{"id":4892,"date":"2014-08-22T12:03:06","date_gmt":"2014-08-22T12:03:06","guid":{"rendered":"https:\/\/thedorseypost.com\/?p=4892"},"modified":"2014-08-20T19:48:30","modified_gmt":"2014-08-20T19:48:30","slug":"gimme-spoon","status":"publish","type":"post","link":"https:\/\/thedorseypost.com\/?p=4892","title":{"rendered":"Art is an ark"},"content":{"rendered":"

\"photo<\/a>There\u2019s Spoon and then there\u2019s everything else in contemporary music. When Parquet Courts released Light Up Gold<\/em>, after a few listens, I thought: hm, look out, Spoon.<\/em> I emailed the hosts of Sound Opinions<\/em> praising them for ranking the Parquet Courts debut as one of the brightest moments in music last year. Yet I regret to confess that I actually ended that email with the something like the following words, knowing Jim and Greg love Spoon: \u201cMove over, Spoon. There\u2019s a new sheriff in town.\u201d (Me with my giddy crush on \u201cMaster of My Craft\u201d.) Though the second effort from Parquet Courts has a few tracks that rank with the best from Light Up Gold<\/em>, in general it left me a little crestfallen. It sounded as if they were being petulantly difficult, upping the noise and monotony\u2014which worked on their first album. Now they sound as if they\u2019re daring you to not to like them\u2014just to prove they didn\u2019t care if anybody would pay to hear them assert their defiant low-fi integrity. I still love them on principle, but I\u2019m not as in love<\/em> with them now, if you know what I\u2019m saying. (I once had a pet theory that Sinead O\u2019Conner shaved her head because she was too beautiful to get taken seriously with a full head of hair.) In other words, PC seems to be pushing back against the risks of popularity they know they might achieve if they upped the production quality to Spoon level\u2014which they do perfectly, just to show you they can, on one or two tracks from Sunbathing Animals<\/em>. If Parquet Courts would just relax and make the irresistibly gut-punching music they know how to make, pop-punk songs offset by complex, poetic lyrics, in such a seemingly effortless way, imagine a concert where they would open for Spoon. Who could top that?<\/p>\n

That\u2019s a long way to say They Want My Soul<\/em> may have already become my favorite Spoon album. Better than anyone recording music right now, Spoon is concocting the most sophisticatedly beautiful songs that also invite your limbic brain to the shindig. They split the difference between The Beatles and The Replacements. (Britt Daniel put it another way once: \u201cMarvin Gaye meets Iggy Pop.\u201d) After nearly twenty years of recording, Spoon keeps going for the brass ring: they are trying to be a timelessly great<\/em> rock band, as if such a thing were possible anymore, given music\u2019s incredible fragmentation and the inescapable obscurity so many great musical artists face. (There are great bands now, but are they rock<\/em> bands?) Spoon keeps defying its era, dissecting old rock and roll songs and assembling new ones, unpacking new sounds from old ones. Daniels once listened to Revolver<\/em> on repeat, until (as I like to imagine it) the memory of it was playing involuntarily in his head day and night. I read somewhere that he had an exasperated girlfriend who asked him, \u201cDoes it always have to be about rock and roll?\u201d I visualize her on her way out the door with Daniel calling out, sotto voce<\/em>, to himself really, with a smile of relief on his face, \u201cAll the plants are gonna die!\u201d Spoon is living on the same corner as Lennon and McCartney or R.E.M.\u2014hoping to be popular because<\/em> they are brilliantly good. Critics back around the time of Gimme Fiction<\/em> were predicting Spoon could break out and do exactly what R.E.M did: achieve big popularity and still win critical raves. I don\u2019t get the impression they are immensely popular, even though you can hear them in all sorts of unexpected places. They are still near the top of every critic\u2019s list. I can\u2019t even find the new album on the Billboard rankings. Too soon? Am I looking at the wrong list? I feel like Unfrozen Caveman Lawyer when I venture onto that website. I\u2019m a little more at home on Pitchfork, but not that much. On the other hand, so many of my friends don\u2019t get it. They listen and shrug or they actively don\u2019t like Spoon. It\u2019s as if I\u2019m surrounded by people who have secretly agreed to pretend they despise motherhood or beer or Abe Lincoln.<\/p>\n

