Little Chief @ Solly's

I live for those serendipitous moments where the perfect song plays during the perfect moment. Back in November, while commuting down to rural Virginia for work, I streamed one playlist during that twice-weekly, four-hour commute. I first heard North Carolina by Little Chief the minute as I exited I-95 to I-295. At this junction, the choices were Durham or Rocky Mount. Either way, the Tar Heel state was within reach.

North Carolina and I have this strange relationship, comprised of mostly heartbreak, failed relationships and a blissful weekend at a beach. Two and a half years ago, in the fall of 2012, when my east coast move was full of naivety and new opportunities, Little Chief's North Carolina could be my mantra: "take me to North Carolina, where my baby lives. I won't be there by tomorrow but heaven knows I'm on my way." At the present moment, North Carolina is simply another state on the east coast, one I've visited a handful of times. However, when I listen to the harmonies given on this track, I want the state to mean more to me.

After streaming Little Chief's debut LP, Lion's Den, over and over again since March, I was anticipating their tour and hoping for a date in DC. With any luck, they stopped in DC for a show at Solly's Tavern last Friday. I wear my love for Solly's on my sleeve. The last show I caught there was Charlie Patton's War. Considering they're now opening for PUSA, I always feel that Solly's attracts bands we can all believe in.

The band introduced themselves to the crowd - consisting of a girl taking photos in the corner and the group I had brought. As with the album, Mountain Song was the opening choice. With over two-minutes of instrumental build up and a bang of an ending, I've always thought this was a fantastic choice to hook people on Lion's Den early.

Over the course of the evening, Little Chief did a pretty comprehensive span of their album, including Gold In The Morning, Lion's Den, Shiloh, North Carolina and Brothers. While sitting and listening to Shiloh in person, I realized just how reflective and at-peace I feel when that song streams. Brothers is the song I can't stop playing now and I never figured the last track on an album would be so catchy. In addition to the Lion's Den material, the band covered The Head and The Heart's Rivers and Roads and absolutely did the song justice.

By the end of the show, the crowd at least doubled and every single friend I brought with me to the show loved the band. If you have a chance to catch Little Chief on tour, I highly recommend. I couldn't think of a better way to enjoy a laid-back Friday night.

You can listen to and buy Lion's Den on bandcamp. Currently, the album is also available on Noisetrade as a free download.

Carousel by Miner

Around these parts, I'm not sure to what length I've discussed last summer. It was one of those beautiful times where despite feeling emotionally broken in every way, I pushed out of my comfort zone and accomplished more than I had ever hoped to. One of my favorite songs, going along with these moments, was courtesy of Miner. Hey Love was that warm, happy jam that wouldn't fail to make me grin or roll down my windows. At that point, Hey Love had been around for almost a year. With only one other released track at the time, Golden Ocean, that was all we had of Miner, until now.

Carousel, to be frank, is a relief. I'd come to expect more tracks heavily laced with the banjo and mandolin, upbeat and campfire-worthy, emulating that Edward Sharpe and the Magnetic Zeroes vibe. On one hand, I find Miner almost more accessible than other bands it could be genre-lumped into with. This is catchy, from the soul, makes you want to fall in love, music and all of their released tracks thus far are solid. I can only hope their debut album will have twelve noteworthy songs.

With a year and a half from initial release to the debut album, husband and wife, Kate and Justin Miner had the time to build a band with Justin's brother Jeremy and other family and friends. It's a familial affair and an environment that can cultivate a grand work of art. Deriving inspiration from travels through Central and South America, with bedroom recording roots, I can guarantee this will be an album worth spending time with.

Miner releases their debut, Into The Morning, on February 25th. Preview the album by listening to Carousel and Hey Love on Soundcloud and by reading the lyrics on their website.

Salt by ear to the ground/ Salt by Wyatt Overman

Between being raised in a non-religious family and my tendency to be oblivious to idioms, I didn't know what the phrase the "salt of the earth" meant until a few months ago. The "salt of the earth" are those humble, unpretentious, just good people who are appreciated, loved and respected by all. This makes sense, as salt has been used metaphorically to represent loyalty, value and purification in the Bible and was a coveted mineral in ancient times.

The genre of folk is no stranger to religious undertones and harsh self-awareness. When the two are combined, dramatic symbols, such as salt, convey the woes of judgement, regret and disappointment.

