Concert Review

Concert Review: The Mountain Goats (12/18/2021)

If you live in the Triangle and are into music, you’ve probably found that the Mountain Goats are more than just a band. They’re a force of nature, whose mere name being mentioned causing any fan in the room to talk about how good they are. I’ve enjoyed their music for awhile but never to the point of considering myself a diehard fan. So when I saw they were coming to Cat’s Cradle, I figured I should check it out and see if the hype was worth believing. That was one of the best decisions I’ve made in a while.

It turns out the presence of the Mountain Goats overshadows even other artists in the lineup of their own shows, as it felt like even opener Bowerbirds just wanted to see the band play. This was maybe the only slight downside as I think it took the air out of what was a great opening set; singer Phil Moore brought the kind of brooding yet energetic vocal performance that was perfect for their indie folk sound and songs like “Moon Phase” were quite beautiful while also displaying a steely guitar line. I’m not at all saying that Mountain Goats intentionally took attention away from Bowerbirds; lead singer John Darnielle made it very clear that he was a big fan of their work and went into detail about how Moore in particular greatly influenced certain songs, it just felt kind of awkward when the loudest cheer by far came when Moore said they only had a few songs left.

When the Mountain Goats finally came in, anticipation had reached a fever pitch, especially as their stage entrance came on the back of a dramatic dimming of lights and instrumental intro. This fever pitch was answered with a fiery rendition of “Michael Myers Resplendent” that turned that anticipation into joyous celebration. Throughout the show they got as loud as the best of them but what really stood out were individual moments, a steely guitar attack or an individual drum line, dislocating themselves from the cacophony to make a statement.

Much like the history of the Mountain Goats, the center of this sonic universe is John Darnielle and the wondrous narratives he spins. These are not straightforward arena-ready bangers, but winding tales filled with despair and hope, with concepts ranging from intricate descriptions of wrestling moves to fantasy quests. Before the show I was concerned that the subtleties of the songs would be lost in the roar of a live show but it was the exact opposite: seeing the Mountain Goats live is the absolute best way to experience their work. I have never seen an audience so transfixed that they had to be told when to clap. At one point, I was so locked in to Darnielle’s words I didn’t notice that keyboard player Matt Douglas got up, walked away and came back with a saxophone until it came in with a thunderous line. The versatility of instruments on display here was impressive; after putting down the saxophone Douglas picked up a guitar and Darniella used at least three different guitars throughout the show and sat down at the keyboard himself. Everything about the performance was extremely fluid, with songs blending seamlessly into one another and everyone onstage clearly having a blast being around the crowd and each other.

As the Mountain Goats have over 20 albums to draw from the songs played were extremely varied. Darnielle specifically described artists who rigidly adhere to the same setlist every night as “the forces of evil” ahead of the “middle section” of the show, which for the uninitiated is where the rest of the band leaves and he plays whatever comes to mind. With every spotlight trained on him Darnielle went dark with his time alone onstage, with “Maybe Sprout Wings”, “From TG&Y” and “Isaiah 45:23” serving as an introspective and brutally honest trilogy. The spontaneity could be felt in every word and note played and what could have been just a gimmick was elevated into an unforgettable experience.

The Mountain Goats have been located in Durham for about 15 years now, and the roots they’ve put down in the Triangle were tangible in the performance. This was the last performance of a three-day stint at the Cradle and there wasn’t just an air of finality but of pride at having the opportunity to play there. Darnielle took every opportunity to thank the audience for their support and it was apparent what the roar of the crowd meant to him and the band as a whole. I saw some amazing live performances this semester but I think this one in particular is going to stick with me for a very long time.


Concert Review

Concert Review: Wednesday (12/16/21)

Concerts come in all shapes and sizes, and what I’ve found from my (limited) experience is that I prefer small shows to bigger arena events. A crowd that can fit into Cat’s Cradle is my preferred upper bound, as this allows for intimate and personal experiences you just can’t get in a stadium.

