We Don’t Have To Go Anywhere

I somehow almost went a month without posting. It’s impressive on one hand and it’s depressing on another. One of the huge reasons is that I’m just not listening to new music with the kind of frequency or appetite that I was a year ago or three years ago. It leads to scenarios like these where I spend a paragraph trying to justify, if only to myself, how I let a month go by without any posts.

To rectify the situation, I’ll share one of the songs that I’ve spent a decent chunk of time listening to recently–it’s not a new song and it’s a country song so you’ve been warned. It’s Randy Rogers Band’s Interstate.

I think listening to it is my natural response to country radio. I believe fairly strongly that you shouldn’t denigrate something that others find joy in (and that’s one of the many reasons I think most music critics are sort of a joke), but I just don’t know how you can listen to Rascal Flatts or Hunter Hayes and say that their music is country. It’s pop with some country sensibilities and targeted at a country audience. I guess living in a city leads to more urban cowboy sort of programming (and I can attest that some stations outside the immediate Denver area are better), but it leaves something lacking for me when almost every male singer (thank god for George Strait) that is getting played is wearing pearl shirts, bedazzled jeans, and more hair product sans hat than almost every women I know and almost every female artist short of Kasey Musgraves is trying to be more like Whitney Houston than Dolly Parton. There’s nothing wrong with it except when the whole ecosystem has evolved to make Kasey Musgraves or Randy Rogers the exception. Nashville has gotten too caught up in its own reflection and I’m really afraid that they don’t realize it.

When I want to listen to country, I can surely tell you, I’m not seeking out Hunter Hayes. So I sit here and listen to Randy Rogers Band and lament.

Burn Your Fire For No Witness

I am just sitting here in a room letting Angel Olsen’s White Fire float around me like cigar smoke in a broken man’s bar. It’s easy to throw out words like haunting and stunning when you sit and listen to it, but I’m more intrigued by the mystical element to it.

It reminds me of the eyes of this girl–often times we say that we can see into someone’s soul by looking into their eyes and honestly I believe it–but for this girl, I could not see in. It was a mystery that I would find myself staring into and then apologizing when I held eye contact for a beat too long. That’s the vibe I get from this song.

Angel Olsen seems to have mastered a mystical quality in her music. She’s going to be in Denver in this month and she will surely entrance her crowd. For those that won’t see her (in Denver or elsewhere), get her album, Burn Your Fire For No Witness, when you get the chance. It’s worth it.

Do I Wanna Know

There’s this tune I found that makes me think of you somehow and I play it on repeat.

I’m still hung up on CHVRCHES’s cover of Do I Wanna Know to the point that I have listened to it 100+ times on Listenonrepeat. It is rather meta listening to a song on repeat that is talking about itself. The original is great in its own right (and you should buy it), but I prefer Lauren Mayberry’s delivery to Alex Turner’s. CHVRCHES is the next concert I plan on going to right now and I wish there was someway to guarantee that they played this cover.

It makes it hard to write or think about things when you’re hung up on something. When it’s a song, you’re not inspired to be on the lookout for other songs so I’ll apologize to those that have sent music over the past couple of weeks. Songs can be metaphors in that way, too.

Almost every facet of the song is true to me. I think of one girl but writing and sharing this song is probably the closest I’ll come to saying anything because ultimately I’m afraid I’m the only one who is interested. Moreover, I’m always afraid that I would just be an inconvenience. I’ll listen to a few more times and let it play out what I want to say.

Was sort of hoping that you’d stay…

Bad Suns Return with Debut EP

Early last year, we at 1146 Miles encountered an emerging alt-pop band from Los Angeles called Bad Suns. The quartet’s first single “Cardiac Arrest” (which we featured here) had a youthful spark that garnered not only our attention, but that of L.A.’s premier local station KROQ. Bad Suns’ initial triumph with “Cardiac Arrest” led to an opening slot on the West Coast tour of the 1975 last summer and a record deal with Vagrant; since then, they have kept busy with shows and recording sessions in preparation for the release of their debut EP. Not much time has passed, and it’s still early in the game for Bad Suns – yet so much has changed.

On January 21, Bad Suns’ efforts came to fruition with Transpose, their first major mark in the music world. Featuring three new tracks (“Transpose,” “Salt” and “20 Years”) alongside their popular single, Transpose indicates that the success of “Cardiac Arrest” was no fluke. Groomed in the alt-pop vein that made bands like the Vaccines and the 1975 popular among the listening world’s indie conclaves, “Salt” and “20 Years” epitomize the alluring guitar sweeps common in their genre while “Transpose” exposes the growing strength of singer Christo Bowman’s voice.

Bad Suns recently concluded a tour with Royal Bangs that took them to Chicago, New Orleans, Brooklyn and a handful of other U.S. cities through the month of January. Bowman, bassist Gavin Bennett, drummer Miles Morris and guitarist Ray Libby have an album in the works that is tentatively slated for a 2014 release; until then, their growing fan base will have to make do with the ear-catching tracks on Transpose.

For more information on the band and their touring plans, visit their website or check out the official Bad Suns Facebook page.