"PORCELAIN" MOBY (1999)

For the next 30 days, I’ll be taking the #AprilAcrossAmerica challenge, picking one song a day as I make my way across the country and across genres at the same time.

Day 4: Fairfield County, CT

My early experience with Moby’s music consisted of devouring “techno” CD compilations and attending the occasional rave. These middle-of-the-night dance parties were fueled by Moby’s electronic vision. They were fun times. But it wasn’t until Moby released Play that I appreciated not just how his music made me move, but how it made me feel. From the first moment I heard Play, I just thought it was one the finest, fullest albums ever recorded, from top to bottom – rewriting elements of soul, funk, gospel and classical, just to name a few of the genres. “Porcelain” is one of the standouts from this breakthrough album.

This is the one track I always want to hear first. Delicate. Gorgeous. Soulful. Not rave Moby. This was a totally different side we hadn’t heard before. And it almost didn’t make it onto the album. Moby’s manager had to convince him this song was more than just “average”. Moby reluctantly agreed to include it. Thank God. Unlike many of the other tracks on Play, “Porcelain” relies mainly on its original synth compositions, not samples. There are still samples, but it’s Moby’s angelic keyboard wanderings and symphony-like chords that steal the show every single time.

“IN MY DREAMS I'M DYING ALL THE TIME. THEN I WAKE IT'S KALEIDOSCOPIC MIND. I NEVER MEANT TO HURT YOU. I NEVER MEANT TO LIE.”

"PEARL'S GIRL" UNDERWORLD (1996)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: The Saint Soundtrack (1996)

There may not be another soundtrack with as unified a vision as The Saint’s. The album was nearly all-electronic by design, featuring Orbital, Moby, The Chemical Brothers as well as lesser electronic-inclined artists like David Bowie and Duncan Sheik. The album, as a whole, jacks up its collection of musical notes on steroids. I’ve already paid homage to Bowie’s “Dead Man Walking” in an earlier post on Mental Jukebox, so this time I’ll go with the frenetic, relentless “Pearl’s Girl” from electronic masters Underworld.

“Pearl’s Girl” comes at you in attack mode, swarming your ears from every angle like a helicopter raid. It even sounds like a fleet of helicopters are hovering over the track from beginning to end. The drums are like machine guns, loading and reloading and unleashing, while the samples take over like brainwashing devices. Ever have one of those days where you just need to let it all out? Turning up “Pearl’s Girl” at full blast might help with that.

"SO FLUTE" ST. GERMAIN (2000)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track.

Album: Tourist (2000)

I don’t know how I first stumbled upon St. Germain. It was probably a friend who introduced me, although it sounds like music that could’ve easily seeped through the speakers at a cafe or at a Uniqlo. Maybe I should hate it because of that, but I can’t deny how fascinating I find his music to be. Its heart is electronic, but its soul is analog – comprised of brass, woodwinds and not your typical percussion elements. I love all of Tourist, but “So Flute” is still my favorite track to this day.

Outside of the orchestra woodwind section, you have to go way back to find anything that uses the flute as memorably as “So Flute”. Like Jethro Tull / Genesis / Peter Gabriel-way back. Hearing this track 20 years after it was recorded, I’m amazed at how well it holds up. The best compliment I can give “So Flute” is that it feels like it could’ve been recorded this year. That’s how timeless it is. Back in 2000, St. Germain made people who had no previous interest in flutes start to see the possibilities. Myself included.

"EL PICO" RATATAT (2004)

Electronic albums play a huge role in my fascination with music. For me, synthesizers and drum machines aren’t better or worse than live drums and guitars. They’re just different. They make music much more imaginative for me. I think Nick Rhodes’ synth parts on those early Duran Duran albums were some of my first loves. Shimmery one moment, jarring the next. Rhodes’ keyboard flourishes changed the complexion of every song. This month, I’m featuring my Top 15 electronic albums along with one featured track. #15ElectronicLPs

Album: Ratatat (2004)

The world of Ratatat is a lot like video games. I’m not much of a gamer, but something about the music from this Brooklyn duo reminds me of the prodding and pacing and occasional explosiveness inside video game worlds. The music even sounds pixelated, like blips, beats and bits of animation that form together to create something mesmerizing. One of my favorite instrumental albums of all time, Ratatat’s self-titled debut album was an instant favorite of mind – and “El Pico” is still a track I turn to again and again.