Representing yet another idiom, ear to the ground is a project by Frank Hurkmans, based out of Utrecht in the Netherlands. While the music is a little rough around the edges, there's a lot of emotion and genre-blending wrapped up in the six-track self-titled EP. Salt, makes direct use of the "salt of the earth" idiom: "the salt of the earth I never was". This is in response to a judgement day, a once-promised future and the inevitable new start that comes with disappointing the ones cherished, "when August ends, I'll start all over again".

On the other hand, there's Wyatt Overman, who released this album, Two Winters, that I can't get enough of. This is an album so delicate, so fragile, so brilliant that I keep trying to write words to describe my feelings and constantly feel like I'm falling short. His Salt is much more indirect but conveys the theme of judgement and "salt of the earth" just as well as ear to the ground did. Here, there is a different take. Overman challenges his cherished one, "darling please, please listen to yourself. Who they hell have you become?" He mocks when he doesn't quite believe the words she has spread that they "are the salt, in/and the undertow", when in reality, their unit is falling to pieces.

You can listen to ear to the ground and Wyatt Overman over on their respective bandcamp pages. Listen to both takes on this classic idiom and think about those you consider to be the "salt of the earth". Or, live up to the expectations set forth and survive the judgement that will follow.

Only Time Will Tell (Demo) by Neal Martin Amundson

I have a soft spot for demos. In a way, a musician is trusting listeners with their vulnerabilities. These are honest words, the visions of a single song-writer or the few members of a band, and a raw sound that truly captures an artist's abilities. Sadly, while demos can be the bridge between recording songs in a bedroom and the possibility of mainstream success, it can be difficult to track them down. Nowadays, with sites such as bandcamp, soundcloud and the easy ability to upload songs for the world to hear, so many talented individuals are coming forth. There are the songs and albums recorded in basements, in living rooms, with family, with friends... Songs and albums that are so homegrown and so outstanding. These songs and these albums are the reason why I blog.

The current demo stuck in my head is this track, Only Time Will Tell by Neal Martin Amundson. To be honest, this is another Reddit find. Much like how Matthew Fowler posted Beginning once upon a time, "CrispyNeal" wanted r/indiefolk to take a chance on his music. I went for it.

Only Time Will Tell appears to be a coming of age/ moving on story that is stark and realistic. I'm not sure what Amundson's background is, but these are insights one usually only has after moving away from home, betting on yourself, and following your dreams. The song starts out steady but with no hook. Usually, I know I'll love a song after a few seconds. I almost gave up until the chorus changed everything,"but only time will tell, if I'm across the state line and living well. Well, they say that's what passion's for, stepping out and seeing more. So, kick me passionately out the door." These wise words are consistently stuck in my head as of late.

Listen to Only Time Will Tell on soundcloud and marvel at how great the music climate is these days.

The Songs of 2013

I want to thank this year for being the year that threw me back into music. When I reflect upon how I became invested in music in the first place, 2006 and 2008 have always been the defining years. I need to add 2013 to that list.

While I've been sharing my favorite songs and albums that were released in 2013, I have a few honorable mentions from prior years that I feel obligated to mention: A New Kind of House EP by Typhoon; The Match by The Eastern Sea; everything Lord Huron; So Far We Are by The French Kicks; The Midnight Organ Fight by Frightened Rabbit; Valley Maker's Self Titled album; Prison Boxing by Cataldo; all of Justin Vernon's prior projects, Counting Sheep by The Crane Wives and Through The Deep, Dark Valley by The Oh Hello's. As always, Rilo Kiley and The Format will always be significant, no matter the year.

Back to the present, this year is the year. Bastille's Pompeii was the most played song, according to my last.fm account. I still can't get sick of it, despite the radio play. r/comeonandslam reminded me that regardless of my folk or music-snobbery leanings, sometimes one of my favorite songs will end up being a Space Jam/ Radioactive mash-up. Whatever. Jumper Cables by Widower, complete with bloodsugar references, was written about me (or, in reality, a girl who could be my best friend). I rarely have a song fit me to a tee that well. When I first heard Hannah Hunt, courtesy of Vampire Weekend, I actually cried.

Pop and mainstream music were also constants and I'm not ashamed. I loved the new Gavin DeGraw singles and drove four hours to my alma mater to see him in concert back in February. J. Cole's Crooked Smile brought back TLC with a bang. I devoured the new Ron Pope song and fully intend to see his show at DC9, even though I'll be surrounded by teenage girls. I am sort of ashamed over having Pitbull and Ke$ha's Timber on this list but I can't stop dancing in my car when I hear it on the radio. 

