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"The better the singer's voice, the harder it is to believe what they're saying."
If there's something about music you're looking to express, chances are David Byrne has already done it with a simple little statement that borders on the absurd. This particular golden nugget appears on a promotional piece for the film Stop Making Sense, which features Byrne (in various guises) interviewing himself (in the infamous big suit). It's an amusing little peek into the twisted movies in Byrne's head, as well as a jab at how silly music journalism can be — but I also take this point about believing singers rather seriously.
The more music I listen to, the more I realize that I can decipher my appreciation through the question, "Do I believe you?" I think this quality of believability is one reason why my two favorite local bands, the Arcade Fire and Wolf Parade, have become so successful in such a short period. Whether it's Win or Regine or Spencer or Dan singing, none of these people sound like they're bullshitting you. They might be telling a story or even weaving a pretty lie, but never have I heard any of these voices belt out something that didn't sound honest.
Not everyone feels this way about voices, though. I'm sure you've heard it a million times: You pass an album along to a friend, hoping to share something you think is gold, only to have them respond after a few listens with, "I like the songs, but I just can't get over his voice." While you can argue the respective virtues of a classically beautiful voice and a desperately honest howl, I know where I stand, and it's firmly in the latter camp. Music is mythology to me, and if the storyteller skips the trip to Hades, then all is lost.
I've seen a lot of great shows this year in Montreal, but two recent ones stand out rather strongly. I've already mentioned Spencer Krug of Wolf Parade, and readers of any of my columns will know that I'm unapologetically enthusiastic about what he's bringing to music right now. He played a role in both these shows, neither of which had anything to do with Wolf Parade. The first was a performance by Sunset Rubdown (the only one of his acts in which he's the undisputed frontman). It was easily one of the best shows I've ever seen. In addition to stuff from this year's (in my opinion #1 record thus far) Shut Up I Am Dreaming, the set featured some great material from both the self-titled EP and the band's first über-lo-fi release, Snakes Got a Leg (whose proper seal I've finally broken as a result). These are all brilliant songs, and Krug sings them so urgently and honestly you can't help being floored. I won't even try to communicate the impact of Sunset Rubdown covering "Nothing Compares 2 U" as an encore.
Frog Eyes
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It was last week's Frog Eyes show, however, that really inspired me to write this column. Krug has been involved with Frog Eyes off and on for longer than any other act he currently plays with, and having him on board for this show certainly took things up a notch. But on this night, it was Carey Mercer's singing that really stole the show. If you're a fan of Spencer's work and have never heard Frog Eyes, it's time you did. (Absolutely Kosher has recently re-released expanded versions of The Bloody Hand and The Golden River, both of which are worth picking up.) I'm almost tempted to invoke the old folk models of musical lineage here, because you can hear so many echoes of Mercer in Spencer's songs, and in his singing.
I don't think I've ever been more impressed by a vocal performance than I was by Mercer that night. He has this way of scaring the shit out of you, only to lift you up onto his shoulders just as you begin to tremble. I almost couldn't take it when Spencer finally came in on vocals to support him during the last song of the set. Frog Eyes is currently touring with Wolf Parade, so if you make it out to a show, make sure you show up early.
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Dylan would be the obvious choice for a pick from the past here — his trademark nasal vocal delivery still registers deep meaning. But I've always been partial to Neil Young as an example of a wild and unconventional voice that works because of its conviction. 1975's Tonight's the Night is a hugely underrated record in my books, on the strength of "Albuquerque" alone.
Posted August 2006
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oook commented, on August 31, 2006 at 1:21 a.m.:
I think A Silver Mt. Zion (also from Montreal :P) would top the list of bands with honestly believable vocals.