I discovered Spoon about a decade ago. My son, Matt, was in the house, getting ready to head somewhere with his friends. Outside, I walked up to his friend Al Swinburne, in the driver\u2019s seat of his car in our suburban driveway, where he was running the engine, a couple other friends in the back. My wife and I had known all of them since they were in kindergarten, give or take a year or two. As we caught up with one another, in the mix Al was playing I heard those first gorgeous carousel-like organ notes from \u201cAnything You Want.\u201d I kept talking, but not for long. About thirty seconds into it, I shut up and said, \u201cWho is that<\/em>.\u201d \u00a0He said, \u201cA band called Spoon.\u201d I got more and more thrilled by what I was hearing, and he said, \u201cMy brother let Britt Daniel crash in his Boston apartment for a couple weeks.\u201d Shortly thereafter, I told my son, Matt, \u201cListen to this.\u201d He and I drove to Cleveland to hear them at the Beachland Ballroom, getting there early, standing at the edge of the stage. Matt jumped up and stole the set list afterward, and now, nine years later, I still have it on my wall. \u00a0What a dork.<\/p>\n

Thanks to Al and Ian, I was a Spoon disciple before anyone knew Gimme Fiction <\/em>was on the way, which is when the band started getting attention in the mainstream press. Anything You Want<\/em> remains my favorite Spoon song, and after ten years, when it starts playing, it sounds just as fresh, as innocent, as joyful as when I heard it in my driveway\u2014a song I believe could have shot up the charts in the 60s, even though it was composed and recorded decades later. A couple others are right up there with it, in my list of all-time favorites: \u201cThe Figures of Art,\u201d which is its equal for all the same reasons, and \u201cThe Fitted Shirt\u201d(which was side-by-side with \u201cAnything You Want\u201d on Girls Can Tell<\/em>, for one of the all-time greatest one-two punches of pop rock and roll), and now \u201cRainy Taxi\u201dand \u201c<\/em>Let Me Be Mine.\u201d (I would include \u201cLike Ice Cream,\u201d from Daniel\u2019s stint with Divine Fits<\/em>.) As About 1:50 into \u201cRainy Taxi,\u201d Spoon briefly hits its cruising altitude and seems to achieve the musical equivalent of perpetual motion. (Parquet Courts rides that same tailwind in \u201cMaster of My Craft\u201d at around 2:16 after the best line from the album, \u201cSocrates died in the fucking gutter!\u201d Innocent joy isn\u2019t part of the bargain with PQ. But it\u2019s a funny line.) Bottom line: half a century after The Beatles appeared on Ed Sullivan and established rock and roll as the only music that was going to matter for a long time, Spoon is keeping the pure heart of it alive in ways no other band seems to be attempting with the same intensity.<\/p>\n

Spoon samples from the past in its own way. They\u2019ve internalized what\u2019s great, and they try to do it justice by making something new that measures up to it. They\u2019re traditionalists, not obedient to what\u2019s preceded them, but dedicated to liberating new opportunities from inside earlier practices. They have absorbed, if not memorized, a large portion of pop music from the past half century, starting, I think, with songs recorded the year Eno was born, 1966, and then picking and choosing from various tracks ever since, seeking a path forward for a new tune by dissecting the way bands tackled musical challenges half a century ago. Or just a few years ago: Daniel was studying Dr. Dre from 2001 while Spoon was making the new disk. It\u2019s a perfect fit: he and Dre worship a certain kind of restrained beat, and they\u2019re both minimalists, getting the most from the smallest quantity of sound. The perfectionism of that cushiony soundproof studio texture\u2014it\u2019s there in the best work of both artists.<\/p>\n

Spoon always sounds like Spoon, but you hear echoes of dozens of influences from one song to the next. As a New York Times<\/em> writer put it, they build songs the way a magpie builds its nest, drawing materials from all over the place. Like a great DJ, they\u2019ll grab the core of a previous song, the beat and the rhythm of a few notes, and spin something completely new from it. \u201cGot Nuffin\u201d and \u201cRainy Taxi\u201d both begin by echoing the rhythm and guitar textures of \u201cGimme Some Lovin\u2019\u201d by the Spencer Davis Group. The opening of \u201cGot Nuffin,<\/em>\u201d at the same time, evokes 25 or 6 to 4<\/em> by Chicago, and then moves on to become something completely different. One lone blogger, a while back, pointed out that the first few bars of \u201cThe Fitted Shirt\u201d sound a lot like the opening for a lesser-known track from Heart\u2014<\/em>except the Spoon track seems much harder to get a fix on, in a good way, as if two time signatures have been superimposed, one for the drums and the other for the melody. It\u2019s typical: the opening seconds of a Spoon song can sound instantly familiar, even if they\u2019re entirely original, and then the song becomes what it is\u2014not a pastiche or a cover, but a reworking and discovery of the untapped potential still coiled in an earlier work. Tear Me Down<\/em> always feels to me like a track that didn\u2019t make it onto Let It Bleed<\/em>. Daniel said that he immersed himself in both Revolver<\/em> and the soundtrack for the remake of Solaris<\/em> when the band was recording Gimme Fiction<\/em>.<\/p>\n

