Hidden Gems: Dreamland by Glass Animals

Dreamland by Glass Animals

First of all, welcome back to my column! I hope you had a great summer regardless of the current state of the world, and I’m glad you’ve come back to read about art that I’m passionate about. You might have noticed that my column actually has a title now! Hidden Gems is going to be a running series where I bring to light some hidden gems of art that have been overlooked or underappreciated by the majority of people. Be warned, there might also be some lumps of coal (e.g. art related topics that I’m passionately furious about). In the first entry of this series is the album Dreamland, released in August of 2020 by the band Glass Animals. I’ve been looking forward to an album by Glass Animals since their last album in 2016, and I got even more excited as they started dropping amazing singles like Tokyo Drifting. Having listened to the entire album at least 50 times now, I can guarantee it qualifies for hidden gem status. I think the album can be best summed up by my three favorite songs, which are presented here, along with some of my thoughts on what makes each one so spectacular:

Space Ghost Coast to Coast:

This is the first big moment on the album and one of my favorites by far. The intro starts with a deep, heavy strumming and a clappy beat that is so incredibly catchy and dark, it immediately grabs your attention. Then Dave (the lead singer) comes in with slightly filtered vocals in his rich and gentle style that creates this moody, atmospheric sound that complements the instrumental so well. Then halfway through there’s this amazing build up, then a crisp and hypnotizing beat breakdown that is absolutely perfect. It reminds me of monsters and cold Halloween nights, alone in the dark. The plot of the song is also notable: it’s the story of a childhood friend who goes down a dark path, and the themes of the story are exactly what the song needs. This is completely different than anything Glass Animals has released before, both in its instrumentation and its themes, which makes it extremely exciting as a Glass Animals fan. Overall it’s a perfect song, I just wish it was longer.

Tokyo Drifting  ft. Denzel Curry:

I have to be up front: if you’ve been reading my column for awhile you’ll already know this, but I’m a huge Denzel Curry fan. His style is absolutely unique and incredibly intense, and I always get so hyped when he starts a verse. It seems like Glass Animals understands the effect that Denzel has, and that they crafted this song around that same energetic and electric feeling. The synths they use are large and brassy, overlaid with one another to create this whole symphony of punchy rhythms. The lyrics and vocal delivery by Dave are subtle and cool, which perfectly align with the themes of the songs. This song also nails its transitions: there are so many spots where the song sets itself up for an amazing drop, and then totally obliterates the landing. The build up to Denzel’s verse is a stellar example of tension, and of course when Denzel comes in it’s insanely cool and perfectly executed. It’s easy to see why it’s such a great song, and I don’t think nearly enough people have heard it.

Waterfalls Coming Out Your Mouth:

This song starts with another incredible intro, featuring a plucky guitar and punchy percussion. Overall, the percussion on this album is one of its greatest achievements: each song is a completely different experience, unlike anything I’ve heard in other music. Then Dave starts singing and it’s like all the pieces fall together and the atmosphere of the song is revealed. It’s over-the-top and not afraid to experiment with multiple styles, changing instrumentation often and contrasting light vocal passages with intense responses. Halfway through the song is one of the best moments on the entire album: everything goes soft and timid, there’s a gradual build up with some carefully placed effects, and then suddenly it’s pure, outrageous insanity. I absolutely love the palette of this song and how well it demonstrates the stylistic freedom of Glass Animals. You have to give it a listen, not even just these three songs, but the entire album. It’s not a perfect project, but it’s certainly a hidden gem.

2020 Grammy Performances

First off, I don’t watch the Grammys or follow the awards; I have no idea what the categories are, how the winners are determined, or how Billie Eilish can win 5 Grammys, including Album of the Year and Record of the Year (what’s the difference again?). But I did catch the aftermath this year, namely the musical performances which tend to be an iconic part of the awards show. Personally, I was most interested in the performances by Tyler, the Creator, Bilie Eilish, and Lil Nas X, of which Tyler is the most senior, having been rapping and pushing the limits of the genre for the last decade, while both Billie and Lil Nas are recent stars on the hip hop/pop scene. All performances were interesting in their own way and extremely telling of the current music industry, and for that reason I want to look at how successful each performance was and what defined them.

My favorite performance by far was Tyler, the Creator performing a medley of songs off of his most recent album Igor, which you may remember me writing about last fall. It ended up winning Best Rap Album of the Year, which is somewhat controversial, considering how experimental and genre-breaking Igor truly is. Many critics of the Grammys (including Tyler himself) point out the historical connotations of the Best Rap Album award, which has been one of the only awards consistently won by African American musicians, and feel that the forcing of Igor into this category further displays the role of the rap award as a participation trophy for African American artists.

Regardless of the politics around the award, nobody can argue that Igor didn’t deserve the Grammy; it truly is one of a kind, a fusion of multiple genres and saturated with personality and aesthetic. Tyler brought these exact qualities to his explosive performance, featuring a beautifully sung intro, then wild and intense effects followed up by an insane, almost heavy metal raging and dancing, leading to another beautifully sung reprieve, and finally a crescendo of visceral craziness and adrenaline, leading to a fitting climax. I definitely recommend watching it yourself; words can’t do it justice. Even if you don’t usually appreciate that style of music, I think the performance is objectively fantastic. I found that my heart was racing when I was watching, and I caught myself smiling at the end, that’s how much I was drawn into the over-the-top qualities of the performance. Not only was it more entertaining than any other performance, it actually put the music on display, perfectly conveying the themes and emotions that go along with the album.