If I could, I would add every song released this year from Typhoon, Valley Maker, Folly and The Hunter, Volcano Choir, Hey Marseilles and Pickwick to this list. Did I just give away my top 6 albums? Yes.

I tried narrowing this down to just one-hundred and I couldn't make it happen. There's no order - throw these on shuffle and enjoy the ride.

Round I:

Opportunist by Miyazaki

Love Lost by Roo and the Howl**
Gallup, MN by The Shouting Matches
Chicago by Fort Frances**
Best I Ever Had by Gavin DeGraw
Braving the Wind by The Sun Kite
Prom Night by Anamanaguchi
Moonless by Blatant Neon Ion**
Watch for Deer at Dawn by Folly and the Hunter
Well, You Left by Rilo Kiley
Foreign Bodies by Radiation City
Radioactive Slam by MuhLurs**
I Dreamt Blues by Vikesh Kapoor
Something to Get You By by Genders
Somebody to Love by Valerie June
Hannah Hunt by Vampire Weekend (<3)
Halls of Columbia by Pickwick
Burn by Ellie Goulding
If I Could Change Your Mind by HAIM
The Mission by Valley Maker**
Song For Zula by Phosphorescent
Tiff (feat. Justin Vernon) by POLIÇA
Casino (Bad Things) by Houndmouth
Comrade by Volcano Choir
Royals by Lorde
Bird Balloons by Lady Lamb the Beekeeper
Thinking About You by Typhoon
Step Out by Jose Gonzalez
Change by Churchill
Bad Kingdom by Moderat
Hurricane by MS MR
Young Fathers by Typhoon
I Have Been Lost by The Petticoat Tearoom

Round II
City By The Sea by Fort Frances
Byegone by Volcano Choir
I Remember You by Rilo Kiley
100 Years by Typhoon
East Coast Girl by Cayucas
Ivory Black by Seryn
Brother by Swear and Shake
Chain My Name by POLIÇA
Inside Out by Andrew Austin
Still by Daughter
Bang by Elin Ruth
The Round by Pickwick
Only Time by Valley Maker**
Tall Tall Shadow by Basia Balut
When We Fall by Timshel
Good Times by The Changing Colors
Everlasting Arms by Vampire Weekend
Promise of Lakes by Luray
Stay Awake by Ellie Goulding, Madeon
Dead Man's Dance by Bradford Loomis
Science/Visions by CHVRCHES
Jumper Cable by Widower
Blankets by Matthew Fowler
Modern Jesus by Portugal. The Man
Hey Stranger by Nicki Bluhm and the Gramblers
Move by Mausi
A Clear Mind, A Better Time by Del Water Gap**
Blood & Bones by Paper Bird
Bright Stars Burning by Hey Marseilles
Agape by Bear's Den
Sex by The 1975
Step Into My Life (Restless) by Marshall Lewis**
Wake Me Up by Avicii

Round III
Possible Deaths by Typhoon
Little Too Late by Nicki Bluhm and the Gramblers
Lick My Wounds by Ron Pope
Drop The Game by Flume, Chet Faker
Line of Fire by Junip
Crooked Smile by J. Cole, TLC
Bagel Girl by Black Checker
Put On, Cologne by Donovan Woods
Recovery by Frank Turner
Obey Your Guns by Matrimony
Ever Loved Once by Blitzen Trapper
Island by Wyatt Overman
Sask by Donovan Woods
Wildewoman by Lucius
Inside My Head by The Parkington Sisters
Play It Right by Sylvan Esso
Abandon by Modern Kin
Wyoming by Water Liars
Cherry Blossoms by Night Beds
The Fold by Ivan & Alyosha
Call Me In The Afternoon by Half Moon Run
You Don't Love Me Like You Used To by The Lone Bellow
The Breach by Dustin Tebbutt
Little Numbers by BOY
Sonsick by San Fermin
Heart Beats by Hey Marseilles
Acetate by Volcano Choir
Love of a Life by Kelijet, X Ambassadors
The Wire by HAIM