Speaking of video games, “El Pico” seems almost perfect as a video game soundtrack. The progression from the instrumental “verse” section to the instrumental “chorus” section captures the rewarding feeling of slugging it out and earning one’s way to a battle with the boss. Ratatat accomplishes this feat with drum machines and synthesizers. Electronic bands have come and gone. But to this day, there’s nothing else that sounds like Ratatat, and likely there never will be.

"TO THE BIN MY FRIEND, TONIGHT WE VACATE THE EARTH" MOGWAI (2021)

Great album openers get the listeners to keep on listening. They can do this in any number of ways. Some openers set the tone by easing us in. Others jump right in and blow our minds from the very beginning. A great album opener isn’t an easy thing to create. More than a great song, it’s all about the sequence. Track 1 has to be the perfect starter. This month, I’m highlighting my favorites. #AlbumOpeningSongs

And now we come up on a renowned band that I discovered only recently. I wish I took the advice of music fans earlier and gave these talented guys a shot earlier. The music of Mogwai has certainly taken up residency in my regular rotation and it has filled a void that other bands couldn’t with its post-rock inspired, mostly instrumental approach. This is music I can rock out to and zone out to simultaneously. As The Love Continues is one of my favorite albums of theirs. Mesmerizing, almost cathartic. The opener “To The Bin My Friend, Tonight We Vacate The Earth” feels like a baptism.

The track washes over me every time I listen to it. It kicks off with the song title’s words spoken, continuing the band’s penchant for eccentric track titles. “To The Bin” then proceeds to wash away the monotony with a flood of hypnotizing synthesizer parts, taking the banality out of the most dull moment or day. This opening track brings the promise of something momentous happening. And like many of Mogwai’s compositions, it proves that all of this is possible and even facilitated by the fact that there isn’t a single lyric uttered.

"CRIPS" RATATAT (2004)

For the month of October, I’m taking the #OctAtoZBandChallenge challenge. The premise is simple. Pick a band starting with the day’s assigned alphabet letter and then choose a song from that band.

Day 18

The debut album from Ratatat was like a rabbit hole for me. A journey to discover a new electronic expression where guitars are still relevant. They are almost computerized for the better. And rhythms are highly infectious, yet super simple. And the tracks are largely all instrumental. That was the Ratatat formula. Over the years, that formula has largely stayed intact from the start. It all began with an unexpected debut album – and “Crips” was one of the key tracks.

It all starts and ends with the synth work. On “Crips”, the synth chords and riffs are simultaneously mesmerizing and invigorating. I always felt like the song was ushering me into some kind of new dimension with a different space and time. At the 2:30 mark, the distinctive bass line takes things over and ushers the listener back from the new dimension into reality. It’s a short, memorable, unexpected trip that you never have to plan for.

"AXEL F" HAROLD FALTERMEYER (1984)

After spending an entire month looking back at the 80’s, I realized one thing. I need more. Luckily, a couple of fellow music fans on Twitter came up with the brilliant idea to highlight #30DaysOf80sMovieSongs during the month of April. I couldn’t resist at the opportunity to keep going, to keep listening, and to keep celebrating the decade that has meant more to me than any other from a musical standpoint. Each day I’m playing a different soundtrack favorite on the Mental Jukebox.

Movie: Beverly Hills Cop

Growing up playing piano, I studied all the legends. Bach. Beethoven. Chopin. Liszt. Mozart. The list goes on. But as a kid, all I really ever wanted was some Axel F. I played the upright piano reluctantly. But I played my Casiotone with passion and fervor. Learning how to play the main keyboard sequence from “Axel F” on this instrument was like a rite of passage. I felt like I could hang with Faltermeyer. Of course, that’s a delusion. Harold Faltermeyer is a bit of a legend himself, crafting some of the most memorable movie soundtracks like Beverly Hills Cop and Top Gun.