This was my first time in the Cat’s Cradle Back Room, a second stage you can find to the right of the main entrance to the Carrboro venue. I expected a much smaller version of the main stage, but I was surprised at how big it was, especially with how unassuming the outside made it look. This combined with an upstairs level for seating that overlooked the rest of the room made the Back Room feel like its own thing rather than a scaled down, lesser version of the Cradle. Here, the stage was lower down and closer, I was standing maybe 5 feet from the microphone and could feel the air displaced by the speaker with every kick of the bass.

The show was a masterclass in how to manage energy levels. The first act out the gate was BANGZZ, a very high energy act that brought everyone in from the back corners of the room to get the show going. BANGZZ are characterized not just by their hard hitting drums and attack guitars, but also the stream of consciousness interludes by lead singer Erika Kobayashi Libero, talking about everything from discrimination faced by people of Asian descent in America to how marriage shouldn’t be viewed as a achievement, the latter segueing perfectly into the song “Never Speak of Marriage as an Acheivement.” These interludes add a feeling of spontaneity that keeps the audience clued in and on their toes, perfect for a first act that wants to not just play good music but to prime the audience for what’s to come. The themes of standing up to unjust systems and taking care of oneself are on full display here, and they’re delivered with an eloquence and careful simplicity that really allows it to resonate even through the instrumental maelstrom.

Now BANGZZ could have been followed by an even more high energy band, but Truth Club was the perfect compliment to an aggressive punk opening as they slowed things down and created a palpable contrast that felt like its own instrument. Oh they could get loud, but Truth Club’s loud is more of an icy hot than a raging inferno, with Travis Harrington’s understated vocal delivery being the perfect conduit for the band’s songs. Truth Club’s stage presence was also a highlight, with members going back to back for instrumental sections and a general manic quality that felt like a continuation of the down to earth vibe of the show.

Which brings me at long last to Wednesday, the headline act of the show. If BANGZZ and Truth Club set the audience up for something special, Wednesday had to deliver on this potential. Spoiler alert: it did, and it did so in a way that synthesized the best elements of the opening acts while adding its own spin. The songs played out in a more restrained way like Truth Club’s, with the emotions bubbling under the surface, but also came through in massive freakouts that went toe to toe with BANGZZ’s opening performance. One several-minute long instrumental moment really stood out for me and was one of the best moments I’ve had at a concert, this perfect union of moshable energy and a crowd that was matching it beat for beat.

Wednesday’s heliocentric stage presence was a captivating element of their performance. Lead singer Karly Hartzman acted as this central presence, a constantly smouldering sun whose every word was captivating, and even through full instrumental barrages she shone through as the focal point. This isn’t to say the other performers were lacking at all, they were amazing, but it felt like they all orbited around the main mic in a way that maximized everyone’s contribution to the overall performance.

And what really allowed me to experience all of this in its raw potency was the intimacy of the venue. The merch table was several feet to my left and when Travis mentioned it he specifically called out my “coachable” clap in response. These are the kind of magic moments you get at these kinds of venues, a connection with local artists that you can’t find anywhere else, and one that was especially hard to find over the last couple of years.


Blog New Album Review

Album Review: “Spiral” by Rezz

I’ve found that I’ve often discovered artists at slightly the wrong time to really get the most out of their work. I got into Car Seat Headrest a month after they came to Cat’s Cradle and it seemed like everyone in The National started releasing solo projects the moment I became a fan. But just this once, the stars aligned. I started DJing during the afterhours block this semester, which means I had to go from an electronic music novice to someone qualified to run a weekly show about it. Rezz was my gateway into a world of thumping bass and hard-hitting kick drums, and I was waiting for this album with a feverish anticipation. Spoiler alert: it was worth the wait.