Round IV
Ships Pass by Paul Cook and the Chronicles
Wax & Wane by Alana Henderson
Dreaming by Smallpools
Low Wishes by Air Review
Never Wanted Your Love by She & Him
Fifth In Line to the Throne by Camera Obscura
Fireworks at Night by Campfire Ok
San Francisco by The Mowgli's
Timber by Pitbull, Ke$ha
The Great Northwest by Mighty Oaks
Of Space and Time by City and Colour
Dreams of Cannilbalism by Typhoon
Bad Habit by Foals
Out of My League by Fitz and the Tantrums
Weight by Mikal Cronin
Tides by Hey Marseilles
Closed Hand, Full of Friends by Foy Vance
Jack and Jill by Jon Morgan**
Ghost by Folly and the Hunter
Dear Pressure by Miracles of Modern Science
From This Valley by The Civil Wars
Moth In The Porch Light by Folly and the Hunter
Pompeii by Bastille
Wait Up For You by The Belle Game
North Carolina by Little Chief
Thunder Clatter by Wild Cub
Need The Sun To Break by James Bay
Summer Jam by Twinsmith
Grace For Saints and Ramblers by Iron & Wine
Riptide by Vance Joy
Faultlines by Field Division**

** Not Available on Spotify, therefore linked.

Chicago (Sufjan Stevens Cover) by Fort Frances

With Sufjan Stevens' Chicago, any city could be substituted for the windy city and any individual coming to age, starting over or finding themselves would be able to listen to and understand the complexities behind lyrics. I've always loved Stevens' approach here - upon first listen, the song almost sounds upbeat and peppy. However, peeling back each verse as a layer, the song grows progressively melancholic and any hope for a story to aspire to goes out the window. While some of us can relate here, none of us should really want to.

Fort Frances' cover wears the song's emotion right on the sleeve. From the beginning, anyone will know this story does not have a happy ending. At the very beginning of the song when "I fell in love again" appears, it's predictable by the end of the song a point will be reached where "I've made a lot of mistakes".

I can imagine myself streaming Fort Frances' cover over and over again the minute I decide the district isn't the place for me anymore. I've fallen in love with DC over the past two years, but as flighty of a person as I am, there will likely an incident that propels me to run. With every city there's this cycle one experiences where you: recreate your life, grow as a person, fall in love with the city and everyone within it but inevitably make mistakes and leave.

Within this cycle, I'm somewhere in between falling in love and making mistakes. Sometimes, I'm not so sure how much longer DC will have a hold on me.

You can listen to and download Chicago, as covered by Fort Frances, on Soundcloud. As an additional note, their new EP, Breathing Room, was released last week and is truly fantastic.

Headlights by Get Dressed

When I was only a lowly teenager, I began my delve into local music. One of my favorite Seattle bands from around this time was an indie-rock outfit, Get Dressed. A song of theirs, Headlights, became a favorite of mine. Throughout the years, this song has remained with me and has never quite been forgotten. On a sad day back before grad school, my desktop computer finally died. With it, I lost my entire music collection. Nowadays, that's not the worst thing in the world, with Spotify and other comprehensive music players. However, a few tracks were lost, to never be resurfaced. Headlights was one.

Get Dressed broke up in 2008. I remember seeing flyers for their last show at The Vera Project. To listen to this song, I searched everywhere (from Myspace to Lineout to ReverbNation). I even pleaded with my friends on facebook. No luck anywhere.

In a little twist of irony (or something), I reclaimed Headlights when my current computer crashed. I'm debating getting a Chromebook and decided to check out Google Play. When Google Music first came out, I uploaded much of my old music collection on a whim. I had forgotten all about this. Several scrolls down the page, Headlights was there.

I couldn't be any happier.

The opening riffs hook me every time. The repetition of the chorus is the portion of the song I used to sing in my head when I hadn't listened to the track in a while: "and, we move slowly and slowly and slow". The way they portray a mediocre relationship - it could be on every teenager's life soundtrack. We've all experienced this sort of lackluster, even if we're hoping for more. Get Dressed was easy to relate to, non-pretentious and the local act you hoped would make it somewhere.

Listen to Headlights. I did the world a favor and uploaded a copy to Grooveshark. It's worth the four minutes (and a few replays).

(image above via Lineout)

Don't Come Close by Yeasayer

With every Grand Theft Auto, I'm convinced there's at least one music gem released exclusively for the soundtrack. For example, The Music of Grand Theft Auto IV, in 2008, had No Sex for Ben by The Rapture. A song which was played for a period of probably a month when the soundtrack was first released and occasionally comes up on shuffle, evoking fond memories. Whenever a new GTA game is announced to be released, I get excited for the soundtrack and not the game.

