American Beauty
The Grateful Dead
My introduction to American Beauty came from the 1999 cult-classic Freaks and Geeks. A one-season coming-of-age comedy about two groups of outsiders in a suburban Detroit high school in 1980. The first time I watched the Freaks and Geeks series finale “Discos and Dragons” I fell in love with the closing song “Ripple” by none other than my dad’s favorite band The Grateful Dead. I had never seen a song that fits so well within the conclusion of a show. The song instantly became a constant in my playlists, and the lyric “Let there be songs to fill the air” is one of my all-time favorites. Since I was so caught up in the use of “Ripple”, it didn’t hit me how the entire finale is a love letter to The Grateful Dead, specifically their 1970 album American Beauty, until I rewatched it. This month, I returned to William McKinley High School (the show’s fictional school) and binged the entire series with a particular excitement for the finale. When I reached the end, I found myself immersed in the world of the Grateful Dead.
I wanted to sit alongside Lindsay Weir (played by Linda Cardellini) as she rode the bus to meet up with her newfound Dead Heads, all scored by “Ripple”. Lindsay's escape and freedom in this scene captures a special aspect of every bored high schooler. Although a little corny, the scene where Lindsay listens, sways, and nods to “Box of Rain” on vinyl for the first time has stuck with me. Last week, “Box of Rain” was my most played song, in part because of the connection to the show, but also for how the lyrics are so intertwined with growing up. Freaks and Geeks is one of my favorite shows of all time, and its use of The Grateful Dead was the final push I needed toward becoming a Dead Head.
“I wish I never heard it just so I could hear it again for the first time.”
IGOR
Tyler, the Creator
My favorite album of all time is “IGOR” by Tyler, The Creator. My favorite artist, and my favorite work of his. The “IGOR” persona that Tyler embodies is like a current-day Ziggy Stardust, an alias that creates sounds similar to previous work but elevated in every way. The record tells the story of Tyler falling in love, realizing the love isn’t reciprocated, moving on, and eventually falling back in love with the same person. The album starts and ends with the same dragged-out synth chord, indicating the cycle Tyler is stuck in. Good albums have songs that are great on their own but great albums have songs that work best in the context of the album. I imagine “IGOR” will be my favorite album forever, nothing gives me the strong feelings that this album does. I think there may be better albums from a music-critiquing standpoint, like Dark Side or Blonde, but “IGOR” holds a much deeper place in my heart, and I wouldn’t be nearly the melomaniac I am without this album.
The first time I understood the story of “IGOR” was in my room while my sister was spinning the “IGOR” picture disc vinyl in the room over. I quietly listened as I did some research and got a sense of the love story embedded in “IGOR.” Before this, I don’t think I had a grasp on how the best albums have the songs specifically ordered to create the best experience and story. I became addicted to the album and all of Tyler’s music and “IGOR” became the basis of what I see as a great album. Since then, Tyler quickly solidified himself as my favorite artist and I have seen him 4 times in concert. The first was at Lollapalooza in 2021, his first major set since releasing “Call Me If You Get Lost” so my mind was not necessarily on deep cuts from “IGOR” being played. Around fifty minutes into his set, after playing songs spanning his whole discography with a focus on the new album, the stage went black. Maybe he would be doing an encore or maybe that was it, that was the show. But a few seconds later, a synth cord, iconic among Tyler fans, began to play. Everyone in the crowd knew what it meant: “IGOR’S THEME.” One minute later, Tyler burst onto the stage draped in a neon suit and his infamous blond bob. The most surprising and fun moment I’ve ever witnessed during one of his concerts. Tyler would go on to perform a few other songs from “IGOR” including “NEW MAGIC WAND” which had the crowd roaring. “IGOR” will always be special to me as it is the first album from a living artist that I loved (before I could give my favorite album credits to the Ramones' debut record and “The Rise And Fall Of Ziggy Stardust.”)
