Hey everyone,
My name is Jake, long time reader, first time writer. I am mostly just including this introduction paragraph because Tanner told me to. I hope you find at least one track you might like. If not, don't worry; I have given Tanner strict instructions to not forward any negative feedback as I have an extremely fragile ego.
This whole guest host spot is really an excuse to share my long-time favorite description of Airborne Toxic Event with a wider audience: bourbon-fueled melancholy. Those familiar with the deep cuts of the soundtrack of my life may recall (read: definitely have no clue) that my wedding song was a cover by the Airborne Toxic Event of the song "Book of Love". However, for this entry I did not pick that song - please don't tell my wife, she doesn't subscribe to 4TF (sorry Tanner).
Instead, I am recommending a song from their debut self-title album, "Sometime Around Midnight." Right off the start with a slightly chilling, depressing orchestral opening (highly recommend their live album, played with the Disney Orchestra backing them), Sometime Around Midnight is the platonic ideal of bourbon-fueled melancholy.
Shout out to The Algorithm from Spotify for introducing me to this band. With bad puns and infectious energy, The Happy Fits' music is just plain fun - and with an electric cello backing their songs, rather unique. While I really like their first album, Concentrate, my favorite song of theirs is from their debut EP, Awfully Apeelin, "Dirty Imbecile." According to the band, "Dirty Imbecile" is "about the two personalities people tend to have: the insecure side and the confident/tough side they tend to present to strangers." Each of these voices has a section of the song, until the end where they sing over each other, representing how these two voices are one complete person. Even if you don't like the symbolism, you still might catch yourself stomping to the beat and singing along.
After Joe's great introduction to "electroswing" last week, I thought to myself: what niche genre can I share with the well-listened followers of 4TF? The answer: chiptune rock from Anamanguchi.
Anamanguchi's music can best be described as the songs your old Game Boy would make if it joined a rock band. With upbeat 8-bit nostalgia infused with guitar riffs and some lively drum lines, their song "In the Basement" is a retro video game shot of caffeine that became my anthem last spring as I spent hours in our basement apartment due to pending deadlines and The Rona. "In the Basement" is the 15th song of their hour-plus, 22 song album, Endless Fantasy, so if you find yourself hooked, fear not; there is plenty more where this came from.
Now, I know you're thinking to yourselves: that's great and all, Jake, but I wish my music had less instruments and more bits in it. If so, I advise you to check out _ensnare_'s LP, Fakebit til U Makebit. You'll be speaking in binary in no time.
In order to demonstrate their hipster bona fides, every good Four Track Friday guest host needs a track from an up-and-comer that no one else knows yet. For me, this is that track. We are the Guests checks all of my boxes in "folk-adjacent" music (or really any music, see "Book of Love" above): strong female lead with a grittier male vocalist accompanying, layered over a bevy of stringed instruments (see also: Of Monsters and Men, Birdtalker, The Oh Hellos). "Sing for Me," the lead song on their debut, self-produced album Daughters & Sons, is a perfect introduction to all the elements of We Are the Guests that I love: soaring duets, foot-stomping beats, and vocal-forward crooning. Plus, with it clocking in at only 60,000 Spotify streams (see above re: hipster bona fides), you have the opportunity to get in on the ground level with this song before its play count (much like $GME and dogecoin) goes to the moon 🚀.
Of course, don’t forget to reply with what you liked, didn’t like, and what you’ve been listening to.
And, as always, this week’s tracks are added to the collectors for all weeks' tracks on Spotify and Apple Music.
Enjoy,
Jake