On Grand Theft Auto V, the song to love is Don't Come Close by Yeasayer. I've been a Yeasayer fan since All Hour Cymbals in 2007, which I still maintain is the greatest album of theirs and one of my favorites of all time. Odd Blood and Fragrant World haven't necessarily been disappointments, but it's been a while since I've been so excited over a possible direction this band could be taking.

Don't Come Close was recorded around the time of Fragrant World and sometimes pops up on live sets. I agree with the band's thoughts that the song doesn't really fit anywhere. In my opinion, it showcases the best parts of both Odd Blood and Fragrant World. There's the catchy, more upbeat, pop sound from Odd Blood but the song is as polished as the tracks off of Fragrant World. I think it's a good middle ground. I always thought Odd Blood was a little too erratic and Fragrant World was too aurally flat. If this is the direction Yeasayer is moving towards, I'm all for it. I'm also for the band returning to their experimental-folk sound from All Hours Cymbals, but I know that's a pipe dream.

Lyrically, Don't Come Close, isn't as complex as some of their prior tracks. However, Yeasayer has this strange ability to capture poignant feelings with their music, spanning their entire history as a band, and Don't Come Close is no exception. The line currently sticking with me, "people don't change, they only get old", is simple but all-telling. In fact, it may be time to update my Gchat status.

You can download Don't Come Close and the rest of the Grand Theft Auto V soundtrack from iTunes. Or, listen to this Youtube upload below.

I Can by the Dancing Hats

It's Friday. I didn't take the day off of work, per se, but I did decide to forgo my miserable car commute for a walking commute to the DC office. I'm almost regretting this decision entirely. I barely have any work to do, it's a perfect day outside and I'm in the dreariest office of all time. No windows. No company. The lights keep turning off because no one acknowledges my presence.

On the upside, I have plenty of privacy to jam out to I Can by the Dancing Hats all afternoon. The Dancing Hats, from what I can find out, appear to be a fun-party-sort band out of Portland, Oregon, with varying numbers of individuals contributing. Are they the next big folk super-group (ala upbeat Typhoon)? Who knows? But, I think there's a lot of potential for something.

The track is catchy and multi-dimensional. There's truly a lot going on, both lyrically and aurally. I'm not one-hundred percent sure what this song is about, but my guess is rebellion against a stereotypical life and shooting down everyone who tells you you can't live extraordinarily. At first I wasn't sold on how slightly jarring the lead male's voice sounded, but as the song goes on and he experiments with different styles, it's highly enjoyable. The female vocalist is equally fantastic and provides the balance the song needs. The random, instrumental portions prove that the band can rock out and have fun while doing so.

I don't think there's a better song to capture the end of summer.

You can listen to and download I Can on the Dancing Hats' bandcamp page (for name your price!). If you do, please rebel against office culture with me and participate in some Friday cubicle dancing.

Weekend Video: Life is a Highway as covered by Folly and the Hunter

Folly and the Hunter is a criminally underrated folk band out of Montreal. While I need to devote an entire post to why Tragic Care is my favorite album of 2013 (despite White Lighter, despite The Hurry and the Harm, etc), now is not the time. I spent a few minutes of my afternoon excitedly discussing Folly with a new friend and I'm inspired to post something.

For now, enjoy this cover of Tom Cochrane's Life is a Highway. I adore how quiet the cover is. The original song and Rascal Flatt's versions embody this upbeat vibe, where the "highway" is nothing but an adventure. Here, we have a much more reflective take, where I can imagine this song accompanying me on a late night drive as I'm pondering where my life has been and where it is heading. It's honest to the intent of the original song and pulls it off in a much different, but appropriate way.

I'm convinced this band can do no wrong.

Pieces & Places: Coffy Cafe

(let's discuss the music I hear in district-area bars, coffee shops and other fine establishments)

Coffy Cafe is one of my three favorite coffee shops in this city. Being from Seattle, I'm extraordinarily picky with both how the coffee is and the overall feel to a place. Coffy has a special place in my heart - the board game group I'm a part of meets here every Wednesday. The coffee is fantastic, the crepes are delicious, the service is top-notch and the best part? It's mod themed. As a thrifter, collector and lover of mid-century-modern vintage decor, I am in heaven.

Date: August 25, 2013. 

Time: Early-mid afternoon. 

Vibe: Mostly the Sunday working crowd. Things are pretty quiet.
Drink of Choice: Large Iced Americano, extra-ice. 

