Ernest Greene, the Georgia-based singer, songwriter, and record producer known professionally as Washed Out may be most famous for the chillwave classic “Feel It All Around,“ which can be heard over the opening credits of IFC’s hit TV show, Portlandia. If you’re curious about what he’s been up to lately, check out this wildly fun cut-out animation video clip for the track “Get Lost” — his first single in four years!
With its rhythmic, bossa nova feel, “Get Lost” celebrates the anticipation of summer in the city: a time for cruising in your car to wherever the vibe takes you, hanging out with friends on the beach, and girl watching. It’s the perfect tune for a extended holiday weekend! “Get Lost” is out now on Stones Throw Records, and Washed Out July Tour Dates for the Southern US are below. Enjoy!
7/8 – Norfolk, VA @ The Norva
7/9 – Carrboro, NC @ Cat’s Cradle
7/10 – Charlotte, NC @ The Underground
7/11 – Charleston, SC @ Music Farm
7/13 – Orlando, FL @ Plaza Live
7/14 – Jacksonville, FL @ Mavericks Live
7/15 – Tampa, FL @ Orpheum
7/17 – Atlanta, GA @ Variety Playhouse
Hey What’s up and Happy New Year. Season 7 of Portlandia (on IFC, Thursdays at 10 PM) debuted last night, and I had meant to get this ad up earlier in the week, but then that didn’t happen. So, I am posting it today. If you missed the first episode, it’s not too late to catch up On Demand or Online.
The Increasingly Poor Decisions of Todd Margaret, starring comedian David Cross, ran for two seasons on the IFC cable channel. An absurdist dark comedy centering on the cringe-inducing adventures of the hapless title character – a criminally clueless American “businessman” living in London – Todd Margaret was portrayed as a blundering child-man, the consequences of whose utterly havoc-wreaking decisions progress from comic inconveniences to bringing about full-on global annihilation. It was a great show. One of the best parts of tuning in each week was getting to hear the Todd Margaret theme song, “Life Is Sweet,” written and performed by former Smiths’ guitarist Johnny Marr. Featuring cascading waves of Marr’s signature, chiming guitars and an adhesive refrain whose Morrissey-esque, fatalist lyrics promised “Things are gonna get worse,” the song is two minutes of pure aural bliss. For ninety-nine cents, “Life Is Sweet” is the most-valued purchase I made from iTunes last year.
Other than “Life is Sweet” and his brief, cameo appearance on the most recent season of Portlandia, I haven’t been paying much attention to what Johnny Marr has been up to, because Modest Mouse is not my thing. So, I am currently all over Marr’s new album, The Messenger, which is just insanely great. For those seeking comfort in the familiar, The Messenger sounds infinitely more akin to Marr’s definitive work in The Smiths than his previous solo outing, 2003’s Boomslang (with his band The Healers, whose rhythm section was comprised of Zak Starkey and Alonza Bevan). A brilliant collection of diverse tunes that came off like a Mancunian version of Sly & The Family Stone, Boomslang, puzzlingly, found itself on the receiving end of almost universal critical backlash, and fans didn’t seem to know what to do with it either. That said, if Marr’s guitar playing in The Smiths is what drew you in and hooked you, you won’t be able to stop listening to The Messenger.
Showcasing as much as it does Marr’s “Class of One” resonant guitar tone, this is not to suggest that the guitarist doesn’t adequately stretch on The Messenger. More here than on any previous recording I’ve heard, Marr sneakily incorporates some of his widely varied influences. The intro to the album’s lead track, “The Right Thing” sounds like it could have been lifted off The Who’s Quadrophenia before it shifts into an exuberant, sixities-esque call-and-response anthem. People are always saying that such and such a song is “like a drug,” but in the case of “The Right Thing,” it’s like an aural shot of your favorite upper. If you can’t find your groove to this song, you’re probably dead from the neck up.
The super-adrenalized “I Want the Heart Beat” dabbles in a minor chord, almost industrial feel without ever loosening its roots in pure ‘80s dance pop. “Upstarts,” the album’s first single, reminds me of those classic, early singles by The Undertones, which is probably not an accident, because those guys were sort of the Kings of Post Punk/New Wave Protest Songs, and I’m sure Marr was /is a fan. “Lockdown” is a rich, sonic blast of classic British rock, with Marr experimenting with a bit of a Big Country meets Def Leppard-esque chord progression – very nice!
Both “European Me” and the somewhat mournful, Bryan Ferry-tinged title track harkens back to the best of The Smiths (“William It Was Really Nothing,” “Panic”) with Marr’s vocals, as drenched as they likely are in reverb, as appealing and charismatic as Bono’s most earnest, pre-Messiah complex work with U2. Later on, the way Marr builds a creeping mood of foreboding on “Say Demesne” makes me think he should be (his contribution to Inception notwithstanding) writing soundtracks for James Bond films. Geesuz god, what a versatile player!
What I really love about The Messenger, as a complete work, is that it takes no initial “breaking in” period before each song claims its own identity. There are twelve tracks on the CD and each one is amazing in its own way. Unless Tame Impala release an album this year, I am pretty sure The Messenger will top my list of favorites for 2013. Johnny Marr FTW!