Welcome to Barium
There’s so much to get excited about with this edition of my running monthly-ish playlist, I almost don’t know where to start. Except that I have to start with Burns, the new song from George FitzGerald. A masterful, powerful piece of work, Burn is…just listen to it. You can read more about it here if you like. In the same sonic lane, you can find the epic-in-many-ways twelve-minute Kolsch remix of ‘Hell to the Liars’ by London Grammar with a moody, addictive, grinding synth line cycling throughout playing a perfect compliment to vocalists Hannah Reid’s smoky voice and crushing lyrics. Rounding out the darker electronic twiddlings is ‘Contact,’ what I consider as Luttrell’s best work yet in his short career as a producer, the perfectly titled ‘Tensions’ by Lindstrom, and a Joe Goddard remix of Flight Facilities’ ‘Arty Boy’ that somehow manages to sound downtempo and uplifting at the same time. Clearly, Joe Goddard has tapped into some kind of Winnie the Pooh magic in order to accomplish this.
Minneapolis is well represented as well, with Sombear’s marching electro remix of Tegan and Sara and with Symone Smashit’s lush ‘Wanderer,’ a kind of underhanded and very proficient tribute to ‘Heaven or Las Vegas.’ Anytime an artist can get close to sounding like the Cocteau Twins or as if they’re part of a John Hughes soundtrack, I’m down. If they can somehow manage both, then I’m in heaven.
Last July, I got to see Lido perform at weekend two of Electric Forest, where he played ‘Not Enough’ live for the first time, and it took me a couple months to get around to tracking the song down. I love (LOVE) 90’s R&B and this song evokes so many memories and feelings from that time and that music. It’s also funny to hear a different type of lyrical content within that context. 90’s R&B was sexy, but relatively tame and often times approaching bubble gum in their lyrics. THEY’s lyrics are markedly less metaphorical, opting for a more succinct “fucking” over the 90’s favorite idiom, “making love.” Rounding out a perfect house party trio of songs is The Knocks’ ‘House Party’ featuring Captain Cuts and DJ Koze’s disco-tastic treatment of ‘Operator’ by Lapsley. If these three songs don’t get you dancing, you should probably call your doctor.
I’ll let the remaining songs speak for themselves, with the exception of NUMB by Hayden James, in which the Aussie producer triumphantly pops out of a release lull with an absolute beauty with lyrics courtesy of GRAACE, who was obviously responsible for the name and formatting of the track name. But who cares about names, as long as the music is good, which it very much is.