliness of the music. I just love the way Phantom Limb hangs together so delicately, with so many graceful sweeps, and a diffuse, dreamlike warmth permeating the whole thing.  It’s like this song is made out of silk.  (Now there’s a very Braffian sentiment).

Bonus points: Another one of my favourite themes: two lovers vs. a society that doesn’t understand, a la Gene Pitney’s Town Without Pity.