Sounding effortless to me is one of the best things an artist can do, having instantly iconic moments feel like they are just dispensed without a care in the world adds another level to any music. I normally don’t feel this from EDM, with its meticulously crafted structures, but here it feels like this album is good without even trying to be. Rezz is swimming in so much quality production that “Levitate”, a song that spends half of its runtime over a repeated guitar loop that barely rises above the backbeat, still comes together as a quality track with a sneaky bassline that isn’t really a drop but propels the song in a great direction regardless. It’s all uphill from here, “Sacrificial” makes great use of individual bass notes underneath perfectly arranged vocal harmonies, this is probably my favorite track on the album. “Let Me In” starts slow but continues ramping up the pace with the drop becoming more and more urgent.

The release of this album wasn’t just perfect because of when I got into Rezz’s music either. “Spiral” marks somewhat of a transformation of what a Rezz song means. She built her career off a very specific type of fusion of dark techno and dubstep now called “midtempo”, where songs have house and techno elements but are slowed down to 100-110 BPM, really letting the listener hear the technical aspects of the basslines. Her work in this genre is amazing, and we get all of that here, but she opens up the soundscape with more of a focus on the highs, with offbeat notes and clicks making even the bass drops more fleshed out. Some tracks adhere more to her older style, such as “Spun” and the extremely hard-hitting “Chemical Bond”, but this more balanced approach can be felt across the whole album. Her previous albums were also almost entirely lacking in vocals, but “Spiral” has features from singers on more than half its tracks, and they deliver. “Taste of You” features a restrained buildup that lets Dove Cameron inject a compelling edge to the song before exploding into the drop, and Metric’s Emily Haines arguably carries “Paper Walls” with a vulnerability that matches the moody instrumental until a switch is flipped and the kicks start going stratospheric.

Perhaps the best part of the listening experience is that it’s only going to get better the more I listen to the project. As varied and amazing as the deep cuts were, the singles were still the best songs for a variety of reasons, which means that the high points on an album that at time of writing came out under twelve hours ago were songs I’ve been bumping for months. As we draw further from the release day, this line will blur more and I’ll be able to appreciate “Spiral” as a body of work more. 

And Rezz, if you’re somehow reading this, please announce a show closer than DC.


New Album Review

“Hyd” EP Review

Pop is a genre that’s very hard to pin down because of just how broad that classification is. The term “pop” changes drastically across time periods and even geographic locations, and music classified as pop can often fall into other genres as well. Over the past few years record label PC Music has become known for pushing the boundaries of what pop can be, and they’ve found another winner here.

Hyd” is the self-titled debut EP by Hayden Dunham under the Hyd moniker, but it’s not their first rodeo with PC Music. In 2015 they came through with the instantly iconic “Hey QT” under the name QT, a song that is very much in PC Music’s wheelhouse of hyperpop, the experimental and maximalist take on electropop that have defined so many of my DJ sets this semester. The song is bright and polished to a sheen, with extremely autotuned vocals dancing over bassy kicks, it’s a really fun song. I bring it up here because while it shares some similarities with the tracks on “Hyd”, their fundamental approach to constructing a song has changed a lot over the past six years.

Let me explain. The actual instruments and effects that appear on the EP are classic hyperpop, lots of off-kilter synths and rapid-fire hi-hats, but they are used in a much different way. For a project with these tricks up its sleeve, the most prominent element here is actually the quiet. From the sudden stops at the height of the chorus on “Skin 2 Skin” to adding a thoughtful, pensive tone to “No Shadow”, restraint plays a massive role in this pop record, two concepts that don’t often go together. Songs are structured around this too, taking their time in building themselves up and slowly widening the soundscape before kicking into overdrive in the final minute. There are verses and choruses, but the instrumental is doing its own thing, treating the entire song as one long exhale.

