music
Bleachers – Terrible Thrills Vol. 2 (2015)
Although more of compilation than an album, this is an excellent companion piece to Strange Desire that makes the most of what little Bleachers material we have.
If you haven’t done so already, you may want to read my slice devoted to Strange Desire before digging in to this companion piece to the album.
I may not be into music the way I was when I was 15 or 16 – scouring fan sites for any sound clip or shred of info on a new album, subscribing to clandestine newsletters for release dates and up and coming acts of interest, or spending hours and hours listening to music just to listen to music. But that doesn’t mean I don’t still like it, and I do try to Google some of my favorite artists now and then to see what new material they may have come up with. That’s pretty much how this story starts off. I was absolutely taken with the album Strange Desire. Terrible Thrills Vol. 2 isn’t exactly an album, but in its own way it is still very much a continuation of the Bleacher sound.
Jack Antonoff, who I think is still the only “real” member of Bleachers, has apparently done this sort of project before. You probably know him best as the guitarist from the band Fun (or fun. but that looks really confusing in print…), but before that he was in an outfit known as Steel Train. Terrible Thrills Vol. 1 is a collection of Steel Train songs, only sung by different female artists. And so, Terrible Thrills Vol. 2 is a collection of tracks from Strange Desire, each sung by a different female artist. In fact, it’s modeled directly after Strange Desire, with the same exact tracks in the same exact order.
In form, this looks a bit like a tribute album – a bunch of artists honoring a single artist with their renditions and interpretations of the original songs. But from the moment Terrible Thrills Vol. 2 gets going, you’ll see that it’s something quite different (if you’re already familiar with Strange Desire, that is). First of all, it’s obvious that Antonoff had a great deal of input here. These tracks are more like reprises staged by Antonoff himself whereby he replaces one instrument (his voice) with several others (the various female artists). Most of the women have their roots in the indie scene, though you should recognize a few, like Sara Bareilles (“Brave,” which she co-wrote with Antonoff), Carly Rae Jepsen (“Call Me Maybe”), maybe even Charli XCX (she sings the hook in Iggy Azalea’s “Fancy”). Other artists that I’ve never heard of include Tinashe, MØ, and Sia. (Take a look at the full tracklist near the end for more information.)
I’m not sure how interesting a collection like this would be to someone not intensely familiar with Strange Desire…will the average Joe enjoy these tracks? Probably. But if you already know Strange Desire inside and out, it’s a real treat listening for all the differences and similarities. For instance, the instrumentation of some songs remains almost or nearly the same as the original (“Rollercoaster,” “You’re Still a Mystery”) while others have either been remixed or received new arrangements entirely (“I Want to Get Better,” “Like a River Runs”). Either way, the songs are impressive, and one think that I immediately noticed and appreciated was how closely the ladies stuck to Antonoff’s words (even the little incidentals) and his original inflection. This helps provide a great deal of continuity since it more or less represents the original Strange Desire, something you almost never find with a run-of-the-mill compilation, cover album, or tribute record.
Wild Heart – feat. Sara Bareilles – The original “Wild Heart” is easily one of my top 3 (maybe even top 2) favorite tracks from Strange Desire, so I had some pretty big expectations for this version, not to mention it also kicks off the record and hey, far too many artists squander their first track and that chance at a first impression. This new version downplays the original power-pop leanings of the original and replaces it with a more somber vocal performance from Bareilles and an instrumental mashup of light piano and house/trip-hop elements. It’s fun hearing Bareilles sing this huge melody and the beat is well suited, though I miss the bombastic and uplifting mood of the original.
Rollercoaster – feat. Charli XCX – I’ll admit that I didn’t think much of seeing Charli XCX on the tracklist after hearing the ridiculousness that is “Fancy.” But I set aside my preconceptions. Musically, “Rollercoaster” remains pretty much the same, so fans of Strange Desire will be fully focused on Charli’s vocal performance. Her voice has been Auto-Tuned a bit, but aside from the few bars where it really shines through, she actually gives us a solid rendition of this bouncy piece. Her sultry vocals are slightly fuzzed out, hearkening back to the grittier side of 90’s alternative music. She also sings in a fairly low octave for a female, and really lets that accent pull through, vaguely reminding me of what a female Keith Flint might sound like. In short, the song itself isn’t as interesting as some cuts (due to the repeated and familiar instrumentation) but the vocals are among the most distinct and nuanced of the collection.
