Ok, so there’s a chance that I may have jumped on a bandwagon and it’s really troubling me.
Where to start? Last year I picked up the second Six Feet Under soundtrack. I really only picked it up because I wanted Sia’s Breathe Me, because I absolutely love the song (thanks to the show.) Anyway I found myself pleasantly surprised by the how truly listenable the album was.
It’s got plenty of good tracks by Phoenix, Interpol and Caesars. But the one that really caught my ear was Death Cab for Cutie’s Tranatlanticism I couldn’t tell you exactly which episode it was in, but I do know that it made enough of an impression in my head that when I heard it again, upon listening to the soundtrack, I was mesmerized.
Now, I’m a sucker for long ballads. What can I say; I dig “sensitive” stuff. Ok, I’m a full on sappy sing along type of guy. I can’t help it, it’s something that’s hardwired into my DNA.
So a bit after purchasing the soundtrack, I caught Death Cab for Cutie making the late-night talk show rounds with their single Soul Meets Body. It’s a nice ditty, but to my ears it didn’t have the emotional core that Transatlanticism had, nor did it connect with me on that level. Regardless, the group entered my consciousness as something that I might want to try out in the future.
(As you can see, I’ve yet to jump on any bandwagon, but be patient.)
But then something strange happened, Crooked Teeth was added to the playlist at work. One day, about a month ago, I caught the line “I knew I’d made a horrible call, and now the state line felt like the Berlin Wall.”
I was slayed. It’s hard to explain why that line resonated so much with me. I think it has to do with the fact that I can actually remember the Berlin Wall and how imposing it sounded as a kid. That thing was no joke, it was so damn impenetrable.
At that point, the group had moved from “try out in the future” to “actively pursue.”
When I went on my music expedition last week, I perused the used “D” section and found a copy of Death Cab for Cutie’s latest offering Plans, and I knew that the music gods were smiling down upon me. I scooped it up and added it to what I’d planned on purchasing that day.
Part of my ritual during my ride home is to unwrap all of my CD’s. I won’t go too into detail, but it is an actual ritual. When I opened the case for Plans I was greeted by an insert touting other Death Cab for Cutie releases. As a glanced it over I noticed that the Stability EP featured a cover of Bjork’s All is Full of Love. At that moment I knew that I’d found the next band to add to my collection.
Y’see, I love All is Full of Love. I love it’s creepy video. I love it’s haunting remixes. I love how it promises to be “full of love” yet still has the ability to completely weird me out.
And to find out that a band that I’d just become kind of interested in had covered one of my favorite Bjork songs seemed just like kismet. Clearly this was a sign from the gods of music that I was supposed to feed my curiosity about the group. Right?
But then it occurred me; “Mathan, you’re about to be one of those guys who’s behind the curve and jumping on a bandwagon.” That thought frightened me. I never wanted to be one of those people. I frowned on folks who’d never heard of 50 Cent before Get Rich or Die Trying. The notion that I might be jumping on a bandwagon caused me to pause.
However the more I thought about it the more I began to distill the idea of jumping on a bandwagon.
To me “jumping on a bandwagon” is what happens when someone gets into an artist because they are the hottest thing out. This person isn’t attracted to the music for any reason other than it’s popularity. That’s what I define as “jumping on a bandwagon.”
As I came up with that definition I realized that I wasn’t really jumping on a bandwagon, so much as I was behind the curve. I’m not getting into Death Cab for Cutie because they’re popular or critically acclaimed; I’m getting into them because I dug a song I heard on a soundtrack, was captivated by a particular lyric and genuinely want to hear them cover one of my favorite songs.
Picture it like a D’angelo concert; some people are going to be there because they hope he does Untitled (How Does it Feel) topless and I’m going to see someone I’ve admired as an artist perform live. I guess I like to think that my reasons for showing interest in them aren’t as shallow as those people who do jump on bandwagons.
But that could just be because I’m trying to avoid crying myself to sleep tonight because I’ve become what I hate.
Brown Sugar
Tom gives some props to Tool.
Shawn has news about a B.I.G. payout and a Spears Statue. And for some reason he doesn’t care for K-Fed, whom I’ve accepted as my lord and savior.
KDP writes a great column about a great song.
Gloomchen delves into the talking of smack.
The Power of a Dollar
Ian has got some news on Radiohead, Sufjan winning an award and also two albums that I apparently need to try out.
Phil, that finicky guy that he is, reviews Ghostface Killah’s latest.
My Five Favorite St. Ides Commercials
1. Shaolin Brew – Wu Tang Clan
2. Jackin’ Fo’ Malt Liquor – Ice Cube
3. Real Men’s Drink – Eric B & Rakim
4. Get Some – Rakim
5. My Malt’s Playin’ Tricks on Me – Geto Boys