Brighten The Corners
Pavement
There is no better introduction to an album than the trio of “Stereo,” “Shady Lane,” and,
“Transport Is Arranged.” It’s rare to have three of a band's best songs on a single album, so having them as the introduction to the album makes “Brighten The Corners” something else. It’s these three that always bring me back to this 1997 classic. “Stereo” gives listeners a perfect grasp of Pavement's raw, lo-fi, indie, and carefree nature. Stephen Malkmus finds his most creative self in the lyrics as he connects pigs to weak infrastructure and mentions Geddy Lee and his voice: “What about the voice of Geddy Lee–How did it get so high?--I wonder if he speaks like an ordinary guy?” Easily, one of my favorite lyrics ever, and the song's energy in live shows always brings out Malkmus’ quirks. I suggest listening to the version on the band’s first live album (the purple cover) as Malkmus has quite a bit of fun in the lyrics mentioned above.
The two times I saw Pavement were a blast, and although Malkmus and the guys aren’t as talkative on stage as they once were, they still managed to embody their slacker rock ways. One of the best parts about their shows is the complete randomness of the setlists. In a world where so many artists play the same setlist every night, Pavement keeps it fresh by playing a new set of 25ish songs a night. A highlight of the second time I saw them this past fall was when they came out to “Silence Kit,” probably my favorite Pavement song ever. They didn’t shy away from “Brighten The Corners” stuff either, playing Stereo with the same energy Malkmus had in ‘97 made my night. I do hope Pavement tours again or Malkmus tours his original album (an album I am dying to get on vinyl) sometime soon as Malkmus is the king of live shows thanks to his outstanding guitar skills and sense of humor.
Oracular Spectacular
MGMT
I was very late to the MGMT party–17 years late. I have always loved “Electric Feel” and the instrumentals behind “Kids” and “Time To Pretend” are etched into my brain; however, until this year, I had not tapped into the synth-infused indie rock duo that defined so much of the 2010s. MGMT’s debut album Oracular Spectacular came onto my radar this past month due to “Time To Pretend” trending on Tiktok. It took me one listen to be hooked, and I immediately purchased the vinyl the next day at the Princeton Record Exchange. A week or so later, the LP lies on my shelf, squished between two Arctic Monkeys’ albums, knowing it's gonna be spun three more times before the weekend.
Like many, “Time To Pretend” feels special among the rest. I am a diehard fan of the underappreciated “Weekend Wars,” yet I can’t help but name “Time To Pretend” as my favorite regardless of its commercial success. The blend of fun and powerful lyrics, with a dancy and addictive instrumental, creates a euphoric world for only Andrew VanWyngarden and Ben Goldwasser (the members of MGMT) and the listener. Opening with a line as bouncy and impactful as “I'm feelin' rough, I'm feelin' raw, I'm in the prime of my life,” ushered me in, and “This is our decision, to live fast and die young. We've got the vision, now let's have some fun,” allowed me to stay. This past week, I listened to the track 24 times on Spotify (excluding the plays on vinyl and live performances on YouTube), and I still can’t get enough. MGMT has entered the forefront of my senior year music taste, and with their forthcoming fifth album, I imagine they are not leaving anytime soon.
Vampire Weekend
Vampire Weekend
Maybe you found them through “Step Brothers,” or their 2013 Grammy-winning album, or maybe you were classmates with the band at Columbia, but by now everyone knows Vampire Weekend. Fronted by Ezra Koenig, the indie, ska-punk, alt-rock band with afro-pop-infused melodies and beats has been a consistent favorite for nearly a decade. Although I was too young to enjoy the debut album when it was released, once I heard it I knew their sound was for me. Like many, “A-Punk” was my introduction. A perfect song in a lot of ways, the pace, the lyrics, the catchiness, the story. I quickly realized this sound was not exclusive to “A-Punk” as the entire debut album shares these preppy, upbeat, bursts of reggae joy.
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The song that first struck me on the self-titled debut album was “Oxford Comma,” specifically the music video that I watched religiously after coming across it in fifth grade. In humanities class, we were learning about the debate over the Oxford comma, and having a song about the issue solidified my stance in favor of the comma. The creativity of “Oxford Comma” stretches throughout the entire album as the entire A-side has some of my favorite Vampire Weekend songs ever. As I enter college next year, I’m certain this album will continue to play a role in my life as much of the album has themes related to the college experience, especially “Campus.” I have high expectations for Vampire Weekend’s upcoming fifth album “Only God Was Above Us” releasing on April 5th.