Shadow – feat. Carly Rae Jepsen – Originally, “Shadow” was a 100% 80’s influenced pop tune – that pulsating bassy synth, layered vocals, and the high pitched guitar (or synth chimes?) peppered in. This is a slightly reworked version (which I might like just a little bit more if not for a few erratic sections) that comes off like a more updated or edgier version of the “80’s original.” But wait a minute – who knew Jepsen had such a commanding voice? Yeah, there’s some processing here, but she belts out these lyrics in a way that Antonoff never approaches in the original. Her voice soars over the melange of high and low frequencies, and when nearly all the instrumentation drops out for the chorus yet she’s still going at full blast…it’s pretty damn impressive.
I Wanna Get Better – feat. Tinashe – For the record, I’ve got no clue who Tinashe is, but hell, this might be my favorite piece from Terrible Thrills Vol. 2. The original has a complex beat with lots of different elements, practically begging to be remixed. I’m not sure if this is a remix or a new arrangement, but it captures the energy of the original while giving us a bit of new ear candy. Yet again though, it’s the vocalist who shines. Tinashe has a smoky and restrained voice, yet it’s also very clear and she enunciates exceedingly well considering the tempo and unconventional rhythm of the song. It may hit just a little too close to the original to be truly amazing, but if you dig the original, this will not disappoint!
Wake Me – feat. Lucius – Very few albums are perfect – even fewer perfect albums are of this ilk. (Are any albums of this ilk…?) The original “Wake Me” hinges on a short but distinctly Western guitar twang, accompanying an understated melody. This time around it’s done in the style of an old 60’s pop song, like a tamer, less noisy version of the Supremes or the Shirelles or the Vandals. The quality of the era is replicated too, giving the song a tinny, distant sound. The “out West” feel is retained slightly, with a whistle that evokes shoot outs or life on the prairie. All of this I think is a great effort, and conceptually speaking, I appreciate the approach. The problem? It just doesn’t fit the song; the track needs a little more “oomph” to seal the deal. Overall, it’s just a little too laconic to work with in this style.
Reckless Love – feat. Elle King – The musical aspects of “Reckless Love” are more or less the same as those of the original, so once again our attention is turned towards the vocal performance of Elle King. Unfortunately, King’s breathy and at times slightly strained style isn’t right for this sort of ordered and structured piece of music. Antonoff’s somewhat dry delivery with his steady and resigned approach is what the song needs – the fact that he appears so “unreckless” in the face of what he sees as “reckless love” plays into the overall theme of the song.
Take Me Away – feat. Brooke Candy & Rachel Antonoff – “Take Me Away” is not one of my choice picks from Strange Desire, and not because I don’t think it’s a good song, but because it’s the most out of place piece of material on the record. Although it retains the blatantly 80’s synth-based instrumentation, it’s a plodding, anxious piece, too repetitive to fit in with the generally poppy feel of the album and too somber to convey the exuberant energy (whether positive or negative) exuding from the rest of the songs. I was excited to hear how this had been redone…and my feelings are mixed. The music is retained, more or less, but Antonoff’s ghostly processed vocals have been replaced by…rapping. I appreciate the idea and the stab at diversity, but it don’t do it for me, and again “Take Me Away” remains the most out of place on the record.
Like a River Runs – feat. Sia – The original song has a jaunty sort of “traveling rhythm,” perfect for emulating a flowing river. It’s not really a sad song, but it is intensely bittersweet, wrapped up in a very poppy exterior. Sia’s new version perfectly captures the essence of the original song. Instrumentally she’s accompanied by a piano, with a string section that crescendos along. She’s got a bit of a wild and untamed voice, teeming with loss and just a touch of crazy. I don’t really know anything about Sia other than that she’s probably got a few years on many of these other artists, and this age – and consequent experience – shows…in a good way. Rather than the girlish chirp that most girls in the past 10 to 15 years have purposely or inadvertently aspired to, she has this sort of womanly wail that really suits the subject matter. This is a total reinterpretation of “Like a River Runs” (whether at Antonoff’s or Sia’s direction I do not know) and it’s definitely a standout.