The long sections where the instrumentals step back mean that the vocals become the star of the show, and they certainly perform under the spotlight. Dunham is working with a lot of conflicting vocal styles that are often used simultaneously, yet don’t clash at all. “The light defines us” is delivered with a robotic cadence while also sounding emotional and filled with wonder, and they often switch between husky and whispering to soaring and passionate on a dime. Lyrically there’s actually quite a lot of repetition, with a drawn out bridge of the line “Away from the light” repeated seven times on “No Shadow” or the multiple choruses in a row in the back end of “The Look on Your Face”. But unlike songs where repetition feels like it prevents the song from advancing, here it’s used to create mantras that drive

On first listen, this might be a bit of a surprise from a PC Music release labeled as pop by streaming services. It’s a pretty slow paced and restrained project that, when presented with the opportunity to go big and overblown, takes the reflective route instead. But if your opinions of what a pop record has to be aren’t totally set in stone, this EP will fit the bill, packaging its complicated themes and unorthodox structures into an easily enjoyable and rewindable experience. And if that isn’t pop then I don’t know what is.


New Album Review

New Album Review: “HOUSE OF CONFUSION” by Trace Mountains

Trace Mountains’ 2020 debut album was a pleasant surprise in a year whose surprises were generally for the wrong reasons. That album, “Lost in the Country”, was this blend of optimism and realness, tackling tough subject matters like mental illness and uncertainty about the future ahead and packaging it in this very neat, jangly project that used all of these themes as undercurrents while its characters journeyed forward into the unknown. Something about the soft, breezy vocals and the hopeful sounding guitar lines really made the album click and was a source of comfort in a scary time. 

“HOUSE OF CONFUSION” is a different animal. The winding road in the distance is no longer the focus, the journey has already begun and the speaker is reflecting on the present and past. Album highlight “7 ANGELS” looks at a relationship as a series of plans, both to continue loving and knowing when it’s time to depart. Structurally this doesn’t unfold like a beginning to middle to end narrative, rather it touches on everything at once, the relationship is both coming apart and being forged through shared experience. “AMERICA” uses recognizable iconography of an “open sky” and “moonlit road”, subjects that have defined countless songs, but it uses those as a snapshot of emotions felt around them, asking “makes you feel like you lost it a distance back there, don’t it?” and ruminating on what America is now and what it’s like living in it.

The instrumentals contribute to this light melancholy with a slower, weightier feel. Both “Lost in the Country” and this album have more than just a little helping of country to go along with their indie-rock sensibilities, but here I never feel like the instrumental is trying to pull ahead of the vocals; they’re both sort of staggering side by side. The drumbeat of “ON MY KNEES” is hesitant, it feels like it wants to take off sprinting in a direction but not knowing where to go it instead takes things slow.

On Apple Music, the lyrics aren’t presented in a standard line-by-line structure and rather as a paragraph. I’m not sure if this is an intentional choice, other lyrics sites like Genius have them in the more conventional form, but I really like the visual of seeing every line back to back. It really shows how much of a stream of consciousness this album really is, using roads and nature as a suit of armor to protect from what’s really going on under the surface: a general feeling that life could be better and it’s getting harder to live with increasingly negative thoughts. Trace Mountains don’t offer any solutions to this, rather it sits back and lets the listener connect with the universal concepts, acting as a bath to soak in one’s own uncertainties.


Classic Album Review

Classic Album Review: “Fantasies” by Metric

I’ve written on this blog before about the way I often favor a heavily curated over listening to individual albums after one listen. This is because in judging a body of music one of the biggest factors I weigh is consistency. A playlist full of songs I know will hit beats an album with a minute and a half interlude which brings everything to a screeching halt. There are exceptions to this rule, though, with perhaps the album I listen to the most on its own being Metric’s 2009 album “Fantasies”. And in honor of Metric featuring on the upcoming Rezz album, I want to talk about what just might be the most consistent LP I’ve ever heard.

Consistently good, that is. There are a lot of rough albums where one track was no less awful than the last, but beyond just having an unvarying quality, the quality on “Fantasies” is also really high. Vocalist Emily Haines is the gateway into Metric’s universe, able to go from slow and sensual to opening up the floodgates and surfing on a guitar line to hurtle the listener forward like the first plunge of a roller coaster. And this is all just on “Gold Guns Girls”, she’s able to bring this versatility and creativity to all ten tracks on here.