Together with Glenn Frey’s “The Heat Is On” and The Pointer Sisters’ “Neutron Dance”, Harold Faltermeyer’s “Axel F” formed a formidable soundtrack triumvirate. And the latter was a rarity. Movie soundtrack instrumentals don’t normally become radio darlings, but this one was played everywhere. It hasn’t aged so gracefully. (Those keyboard riffs were 80’s to the core). But it’s a track that carries with it so much nostalgia and free spirit that it’s no wonder it got as far as it did without a single lyric.

"THE SUN SMELLS TOO LOUD" MOGWAI (2008)

Each day in December, I’ll be reflecting back on a song from the 2000’s. The decade saw the return of post-punk and the popularization of folk music, all while some of music’s biggest acts gained their indie footing. Thankfully, it’s a period that I can look back at fondly without cringing. #31DaysOf2000sSongs

One of the more intriguing artists of our time is Mogwai, a band that is completely in its element concocting atmospheric instrumental tracks where the guitars, keyboard, drums and bass seem to be delivering unspoken lyrics to the listener. Without vocals on the majority of its catalog, Mogwai is a prime example of addition by subtraction. While I’m not the biggest fan, few can disagree that the band has found an interesting niche and expanded the possibilities of indie rock. “The Sun Smells Too Loud”, in particular, is probably one of my favorite tracks of theirs.

Some Mogwai song titles seem to fit the instrumentation of the music so well. However, I can’t really make any sense of this one. That said, “The Sun Smells Too Loud” is like a celebration of the senses. The shoegazy veneer exudes through that signature distorted guitar hook, while the post-rock soul of the song cuts through with the complimentary timbres of the synthesizer. The rolling tom hits are the distinguishing percussion persona of the song. All this to say, “The Sun Smells Too Loud” feels like a mind-expanding exploration of the self every time I hear it.

"LEAVE THAT THING ALONE" RUSH (1993)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

While Counterparts represented a return to the guitar-heavy side of Rush, some of the songs contain reminders of the power guitar riff era of “Working Man” and the band’s first album. But one track, in particular, showed a new side to Rush. “Leave That Thing Alone” helped bring up the rear on the album and ushered in an evolved sound as one of their best instrumentals in several years.

“YYZ” and “La Villa Stangiato” still stand the test of time as two of Rush’s best instrumentals, and two of their best songs period. But I don’t think “Leave That Thing Alone” is that far behind them. Like a classic jazz recording, Lee, Peart and Lifeson all take turns in the spotlight. But for the most part, it’s Lifeson’s multiple riffs that assert the most presence, echoing Counterparts’ heavy emphasis on guitars. Hats off to Peart for being one of rock’s most talented lyricists, but tracks like “Leave That Thing Alone” make me wonder why Rush hasn’t composed and recorded more instrumentals.

"MEDITATION VI" SUFJAN STEVENS (2021)

Pick four songs from any band and you can tell a lot about their sound. This summer, I’m featuring #RockBlocks, four picks from bands across various genres. They might be wildly different from each other, but what binds them together is the fact that they’re all a part of my life soundtrack.

Out of the pandemic came Sufjan Stevens’ most prolific recording era. Everything that has happened in the world, in many ways, left him speechless, which led to a comprehensive instrumental project. Convocations is 49 tracks long, representing the five stages of grief. There’s a lot to sink your teeth into there – and a lot to reflect on. But the Meditation series is my favorite because it suited the ambient music approach so well — and I’m especially drawn to “Meditation VI”.

Without any vocals and lyrics, “Meditation VI” and the entire Convocations project takes out one of Sufjan's strengths: storytelling. But in doing so, he invites the listener to explore his emotions — and helps us to examine our own. Like a space-age hymn, “Meditation VI” ushers us into the presence of something far greater than ourselves. It’s the kind of recording that feels like it needs a visual to accompany it. And then we realize that the whole point is Sufjan is inviting his listeners to discover that image on their own.

"ALONE IN KYOTO" AIR (2003)

Exceptional soundtracks can make good movies great. They can also take on a life of their own, becoming a greater highlight than their respective films. In this series, I’m selecting some of my favorite soundtrack songs. While quite a few are well-known recordings, I’m also including a few that have flown under the radar over the years.