The next performance I watched was Billie Eilish performing an acoustic song off of her most recent album with her brother on the piano. It was certainly well done and haunting, but its impact was almost insignificant compared to Tyler’s. I should acknowledge my bias towards Tyler first however; I simply appreciate his style and musical development more than Billie’s. I was a fan of hers when she first started, but I quickly felt like all of her music sounded the same (which is a pretty generic critique, I know). Perhaps her style is just meant to be subtle, and I missed the point of her performance, but regardless I felt like it left a lot to be desired, which is surprising considering how many Grammys she won.

Last but not least was Lil Nas X performing a medley of Rodeo and Old Town Road, both viral hits last year. They’re great songs and all, certainly very catchy, but it’s hard for me to see him as anything more than just a meme. I don’t mean that with disrespect; I definitely think there is a place in pop culture for viral music and his endearing personality, but I think he objectively lacks the artistic skill of more serious or developed musicians. He might grow into a more serious artist one day too, who knows, but for now I think his music is just meant to appeal to the lowest common denominator of today’s pop culture, which I think was put on full display during his performance. Studded with other celebrities and musicians, his performance felt like an odd fever dream with some familiar faces, but no unifying style. It was practically a musical advertisement for the music industry, not an example of outstanding creative performance. It makes sense that Lil Nas would rely on the reputations and popularity of other musicians, considering he has just started making a name for himself, but it certainly doesn’t help him to stand out or create his own musical legacy.

Hopefully this didn’t turn into a rant (it can be hard to tell sometimes), and I think my biases are pretty obvious, but regardless I think that comparing these iconic performances can reveal a lot about what makes award show performances so important, and what makes a performance stand out or blend in. In my opinion, Tyler’s performance is the gold standard of memorable, experimental, mold-breaking, and artistic. It might not be fully appreciated by general audiences, or appeal to the popular culture spheres of today, but I think it will be remembered as iconic in the history of award performances. The other performances will likely be forgotten by the next Grammys, but hopefully those artists will have another chance to prove themselves with more experience and perspective under their belts.

The Staying Power

This week, one of my favorite bands released a music video. Well, not really a music video. It was a filmed performance of a song at one of their concerts from their last tour which, sadly, I was unable to attend. And just a few days ago, this video made big news.

Why, you may ask? Because it was Panic! At The Disco singing Bohemian Rhapsody.

Now I will be the first to say that my mom raised me right when it comes to music. Even though I pretty much missed the whole “Backstreet Boys” craze thing of the 90s (but hey, I still know almost every word to “I Want It That Way” so I’m not a total loser, right?), my mom raised me on The Eagles, The Beatles, The Four Tops, Duran Duran, Steppenwolf…the list goes on. When I was 8 I could probably sing every word to “I Wanna Hold Your Hand” and “A Hard Day’s Night”, and at the time I didn’t think this was a big deal; I didn’t know why my mom would make me listen to these old bands when all my friends were singing Christina Aguilera at me. But as I got older, I realized that my eternal love for classics was a really, really good thing.

I’m not saying there’s anything wrong with our current pop music. Believe me, I will be the first to admit that I’m that one girl screaming SHAKE IT OFF, JUST SHAKE IT OFF in her room while she’s changing her sheets (but only when my roommate isn’t around, of course). Last year Katy Perry’s “Roar” was my ultimate anthem. Pop music is vital to a country’s culture; it defines how the country feels at the moment, whether it be eternally sick of I’m so happyyyyyyyyyyyyyyyyyyyyyy, or falling in love with Sia’s latest brilliance (â”Chandeliers” is seriously gorgeous). People can connect instantly by just mentioning a song they heard on the radio an hour ago.

But then where does that leave Panic! At The Disco? And where did Queen come from, and how did they get so popular? I think one of my favorite conversations revolving around music, especially when you make friends with people who like classic rock, is the “who will stay” conversation.

Starting around the 50s and 60s, brilliant artists emerged who decided to do things with music that had never been done before. Elvis swung his hips and Bob Dylan started a movement, and we remember those artists for their contribution to the art of music, even if we don’t listen to them. You’d be hard pressed to find someone who doesn’t recognize an Aerosmith song, or has never heard of Led Zepplin. But it’s a lot harder now to find artists who are breaking boundaries like these guys did because…well, these guys paved the way.

And the fact is, bands just aren’t popular anymore. Sure, you can lash out at me with about a dozen bands who put music on the radio consistently, but the majority of artists creating music are solo, which starkly contrasts with how it was from 1964 onwards.

So here you have Panic! At The Disco, a marginally popular but by no means explosive alt-pop band, covering Queen’s classic anthem? eulogy? I don’t even know how to classify the epic-ness that is “Bohemian Rhapsody”, but as I watched I seriously doubted if Brenden had the chops to perform such a heavily revered piece of art. I was pleasantly surprised that I did in fact enjoy it, but it made me wonder if my children will like Panic! At The Disco like I liked Queen. Of course, they’ll listen to it – even though I do admit to being a lover of pop I spend more time in the indie realm of music, and that’s where my children will be.

But when I introduce Death Cab for Cutie to them, will they instead be talking about that one Australian girl who tried to rap? I don’t know the answer to most of the questions I’ve asked, but I hope that the artists who work hard, who pour their blood and sweat and tears and soul into crafting lyrical and musical art, that they’ll be the ones that will be remembered – whether they come from a pop background or whether they hardly make the Billboard Top 100.

Right now, a song called “All About That Bass” is number one on the Top 100 chart. So I wonder – in ten years, will I be laughing at someone who covers it, or will I be clapping?

Special shoutout to the Billboard Top 100 for helping with some of the research…I mean really, how would I know that “All About That Bass” is number one right now?