July 25, 2025
SOMETHING OLD
Charles Mingus - Myself When I Am Real
1963
Charles Mingus - Myself When I Am Real
1963
Myself When I Am Real…
I Am Myself When I Am Real…?
I Love Myself When I Am Real? Hate? Know?
I Am Myself When I Am Real…?
I Love Myself When I Am Real? Hate? Know?
A rather abstract, mystical title to accompany an ominously beautiful piece of music. Charles Mingus, famed for his bass abilities, recorded this album of improvisational piano. Everything was composed on the spot.
Mingus struggled with mental illness and had been voluntarily checked into a psychiatric ward shortly before these recordings. Schizophrenia was a potential diagnosis, which sort of turns the word “real” on its head.
Jazz has a tremendous ability to put the human condition out into the air; without words, without language, without structure. There are times in this piece that the keys play quickly and ring like eager bells, and then just as easily slow down into something slow and pulling and lethargic. Like a person exhausted by their own energy.
A forever favorite work of mine that always makes a sunny day feel a little bit stormy, and with a title that always makes me think.
SOMETHING NEW
Tchotchke - Now I Love You
July 21st, 2025
Tchotchke - Now I Love You
July 21st, 2025
Tchotchke is a New York trio: Anastasia Sanchez, Eva Chambers, and Emily Tooraen. Their 2022 self-titled debut seems to sound better and better with every listen.
As the third of their latest singles, this song seems to continue to set the tone for their upcoming record: cute and longing for love, but a bit self-conscious and at times even cynical in the search.
Rich in harmonies while bare in instrumentation, Sanchez described it as a “short and sweet insecure love song.” It calls back to the soft sound of 60s girls groups, a bit of a contrast from some of the heavier rock from their debut.
The single artwork (by their own Eva Chambers) shows petals falling of a flower, evoking obvious “he loves me, he loves me not” imagery. There is a certain girlish tone and a spark of innocence in navigating first romantic feelings that suits the three womens’ angelic voices.
Be sure to also listen to the earlier singles Did You Hear? and Poor Girl.
Sabbath Bloody Sabbath was released as the titular and opening track to Black Sabbath’s fifth studio album in December 1973.
There is something about Swedish frontwoman Nina Persson’s cherubic face and gentle voice, a band named after a sweater, and that light-as-a-feather 90s pop touch that transforms Black Sabbath’s strong hand in the development of heavy metal into something…cute.
But the Cardigans didn’t invent those lovely melodies, they were always there! I think this version brings them out a little bit more, so that when you return to the original you think: hey, this is more beautiful than I realized. Sabbath always had an ear for beauty, with sections of songs flickering between shadows and light rather than solely darkness & heaviness found in much of the music they went on to inspire.
I’ve always found this cover a little bit funny. There’s just such softness to accompany lyrics like the people who have crippled you, you want to see them burn.
This selection is, of course, in memory of the legendary Ozzy Osbourne.
December 3, 1948 - July 22, 2025
This selection is, of course, in memory of the legendary Ozzy Osbourne.
December 3, 1948 - July 22, 2025
SOMETHING... ONLY SLIGHTLY FRENCH
Fievel Is Glauque - Toute Suite
2024
Fievel Is Glauque - Toute Suite
2024
The title means immediately/right away, yet this song is as patient and relaxed as could be. I could have titled this wild card section as “transcendent” or “ethereal,” but “only slightly French” was funnier. And true! Fievel is Glauque is Ma Clément (Brussels, Belgium) and Zach Phillips (New York City), who have occasional French lyrics and titles. If you know my complicated relationship with France, then you can appreciate my desire for a pinch of Français as opposed to an entire handful.
The very beginning of this song, my absolute favorite from this glorious duo, immediately feels like deep breath. That effortless flute by André Sacalxot and upright bass by Logan Kane stand out immediately to me: as if a tender sonata meets a jazz cat under the moonlight. And that steady, calm rhythm by drummer Gaspard Sicx. It’s all beautiful, and seamlessly and uniquely tied together.
The pulsing dynamics that guide Ma Clément’s voice through the air; an air that feels even lighter than…air.
I can’t seem to overstate the fundamental lightness of this song, and how devastatingly beautiful I believe it to be with every listen. Check out the lyrics too, which are fragmented and mysterious.