The name Metric is a really appropriate one for this band, because their instrumentals feel perfectly measured and precise, almost machinelike. Riffs methodically drive the song forward over a drumbeat that can go from a whisper in the background on “Collect Call” to pounding and abrasive, setting the tone early on “Stadium Love”, a very memorable song about the animal kingdom engaging in an armageddon-like fight, “angel vs eel, owl vs dove”. But there’s a ghost in that machine, every note adds to the often tense and desperate feelings of the songs. The world of “Fantasies” has danger lurking around every corner. Iconic opening track “Help I’m Alive” comes to terms with the crushing weight of expectations and how they threaten to devour the song’s narrator. “I tremble, they’re gonna eat me alive” are the first lines Emily Haines sings on the album, ironically delivered to the very crowd causing her heart to beat “like a hammer”.

Earlier I made the claim that this was the most consistent album I’ve ever heard, and that’s a claim I stand by. It’s not just that every track on the album has found its way onto a playlist, and I can count on one hand the number of albums that have done that. It’s that from beginning to end this album fills a very particular niche, walking a very thin line between overblown arena rock (though they would tour with Imagine Dragons six years later) and thoughtful indie to create an album that is both punchy and forlorn, while never wavering from the same tone from the declarative swells of “Sick Muse” to the drawn out sighs of “Collect Call”. The characters that inhabit songs on “Fantasies” are all flawed but hopeful, ready to get out into the world yet already jaded. 

“You’re gonna make mistakes, you know” sends off the subject of Gimme Sympathy, whose chorus evokes two of the most iconic bands of all time with “who’d you rather be, The Beatles or the Rolling Stones?” Ordinarily this would sound like a lazy name drop, but when the material is this good, the album as strong in it’s closing line as its first few drumbeats, the comparison really does feel earned.


New Album Review

Album Review: “Valentine” by Snail Mail

When I heard that Snail Mail was releasing a new album, I was taken right back to when I first heard their previous album, “Lush”. That album was one of the defining musical moments of my time in high school, and I’ve been anticipating the project that would eventually become “Valentine” ever since. Now this came out among several disappointing releases for me, but I’m happy to say that “Valentine” did not disappoint.

It starts off with a bang, both the title track and “Ben Franklin” are singles for a reason, and both play heavily to the band’s strengths. Lindsey Jordan’s compelling lyrics have been the face of the Snail Mail brand since its inception, and the way “Valentine” takes what on the surface seems to be a straightforward love song and weaves in themes of jealousy and transience while maintaining an overall fun and driving tone. Pacing is something this album does very well; an album like this where there isn’t that much instrumental variety can often drag but Snail Mail comes at this type of slow, synthy indie rock/pop at all different angles to make it work. The strength of the instrumentals acted almost wavelike across the tracklist, with songs like “Madonna” and “Glory” coming in to balance out slower songs like “c. Et Al.” and keep the album chugging along.

It’s been over three years since the last Snail Mail album dropped, and Jordan had been 19 when debut album “Lush” was released. This means that between albums cycles a lot has gone on in her life and the perspective the songwriting takes has now changed from someone who is just getting started with adult life to someone who would have graduated college if they weren’t busy being a super famous singer. And with the change in perspective comes a change in tone, and in doing so it loses one of my favorite elements of “Lush” when I first heard it. This was such an earnest album, with a bright tone making the songs really come to life and a lot of shouted choruses that made even ruminations on lost love sound fun and upbeat at times, and the album balanced these clashing styles perfectly. For me in high school this was a winning combination that really made “Lush” stand apart from its peers and it’s something “Valentine” has largely eschewed, this is a more weary album. “Automate” features Jordan talking about a rocky relationship, but it feels like a longer meditation delivered with a sigh, the very concept reducing love to machine-like motions.