Rio by Hey Marseilles - "Borders can keep me if Rio will have me to dance and to drown." 

I always thought of Hey Marseilles as Seattle's music sweethearts. Rio is one of those songs that instantly brightens my day. The minute I hear the clapping, I smile. 

Reach Out and Touch Someone's Hand by Cataldo - "there's no doubt, it's time to make some new plans." 

Prison Boxing is truly one of the greatest albums to ever exist. Reach Out and Touch Someone's Hand is one of those tracks I always forget to listen to, since it's at the end of the album. I find it honestly hard to move on from Don't Lose That Feeling. But, hearing the song out and about makes me realize how much I've been missing out on.

Way Back When by Kodaline - "Those will be the days that won my soul."

I've barely given Kodaline a listen in the past and that's a shame. This song fit in well here - it has a more old-fashioned sound than a lot of indie-folk nowadays. When I looked this song up, I wasn't entirely sure it'd be modern. 

Verdict: Unfortunately, the music was turned down shortly after deciding to write this. As much as I want them to play 1960's and 1970's music to go with the theme, I'll never be upset with a typical Seattle-esque coffee shop playlist.

I encourage everyone to check out what Coffy Cafe has to offer. If you're ever here on a Wednesday around seven, you'll find me with the board game crew in the back.

{Local] Kalorama by Luray

August is one of my favorite months in DC. While it's usually hotter than all hell, the month brings with it a flood of new people moving into the city. There's a mix of idealism, nativity, and passion that floats through the air. When I moved here, I was warned that DC was a "rough city" to adjust to. At first I didn't believe - the surrealism of living here trumped any and all other feelings I had. After a little bit of time, I agreed.

Kalorama by Luray adeptly describes the transition into this city. Upon first listen, between the gorgeous banjo-strumming and the dreamy folk sound, one wouldn't necessarily think this could be a song about a city, let alone this district.

The more I listen, the more frustrations I hear laced throughout the song. There's mentions of over-priced furniture, judgmental locals, driving around without finding parking and small stores that haven't been opened in thirty years.

Despite all the misgivings, "in Kalorama, we'll make it alright".

Luray is the band of Shannon Carey. Her debut album, The Wilder, was released yesterday and can (should) be purchased on iTunes. The band is being called a familial affair and is drawing comparisons to Bon Iver. S.Carey, her brother was originally the drummer in Bon Iver and even produced The Wilder. Another brother and her husband also contribute to the band. In my opinion, she has a very distinct style that varies vastly from Bon Iver or any of Justin Vernon's other projects. However, if that comparison is what it takes to have the album gain more (deserved) press, I'm all for it.

Listen to Kalorama if you're new to this city. Treat it as a mantra when riding out any rough patches. Listen to Kalorama if you're not new to this city and realize that you have made it alright. You can listen on SoundCloud.

(image of Mitchell Park via Wikipedia)

Old Soul Song (For the New World Order) by Bright Eyes

I'm really not sure what to think about this week.

Between having eighty hours on my schedule, massively throwing off a project due to an error at work, fifteen hours of sleep over four days, administration hell at the DC DMV and one of the most "magical" nights I've had in a while... by Saturday morning I was ready to shut down and cry.

Parallel to my "magic" night this week, while at the Columbia Heights Starbucks, a song came out of left field and completely stopped me in my tracks. For no other reason than being at the right place at the right time, this song is going to represent the ultimately-disappointing, serendipitous moments in my life.

Old Soul Song (For the New World Order) opens up melancholic. The feeling lingers. Despite hoping, pleading, wishing the song would be anything other than a story without a happy ending, the end result leaves you with a sense of dread.

And just when I get so lonesome I can't speak,

I see some flowers on the hillside,

like a wall of new TVs,

Ya they go wild.

When Conor Oberst does what he does best and croons one of the most emotionally-devastatingly-sounding, raw passages to exist, life is no longer the same. He captures the moment, the end to something that shouldn't end, the throat-dropping-into-your-stomach disappointment, in a way I relate to. It's the feeling of everything being at war inside. The heart desperately trying to escape the mind and the mind trying to rationalize the heart's behavior. They go wild.

On Saturday morning, I may or may not have listened to this during the entire metro ride from Columbia Heights to Waterfront.

Listen to Old Soul Song (For the New World Order) when moments in life feel unfinished. Or don't. You might be better off emotionally.