1694: Spinning Some Tunes

When I was growing up, I wasn’t massively into popular music — my peers found it hilarious that I bought my first ever album, Oasis’ Definitely Maybe, literally a single day before (What’s the Story?) Morning Glory came out — though I did, on occasion, purchase an album containing a song I particularly liked. (Sometimes I inexplicably also purchased albums containing songs I didn’t like, though this sometimes led to surprising discoveries.) I would listen to music while I was doing things like homework or reading, and later, when I could drive, I’d record albums onto tape so I could listen to them in the car.

At the time, I didn’t feel like a lot of the music I was listening to was particularly “iconic” or defining of the era. I certainly didn’t feel like I was living in a particularly noteworthy era of music in the same way that those who grew up listening to, say, The Beatles or The Rolling Stones would have been able to. While my tastes were initially defined by what everyone else liked, I gradually started the pattern that I continue to this day of exploring a wide variety of different creative works, and sod what anyone else thinks. Consequently, my CD shelf contained everything from The Spice Girls to Bernard Butler and all manner of things in between. I enjoyed it, indulged in it and, like most people these days, gradually migrated my music library from a collection of CDs to a vast iTunes folder, 95% of which I never listen to.

Just recently, I’ve been starting to feel nostalgic for some of this old music. This can be attributed at least in part to the fact that both Andie and I have taken to listening to a lot of Jack FM, which tends to play a lot of the songs we grew up with, plus some earlier stuff from the ’70s and ’80s, too. While Jack FM has its annoyances — most notably its repetitive adverts and truly dreadful attempts at humour — it’s led me to rediscover a lot of the songs of my youth, songs that, in some cases, I haven’t listened to for literally years now.

I’ve long since parted with a lot of the original CDs — Music Magpie took a whole load off my hands a couple of house moves ago — but thanks to services like Google Play Music, I’m able to call up old favourite albums with the click of a mouse and enjoy them on my phone, in the car, on my computer. It’s pretty great.

And I’ve been discovering that many of these tracks were a lot more “defining” than I thought. Or perhaps it’s just that I have good memories associated with them. Either way, spinning up a copy of something like Prodigy’s Fat of the Land or Mansun’s Attack of the Grey Lantern is like slipping on a comfortable pair of earmuffs and losing myself in times past. If I listen on headphones, it’s exactly like that, in fact.

I’ve never really been one for just sitting and listening to music as my sole activity — I prefer it to be an accompaniment to something like driving or working — but it’s been kind of pleasant to rediscover a lot of these old favourites recently. I anticipate that my drive to work each morning will be accompanied by a lot more singalongs in the near future.

#oneaday Day 978: This Was A Triumph

The other day, Andie rather luckily spotted that Jonathan Coulton was performing a show in Bristol today. We hadn’t “been out” for a little while, so we decided on a whim to grab some tickets and head along to the performance.

I’m extremely glad we did. It was a wonderful experience. I’ve only ever seen videos of JoCo’s shows before, but being there live was even better — particularly as he was also accompanied by his usual companions Paul & Storm, who also acted as the “warm-up” act.

Paul & Storm are the perfect warm-up act. Blending some light-hearted stage comedy with some genuinely amusing songs, they have a wonderful sense of chemistry with one another and with the audience. They can adapt to the mood of the room at a moment’s notice and engage with hecklers faster than any dedicated stand-up I’ve ever seen. Plus their songs are just plain good — and The Captain’s Wife’s Lament always brings a smile to everyone’s face, however long it ends up going on for.

Jonathan Coulton, meanwhile, is a little more understated than the antics of his friends. His songs are often amusing, but in a way that ensures you have to actively listen to the lyrics in order to “get” them. Some of them assume knowledge of certain mathematical and scientific concepts — he does a love song as sung by Pluto’s moon to Pluto, for example, as well as one about the Mandelbrot Set — but he also does a great job of explaining to the audience what his songs are about.

He describes his music as being ’70s-style soft rock, and beautifully encapsulated this in a self-parodying song in which “soft rock” was used as a not-terribly-subtle euphemism. This piece also included a variety of spectacular, seamless and possibly improvised homages to various popular songs

More than being amusing, though, his songs are clever and often quite touching. Even when he’s singing about scientists destroying the world with robot armies, you know that he’s channelling concepts that the audience can relate to — loneliness, alienation, a sense of not fitting in with “normal” society — and that’s what makes him such a beloved performer among the “nerd” community.

While sitting in that venue this evening, listening to the songs and laughing at the silly jokes, I got a very similar feeling to what I felt when I went to PAX a couple of years ago. A sense of “this is for me. This is something I am a part of, and I like being a part of it.” It’s not a feeling I have particularly often, so I relish it when it shows itself. And that, really, is all I could have asked from this show — I’m happy it delivered.

It’s 3:30am now. I should probably get some sleep. (I’m up so late because I was attempting to finish the latest visual novel I’m playing, Deus Machina Demonbane, but it’s just going on and on and on. It’s good though. Watch out for a writeup on Games Are Evil tomorrow.)