There is absolutely nothing wrong with this. Wanting an artist to never evolve and always to sound like their debut is creatively stifling for them, this is just to say that as a listener you might need to alter what you think a Snail Mail album should sound like in 2021. And if you’re able to do that, you’ll find an album that’s perhaps less immediate, but with just as much substance and heart.


New Album Review

“New Shapes” by Charli XCX Track Review

Charli XCX has had a very interesting career trajectory. She first really came into public consciousness on the hook of an Icona Pop song and stayed in the mainstream radio friendly sphere for some time, crafting hits like “Boom Clap” that are still her most popular songs to this day. But for a solid five years now she’s almost been a brand ambassador for hyperpop, the experimental candy coated shock to the system that has seen a massive rise in popularity recently. For me, her music was a gateway into this world, and her last two albums, 2019’s “Charli” and “how i’m feeling now”, a meditation on the pandemic that was equal parts reflective and cathartic, were each my favorite albums of their respective years.

On Thursday, November 4, she kicked off the rollout of her upcoming album, “CRASH”, set to release in March of 2022 and with an accompanying tour. “New Shapes” is the second single off this project, and already it’s clear that the album will be a shift in style from her previous work. “Good Ones”, the first single, was an 80s-inspired pop rumination on lost love accompanied by an aesthetic straight out of that decade, down to her permed hair on the washed out album cover. I thoroughly enjoyed this song and have listened to it a lot since its release, but in a lot of ways it felt like a step back from the highs of “how i’m feeling now”, less adventurous both sonically and lyrically.

Which finally brings me to “New Shapes”. Part of the reason I took this long to talk about the actual three and a half minutes of music was because the context is very important to its appreciation. There are a lot of elements I really like. Charli’s vocal performance is great, and the minimal instrumental really sits back and puts her center stage. I love the quiet but still very present synths occasionally punctuating the track and adding some nice flair. Christine and the Queens, who are Charli XCX feature royalty thanks to her amazing work on “Gone”, are here and put in a great verse to keep the song chugging along.

There were a few elements, though, that drag the song down. The chorus is both too long and somewhat weak for the climax it’s built to be, the concept of loving “in new shapes” is a bit vague and the song could generally use a more clear direction. And while I love Caroline Polacheck’s music (and her amazing set at Hopscotch earlier this year), her feature on the third verse here was just not it. It wasn’t entirely her fault, the instrumental just completely recedes into the background, but her lines were just very awkward and it lacked the sharp edges of recent work like the absolute bop that was “Bunny is a Rider”.

And that’s my biggest frustration with this song. On its own merits it’s fine, good even, but as a Charli XCX song with big name features? It just doesn’t reach the standard her last few albums have forged through their inventive production and just by being a unique voice in a very crowded field. I’ll never forget listening to “claws” for the first time and being blown away by the energy on that track, but I don’t know if I’ll be revisiting “New Shapes” next week, much less next year. I’m still very excited to hear the full album, but it’s a different kind of excitement then I had going into her last few releases, more of how I anticipate a Marvel movie than an Oscar contender. Oh I’ll have fun with it, and take away some memories, but if “New Shapes” is an indication of the direction of the project, I won’t be blown away, and that’s something I had been getting used to from her music.


New Album Review

Album Review: “Queens of the Summer Hotel” by Aimee Mann

As fellow WKNC DJ Snapdragon remarked recently, the weather is no longer cute. It’s getting pretty wintery here in the Triangle, but if you’re looking for an album to hit that sweet cozy spot and make it feel like fall for forty minutes, “Queens of the Summer Hotel” is a sleeper pick.

It achieves this cozy aura by managing to capture the feel of an old record perfectly. This goes beyond the vintage-style album cover or the pianos and strings that are straight out of a 1950s living room, but in the subject matter as well. “Robert Lowell and Sylvia Plath” shows a snapshot of the titular pair walking “together down the primrose path” and slowly peels the layers away to detail their downfall. A certain Vermeer painting anchors the experiences of the characters in “At the Frick Museum”, while “You Could Have Been a Roosevelt” reminisces on legions of women who are entering a world that doesn’t treat them as an equal, equating it to being born in the wrong US political dynasty. These references act like a familiar blanket for the listener, while the subject matter isn’t always pleasant there is a sense of belonging that keeps you hooked.