The rarely mentioned Lost in Translation soundtrack is a bit underrated in my opinion. There’s some gold in there — with early Phoenix, a Jesus & Mary Chain staple and a My Bloody Valentine distortion fest. But my pick is an underrated song from an underrated soundtrack: Air’s “Alone in Kyoto”.

“Alone in Kyoto” is a powerful reminder of the simplicity and beauty of an instrumental. With no lyrics to hide behind, every single note has to be perfect. Every single note has to be critical, not fluff. “Alone in Kyoto” took a classical approach to ambient, painting a rich, delicate soundscape that captured the feelings of isolation stewing throughout the movie.

"SOUL FINGER" THE BAR-KAYS (1967)

If you’re an 80’s child, chances are you can’t think of Soviet missile control personnel parties without remembering this song. Spies Like Us’ unforgettable scene went back a couple of decades to uncover this instrumental soul fest. Overly simple and repetitious, “Soul Finger” checks two boxes for likeability. First, it’s infectious. The kind of song you can’t get out of your head even if you tried. Second, it’s nostalgiac, whether you grew up in the 60’s or in the 80’s.

"MIAMI VICE THEME" JAN HAMMER (1985)

The 80’s soundtrack era wouldn’t be the same without guys like Jan Hammer and Harold Faltermeyer. Their whiz at orchestrating unforgettable sounds on a synthesizer or a guitar are big reasons why the nostalgiac pull of 80’s shows and movies is so strong. On the Miami Vice soundtrack, Jan Hammer captured the essence of three things: the show, the city of Miami and the era in time.

"TENDERNESS" VITAMIN STRING QUARTET (2012)

For the past 20 years, Vitamin String Quartet has been a culture sponge, throwing back its modern classical interpretations of the songs we love. The John Hughes films album is one of my favorites because those were the movies and the soundtracks that I grew up with. And I think “Tenderness” is the best cover by far, capturing the wide-eyed, euphoric aspect of the original while adding a peppy, rhythmic string arrangement.

"CLIFFS OF DOVER" ERIC JOHNSON (1990)

In high school, my younger brother’s musical tastes expanded to include the guitar rock masters: Vai, Satriani, Eric Johnson and others. Even though he knew I wasn’t a guitar rock fanatic, this was the one song he introduced me to. I thought it was incredible from the first listen. The guitar playing is, of course, exceptional. But the difference maker for “Cliffs of Dover” is this: the guitar solo is more than a solo, it has the strength and presence to play a role normally only reserved for lead vocals.

"ROCKIT" HERBIE HANCOCK (1983)

Record-scratching. Beat-thumping. Sample-diving. If you watched MTV in the early 80’s, you heard, saw and never forgot “Rockit”. A non-rock guy barged his way onto MTV and composed this five-and-a-half minute long instrumental that defied genre labeling. Herbie Hancock was ready to try something completely different. He kickstarted his electro-funk era and “Rockit” was his coming-out song.

"MONDO '77" LOOPER (2000)

I first heard “Mondo ‘77” in a commercial. I don’t remember what it was for. I don’t know what it was trying to sell. But that didn’t matter. It was the song itself that sold me. Later I found out it was recorded by Looper, the side project from Stuart David of Belle & Sebastian. A project that’s curiously nothing like Belle & Sebastian. It’s electronic. Contagious. Repetitive. Big on samples. Big on hooks.

"INTRO" THE XX (2009)

Here we have one of the greatest instrumentals of the 21st century. Written by The XX, who were pretty much just kids at the time. Deliberately simple. Monochromatic in its sound. This was the song that set the tone for a strong debut album. I never heard anything like it before. “Intro” was a powerful introduction to a band that mastered minimalism. This is clean, stripped down musicality with mood.

"SO FLUTE" ST. GERMAIN (2000)

Outside of the orchestra woodwind section, you have to go way back to find anything that uses the flute as memorably as “So Flute”. Like Jethro Tull / Genesis / Peter Gabriel-way back. Hearing this track 20 years after it was recorded, I’m amazed at how well it holds up.

The best compliment I can give “So Flute” is that it feels like it could’ve been recorded this year. That’s how timeless it is. Back in 2000, St. Germain made people who have no business liking flutes actually like flutes. Myself included.