You’re Still a Mystery – feat. MØ – Here’s another artist I’ve never heard of. Her Wikipedia article mentions freakin’ Iggy Azalea in the second paragraph, an accomplish that doesn’t necessarily inspire a wealth of confidence in me. Oh, and did I mention that “You’re Still a Mystery” well be my favorite cut from Strange Desire? Well…this new version thankfully does not disappoint. Her voice has a punk-like urgency in it that carries Antonoff’s impeccable pop melody perfectly. Her high registers meld perfectly with the industrial-like makeover given to the track; the instrumentation is largely familiar but a series of uncompromising snares with fuzzy reverb dominate the chorus. And then right there in the middle of MØ’s Cyndi Lauper meets Siouxsie Sioux meets Karen O meets Nena shout-sing, we get a full-on 80’s style saxophone solo a la “Hungry Eyes” or “Endless Summer Nights” with a distortion-laden background that could easily be Ministry-lite. This EBM-inspired reworking of “Mystery” is fantastic, though I wish it’d been taken even further into this territory, with a more overt restyling of the original music. I also miss the breakdown of the original: the slow buildup of, “holding on tightly…” that begins to overlap with the chorus. I was looking forward to MØ’s recreating of this particular aspect, but sadly it was left out. I guess that’s why we get the sax solo. Oh well. “Mystery” hits a little close to home in terms of sounding like the original, but it’s still a very worthy spin on what could be my favorite Bleachers song on a given day.
I’m Ready to Move On / Wild Heart Reprise – feat. Susanna Hoffs – Antonoff’s original “Move On” (I’m calling it “Move On” for short) is easily recognized as the experimental piece of Strange Desire, but he was smarter about it than a lot of artists who opt to include such an unconventional recording on their album. Instead of something totally weird, he fashioned it after a song that was already on the album, which lends some instant familiarity to the unfamiliar sound. In fact, it was my realization that I already knew the words to this that got me interested in the first place. Hoffs turns the eerie but magnetic Yoko Ono vocals and Antonoff’s highly processed “singing” into a conventional piece and does a damn fine job of doing so. A Cat Stevens-ish acoustic guitar lick kicks off the song while Ono’s vocals are transformed into an ethereal refrain sung by Hoffs. The remainder plays out a bit like a like an electropop influenced folk song with a steady and soothing pace. The song itself isn’t particularly dazzling on its own, but it is a solid, enjoyable piece, and I thinking taking the “oddness” of the original “Move On” and turning it into a “regular” song was a good call.
Who I Want You To Love – feat. Natalie Maines – It’s always bummed me out a little that “Who I Want You To Love” closes out Strange Desire, because I don’t think it’s a particularly strong song. I wouldn’t call it bad, but it ain’t that interesting. It hits a little too close to the “generic indie rock” sphere and never even approaches the heights of the EBM-influenced power pop on the rest of the album. It doesn’t have the strong melodies, complex rhythms, or quirky and varied instrumentation that defines the record. I’d hoped that maybe the Terrible Thrills version would be spiced up a bit, but it’s a pretty straightforward cover from Maines. Can’t win ’em all I suppose. I tend to just pretend the album ends with “Move On” and, well, move on.
Terrible Thrills Vol. 2 Tracklist:
- Wild Heart (feat. Sara Bareilles)
- Rollercoaster (feat. Charli XCX)
- Shadow (feat. Carly Rae Jepsen)
- I Wanna Get Better (fea. Tinashe)
- Wake Me (feat. Lucius)
- Reckless Love (feat. Elle King)
- Take Me Away (feat. Brooke Candy & Rachel Antonoff)
- Like a River Runs (feat. Sia)
- You’re Still a Mystery (feat. MØ)
- I’m Ready to Move On / Wild Heart Reprise (feat. Susanna Hoffs)
- Who I Want You to Love (feat. Natalie Maines)
So there you have it! It’s not a perfect record, but really, it’s better than it ought to be. The middle lags a little, and as I said it’s hard for me to gauge how appealing these tracks will be to someone who hasn’t listened to Strange Desire over and over…but if you have…well, you really, really need to give these songs at least a couple of listens.
Stay tuned, because guess what!? I just found even more material from Bleachers, including a few official remixes, a 6-track EP titled Strange Desire: The Demos, a non-album single called “Entropy,” and the Like a River Runs EP! Sit tight as I work my way through this material and devote another fine slice of Sidemeat to what might be the only new musical act I’ve really cared about in several years!
Don’t forget to check out my slice about Strange Desire if you haven’t already!
Written by The Cubist
Written by The Cubist
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I collect as much video gaming paraphernalia as I can get my hands on, especially when it comes to hardware. With over 40 systems including oldies like the ColecoVision and Intellivision, obscurities like the CD-i and 3DO, and the latest and greatest including the Wii U, PS4, Xbox One, 3DS, and PS Vita, I get easily overwhelmed. Most of the time you can find me firmly nestled sometime between 1985 and 1995 when it comes to my games of choice, but I’m also having a great time seeing what the 8th generation has to offer.
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