This week I overrode the randomizer and chose two songs myself as a way to reacquaint myself (and acquaint you all) with two bands that I’ve spent some time away from. The first, Atom and His Package, I haven’t listened to at all since high school. The second, The Besnard Lakes, I’ve only listened to sporadically since last summer. Shame on me on both counts.
Atom and His Package – I Am Downright Amazed at What I Can Destroy with Just a Hammer
This song is one that you listen to and just grin the whole time. The lyrics are absurd, chronicling a trio of college-age kids who buy a fixer-upper and realize only one of them knows how to repair things while another is marginally useful. The other one, bored with the process and with being utterly unhelpful, roams about the house indulging in destructive fantasies with his trusty hammer.
The instrumentation for this song is all provided by Atom (Adam Goren), who plays a guitar and a synthesizer, and his “Package,” a sequencer, a hardware music device that allows him to play multiple recorded or generated instrument sequences simultaneously while focusing on his live guitar-work and keyboarding. He snaps back and forth between chorus and verse with nary a pause in some sort of ADD stream-of-consciousness flood, the synthesizer barely keeping up with the manic output. The synth drums maintain a ridiculously quick 4/4 time signature, sounding more like an overexcited metronome than an actual instrument.
This song is giddy, simple, and short. It seems to me like it would pair very well with a late harvest Riesling. A late harvest Riesling stands well on its own, is enjoyable by even casual drinkers, and works when you don’t want a wine that commands focus and attention. The flavors are generally safe, harmonious flavors that match the higher sweetness and acidity levels: floral, light fruits, minerals. It’s almost syrupy sweet, though just acidic enough to give the wine some depth. Atom and His Package is assuredly irreverent, but there is enough substance, social and political commentary, there to keep it from being overindulgent nonsense.
Other songs by Atom and His Package include “The Palestinians Are Not The Same Thing As The Rebel Alliance, Jackass,” “(Lord It’s Hard to Be Happy When You’re Not) Using the Metric System,” and “People In This Computer Lab Should Shut the Hell Up.” If you need a good dose of angry, harmless, funny, nerdy punk, well, I think you’ve pigeon-holed yourself very nicely. Enjoy!
The Besnard Lakes – And You Lied to Me
Wine first. Considering I’ve only had dry Tokaji before, it would be dishonest of me to pair this with an Aszu. That’s fine, because I think a dry Tokaji goes very nicely with this music. Its acidity and residual sugar, though both generally fairly standard at around 6.5 g/l, are paired with a higher alcohol level (typically 14% and up). Higher alcohol, within reason, tends to enhance the flavors inherent in a wine, so long as the acidity and sugar aren’t overwhelmed.
Everything about a good Tokaji would be described as sumptuous. The acidity is very active, providing a nuanced mouth feel that I would liken to the feeling of ball bearings rolling across skin. The sugar and alcohol balances with the acidity well, giving the wine a very full, sensual flavor. The complexities in this wine persist through a long finish, many different aspects of fruits, minerals, and herbs constantly jostling for attention. The wine is simply chill-inducing.
Chill-inducing describes this song perfectly. There are few bands that warrant headphones, closed eyes, and focused listening. For me, The Besnard Lakes always command that dedication of my time. This song in particular makes me stop and listen no matter what I’m doing at the time.
The ominous vocals, sung both solo by Jace Lasek (also the guitarist and keyboardist) and in chants with his wife Olga Goreas (also the bassist), cast a surreal pall over the ornate instrumentation, pumping wave after wave of distraught emotion into the rising, triumphant guitar riffs to maintain a continual dissonance, a sense of unease. They fill empty spaces between verses with subdued distortion and wavering vocal harmonies, barely holding the song together and making the anticipation for each resurgence palpable. Like a dry Tokaji, the sweetness is tempered by a subtle mordancy; the song embraces dichotomy.
And, like any good wine, the complexity persists through a long finish. Generally, after the final verse of a song, a repetition of the verse or chorus riff or a guitar solo ends abruptly or fades out. The Besnard Lakes instead begin a second guitarist’s distorted guitar interlude before the final repetition of the chorus, replacing the chorus riff. As the chorus ends, another guitar solo begins, with a third guitarist and guitar bringing in a cleaner, slower sound. The original guitarist, Lasek, playing a subdued version of the chorus riff underneath of the solos, suddenly comes forward with a hammer-on solo as the third guitarist fades away, providing the most complex guitar-work seen thus far before one final choral riff finishes the song.
I would have a hard time finding a more appropriate metaphor for the progression of the flavors of wine from the attack to the mid-palate to the finish than this song.