Spoon songs don\u2019t wear out for me. After ten years of listening, some of the earliest are still fresh. I’ve found some of the\u00a0most lasting tracks in their catalog for me can be found on their first recordings: Telephono<\/em> and Series of Sneaks. <\/em>They\u2019re raw, minimal, and physically <\/em>aggressive, essentially punk, and yet the sound of each instrument is exquisite and rich and there\u2019s a quietness that hovers in the songs, as it usually does with Spoon ever since, isolating each instrument and voice. Hi-fi\u00a0punk. No crumbly low-fi distortion anywhere. The sound of a Spoon song is something Daniel and Eno work themselves to death to get right\u2014there isn\u2019t a note where they don\u2019t intend for it to be and the sound is usually both lush and roughly commanding. The production values get massaged until it feels as if the entire song has turned your skull into a soundproof studio. The purity of the sound is sacrosanct.<\/p>\n

Yet, on some of the new tracks, depending on the system I\u2019m using to play it, the loudest tones seem to thin out and get brittle and too crispy, as if the microphones can\u2019t handle the volume so that even certain layers of the track on the CD sound like an mp3. I noticed this on one of the best songs from Transcendence, “Trouble Comes Running.” It felt like something I was hearing through the single center speaker in the dashboard of a 1964 Chevy, before there was eight-track. The effect is more pronounced and more common throughout the new\u00a0album if I\u2019m listening on an iPod shuffle, but even the best stereo doesn\u2019t deliver \u201cRent I Pay\u201d at the same level of quality as anything on Gimme Fiction<\/em>. On the older recordings, the guitars, piano, organ, bass, drums, all sound as if they\u2019re playing at mid-volume in the studio, no matter how much you crank it up\u2014the tones of guitar, snare drum, cymbals, are all pure and distinct and full-bodied. I don\u2019t get this impression on some of the great songs here: \u201cRent I Pay,\u201d \u201cThey Want My Soul,\u201d \u201cNew York Kiss.\u201d Ostensibly, the outside producer they brought in likes his tracks \u201cdistorted and dirty\u201d so maybe that\u2019s what\u2019s happening. My son doesn\u2019t hear it, but it lets me down, just a little, every time I play those tracks. It\u2019s puzzling. It\u2019s my only cavil: everything used to be perfect, at a Dr. Dre level, in a great Spoon song, and this could be the strongest album they\u2019ve ever recorded, and yet on these few stand-outs they seem to be messing with the formula.<\/p>\n

Since the 80s, I\u2019ve purchased only two vinyl LPs: Girls Can Tell<\/em> and Kill the Moonlight<\/em>. I haven\u2019t broken the seal on either those disks. You see, I don\u2019t own my old turntable anymore, and I haven\u2019t bought a new one. They sit, unopened, like a pair of time capsules, under an antique table, awaiting their first listen. Some day, I\u2019ll actually buy and set up a turntable and play them. Until then those purchases represent a pledge of allegiance, a ritual of faith, more than an act of consumerism. I\u2019m sad to report that I download almost all the music I buy now, or just queue it up on Spotify much of the time, and yet I still buy each new Spoon album on disk. When I listen to most new music, I\u2019m invariably doing something else. When the latest Spoon arrives, once again the world is just as it was on the day Sgt. Pepper\u2019s came out or when I brought home the 45, in its little paper sleeve, with Paperback Writer<\/em> on the A side and Rain<\/em> on the B. (That, by the way, was the greatest<\/em> one-two punch in rock and roll history.) Not long after it arrives, I carry a new Spoon CD to the best stereo in the house, slice it open, and start playing it, while sitting on the carpet a certain distance from my old Boston Acoustic floor speakers and my cheap subwoofer, with dials I keep adjusting for each song. I actually stare at the music, as if I were watching a movie. I do nothing but listen. I listen and remember what music once was, and what it is<\/em>, right now, at least while Spoon is playing.<\/p>\n","protected":false},"excerpt":{"rendered":"