When trying to capture a particular time period or style, it’s important to not get lost in the aesthetic and make a piece of art that can stand on its own, and “Queens” never loses sight of this. These settings are a backdrop for universal concepts of complicated romance and how life becomes very different as you grow up, all from an explicit focus on feminism and gender roles in a wider society. It doesn’t pull its punches with social critiques either. “Give Me Fifteen” is an unsettling narrative about a doctor who threatens women with “electroshock”, a stand-in for a broken system that grinds away at mental health and creates a cure that is often worse than the disease. Make no mistake, this is not a happy album, and if unflinching ruminations on mental illness is something that you don’t think you can handle, steer clear. But the way this all comes together creates a curiously warm tone that remains reflective, the quintessential fall vibe.

My first experience with Aimee Mann’s music was seeing her in a “Buffy the Vampire Slayer” episode where she made a cameo as part of a vampire band and played one of her songs, “Pavlov’s Bell”. It’s been several decades now since that episode came out, but something that struck me when I listened to “Queens of the Summer Hotel” was how much of what made her music from that era work is present here, even in this less-guitar based form. Her commanding vocal presence and ability to take listeners on a journey haven’t wavered, and if you’re a fan of Aimee Mann’s earlier work, definitely give this one a shot.


Blog Miscellaneous

Soundtrack Comparison: “Blade Runner” and “Palm Springs”

I recently watched “Blade Runner” and “Palm Springs” back to back. These are two movies that, while both technically being sci-fi, are very different in tone and worldbuilding. And when viewed so close together, it becomes a lot easier to compare elements of the two, such as their soundtracks. 

For all the flying cars and flashing button panels of “Blade Runner”, the world depicted is not an optimistic version of the future. Characters are lashed with rain the moment they step outside into a grimy world of corporate overlords and murderous androids, and all of this is evoked in the soundtrack. Composer Vangelis was playing with synthesizers before it was cool and from the get-go his mark was made on the movie. “Opening Titles”, the iconic theme, hits with the intensity of a heavy guitar solo but with a futuristic bent that never veers into cheesiness, instead ringing out over the bustling streets and feeling if not triumphant, at least pioneering.

The presentation of “Palm Springs” is in sharp contrast to this. Where the rainclouds of “Blade Runner” felt like a weight on that movie’s shoulders, there is barely a cloud in the California sky, with bright and warm colors that contribute to the movie’s generally upbeat atmosphere. The soundtrack mirrors this with a playful backing that glides over the unfolding scenes. The track playing during the movie’s climax (whose title I won’t give away because it’s kind of a spoiler) was the high point: a subtle melody  not so much propelling the action along as matching it step for step.

These are distinctly different experiences, but there’s a reason I’m comparing them here. Both stay with the listener long after the credits roll with sneaky but very present earworms present. Being soundtracks, they rely heavily on repeated motifs and even tracks being used multiple times to create a narrative just through music and to call back to earlier scenes. “Blade Runner” uses these thematic threads to turn up the tension as the titular android hunter closes in on his targets. “Palm Springs” does this in a similar fashion, but as this is a romantic-comedy first and foremost, it races alongside the plot towards the inevitable conclusion without ever feeling formulaic.

A soundtrack is maybe a movie’s most underrated asset. When a soundtrack really hits, you often won’t consciously notice it because of how interwoven it is with the events onscreen. “Blade Runner” and “Palm Springs” both use music to skillfully walk the line between letting the plot play out without interruption and enhancing the emotions the audience takes away from the movie. The dark dystopia of 2019 Los Angeles and the sunny, maybe even too sunny, titular desert come to life with strings and synthesizers and without the works of Vangelis and Cornbread Compton, these amazing movies wouldn’t be the same.