There\u2019s Spoon and then there\u2019s everything else in contemporary music. When Parquet Courts released Light Up Gold, after a few listens, I thought: hm, look out, Spoon. I emailed the hosts of Sound Opinions praising them for ranking the Parquet Courts debut as one of the brightest moments in music last year. Yet I regret […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1],"tags":[],"class_list":["post-4892","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nArt is an ark - represent<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/thedorseypost.com\/?p=4892\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Art is an ark - represent\" \/>\n<meta property=\"og:description\" content=\"There\u2019s Spoon and then there\u2019s everything else in contemporary music. When Parquet Courts released Light Up Gold, after a few listens, I thought: hm, look out, Spoon. I emailed the hosts of Sound Opinions praising them for ranking the Parquet Courts debut as one of the brightest moments in music last year. 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Yet I regret […]","og_url":"https:\/\/thedorseypost.com\/?p=4892","og_site_name":"represent","article_published_time":"2014-08-22T12:03:06+00:00","og_image":[{"url":"https:\/\/thedorseypost.com\/wp-content\/uploads\/2014\/08\/photo-3-941x1024.jpg","type":"","width":"","height":""}],"author":"dave dorsey","twitter_card":"summary_large_image","twitter_misc":{"Written by":"dave dorsey","Est. reading time":"12 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/thedorseypost.com\/?p=4892#article","isPartOf":{"@id":"https:\/\/thedorseypost.com\/?p=4892"},"author":{"name":"dave dorsey","@id":"https:\/\/thedorseypost.com\/#\/schema\/person\/5f1b414f169df69053f04f66b929fd57"},"headline":"Art is an ark","datePublished":"2014-08-22T12:03:06+00:00","mainEntityOfPage":{"@id":"https:\/\/thedorseypost.com\/?p=4892"},"wordCount":2413,"commentCount":0,"image":{"@id":"https:\/\/thedorseypost.com\/?p=4892#primaryimage"},"thumbnailUrl":"https:\/\/thedorseypost.com\/wp-content\/uploads\/2014\/08\/photo-3-941x1024.jpg","inLanguage":"en-US","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/thedorseypost.com\/?p=4892#respond"]}]},{"@type":"WebPage","@id":"https:\/\/thedorseypost.com\/?p=4892","url":"https:\/\/thedorseypost.com\/?p=4892","name":"Art is an ark - represent","isPartOf":{"@id":"https:\/\/thedorseypost.com\/#website"},"primaryImageOfPage":{"@id":"https:\/\/thedorseypost.com\/?p=4892#primaryimage"},"image":{"@id":"https:\/\/thedorseypost.com\/?p=4892#primaryimage"},"thumbnailUrl":"https:\/\/thedorseypost.com\/wp-content\/uploads\/2014\/08\/photo-3-941x1024.jpg","datePublished":"2014-08-22T12:03:06+00:00","author":{"@id":"https:\/\/thedorseypost.com\/#\/schema\/person\/5f1b414f169df69053f04f66b929fd57"},"breadcrumb":{"@id":"https:\/\/thedorseypost.com\/?p=4892#breadcrumb"},"inLanguage":"en-US","potentialAction":[{"@type":"ReadAction","target":["https:\/\/thedorseypost.com\/?p=4892"]}]},{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/thedorseypost.com\/?p=4892#primaryimage","url":"https:\/\/thedorseypost.com\/wp-content\/uploads\/2014\/08\/photo-3.jpg","contentUrl":"https:\/\/thedorseypost.com\/wp-content\/uploads\/2014\/08\/photo-3.jpg","width":1079,"height":1173},{"@type":"BreadcrumbList","@id":"https:\/\/thedorseypost.com\/?p=4892#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/thedorseypost.com\/"},{"@type":"ListItem","position":2,"name":"Art is an ark"}]},{"@type":"WebSite","@id":"https:\/\/thedorseypost.com\/#website","url":"https:\/\/thedorseypost.com\/","name":"represent","description":"the painting life","alternateName":"the dorsey post","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/thedorseypost.com\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"en-US"},{"@type":"Person","@id":"https:\/\/thedorseypost.com\/#\/schema\/person\/5f1b414f169df69053f04f66b929fd57","name":"dave dorsey","image":{"@type":"ImageObject","inLanguage":"en-US","@id":"https:\/\/secure.gravatar.com\/avatar\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/1b459062818b38ed5bb3f68365bc2557f760412a5db1278493176a6a45bb1c8f?s=96&d=mm&r=g","caption":"dave dorsey"},"description":"I'm a painter living in Pittsford, NY. I've authored two books and also work as a ghostwriter. I sell my work through Oxford Gallery, and have exhibited around the U.S. and internationally.","sameAs":["http:\/\/www.daviddorsey.com"],"url":"https:\/\/thedorseypost.com\/?author=1"}]}},"_links":{"self":[{"href":"https:\/\/thedorseypost.com\/index.php?rest_route=\/wp\/v2\/posts\/4892","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/thedorseypost.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thedorseypost.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thedorseypost.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/thedorseypost.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4892"}],"version-history":[{"count":5,"href":"https:\/\/thedorseypost.com\/index.php?rest_route=\/wp\/v2\/posts\/4892\/revisions"}],"predecessor-version":[{"id":4898,"href":"https:\/\/thedorseypost.com\/index.php?rest_route=\/wp\/v2\/posts\/4892\/revisions\/4898"}],"wp:attachment":[{"href":"https:\/\/thedorseypost.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4892"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thedorseypost.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4892"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thedorseypost.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4892"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}