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Melisma Tufts Tufts Journal Journal of of Music Music
Melisma Staff Editors-in-Chief Julia Bernicker Ethan Lam Lola Nedic
Senior Editors Laura Wolfe
Managing Editors Michael Cambron Miranda Feinberg
Editors Vinay Arun Miles Joseph Andrés López Ian Smith
Social Media Kayla Avitable
Staff Sawyer Banbury Max Chow-Gillette Thomas Felt Leo Ikle-Maizlish Donovan Menard Georgia Moore Mike Norton Grace Rotermund Jaclyn Sweeney Taylor Jacobs
From the Editors Dear Melismaniacs, In an effort to get ourselves back on track (i.e publishing 3 issues a year), we decided to bend the rules just a wee bit. So, without further ado, welcome to Melisma’s very first zine, which is really just what liberal arts students call a short magazine!!! We wanted this issue to better represent our staff and their often questionable music tastes, so we asked all our members to tell us about an album they think is a perfect ten. Their picks spanned time and genre—from classic oldies like Madman Across the Water and Remain in Light to newer hip-hop records like SATURATION II or Telefone. Maybe you’ll discover a new favorite, or revisit a forgotten classic from middle school (An Awesome Wave), but with twelve in total, we promise there’s something in here for everyone. And if there isn’t, then you should join Melisma and write your own next semester! We hope this issue will let our staff get all their opinions out so they’ll finally shut up about these albums for good. Finally, we’ve got a special feature on a new Tufts artist, Canen, written by the incomparable Ian Smith. We hope you enjoy our emergency effort to put something out into the world before the end of this absolutely horrid semester! With Love, Julia Bernicker, Ethan Lam, and Lola Nedic
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Table of Contents
MELISMA | SPRING 2021 | 3
4
Telefone by Noname
5
Sound Of Silver by LCD Soundsystem
6
Remain in Light by Talking Heads
7
Hounds of Love by Kate Bush
8
An Awesome Wave by Alt-J
9
Madman Across the Water by Elton John
10
SATURATION II by BROCKHAMPTON
11 12 13 14
by Julia Bernicker by Ethan Lam by Lola Nedic
by Michael Cambron by Miranda Feinberg
by Kayla Avitable
by Andrés López
Since I Left You by The Avalanches by Ian Smith
FANDOM by Waterparks by Grace Rotermund
Dots and Loops by Stereolab by Donovan Menard
Surf Music by Paul Williams by Thomas Felt
15
Songs for Christmas by Sufjan Stevens
16
Catching Up With Canen
by Georgia Moore
by Ian Smith
******************************************************************** Melisma Magazine is a non-profit student publication of Tufts University. The opinions expressed in articles, features, or photos are solely those of the individual author(s) and do not necessarily reflect the views of the editors or the staff. Tufts University is not responsible for the content of Melisma Magazine. If you would like to submit a letter to the publication, please send it to melismamagazine@gmail.com; please limit your letter to 400 words or less.
Noname - Telefone by Julia Bernicker Editor-in-Chief
Encompassing ten poetic tracks sitting somewhere in between hip-hop and neo-soul, Noname’s debut album, Telefone, is a no-skips soundtrack for any occasion. The bright and eye-catching cover art matches each track’s bubbly rhythm, which Noname raps over with an effortless cool. Her verses are weaved together with the album’s many feature artists— which include big names like Smino and Saba on “Shadow Man”, as well Ravyn Lenae and Xavier Omar. For a debut album, Telefone is stacked, further proving Noname is the rapper everyone wants to know. What makes this album a 10/10 pick, however, is its triumph as an instant mood booster. The sunny melodies and meandering piano rhythms are as chill as can be, making it perfect to put on shuffle and settle in with a puzzle, road trip with the windows down, or even brush those teeth. It’s hard to pick out specific tracks to recommend since each one is so consistently good, but try out “Sunny Duet” and “Shadow Man” to get a feel for Noname’s breezy style and clever lyrics.
1. Yesterday 2. Sunny Duet 3. Diddy Bop 4. All I Need 5. Reality Check 6. Freedom Interlude 7. Casket Pretty 8. Forever 9. Bye Bye Baby 10. Shadow Man
MELISMA | SPRING 2021 | 5
sound of silver by LCD SOUNDSYSTEM written by Ethan Lam, editor-in-chief
I’m the kind of person who rarely feels present in the current moment – I’m always worrying about the future, constantly terrified by the inevitability of the current phase of my life coming to a close. I live in the present by imagining how 55 year old me would reminisce about the current me. I feel like I’ve almost aged out of order, like I’m somehow both younger and older than I actually am. I’ve come to realize that this is one of the main reasons that I’ve come to identify so closely with the music of LCD Soundsystem, because James Murphy has always articulated the realities of growing old and the pitfalls of fetishizing the past in such a poignant, complex, and frank manner. It’s one of the cornerstones of his works. On Sound of Silver, those long standing themes are at their finest. “Sound of silver talk to me, makes you want to feel like a teenager, until you remember the feelings of a real life emotional teenager, then you think again” Murphy drones over and over on the title track. As one of those aforementioned real life emotional teenagers at the time of listening, that lyric was as straightforward as it got – it put into perspective that most of the frustrations I had were quite minor in the grand scheme of things, so why should I take them or even myself so seriously? This piece was originally 978 words long, which was way too lengthy for this little page, so I’ll leave you with
this. Sound of Silver is joyous. Sound of Silver is tragic. Sound of Silver taught me to be that most cliche cliche of cliches – to never try to be anyone other than myself, because for better or worse, life is unpredictable and messy. Sound of Silver has a track that is recycled from a piece that Nike commissioned Murphy to do, which doesn’t even matter because it’s still really fucking good. If you really care about me, you’ll play “Someone Great” and “All My Friends” at my funeral.
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REM IN IN LIGHT by Lola Nedic, Editor-in-Chief
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hen I was in high school, I had a devastating crush on a boy, as many people do. One day, he sent me the song “Born Under Punches,” which he described as “weird but good” and told me I should listen. I listened intently, and admittedly did not like the song much at first. It did however, intrigue me in a way that the boy never could. I took it upon myself to listen to the rest of the album and one-up him, and ended up wholeheartedly adoring it. It wasn’t like anything I’d really listened to before, and it certainly wasn’t an album I understood. I couldn’t decide if it was disco, or punk, or some fantastical Frankensteining of a hundred other genres. Whatever the album was, I loved it.
In the years I’ve spent listening to this album and practicing my Tina Weymouth impression in my bedroom, the thing that had mystified me so much became what I loved most about this record: its utter disregard for tradition. The Talking Heads refused to confine their masterpiece to the arbitrary and often restrictive grasp of genre. Instead, they created a completely nonsensical style of music that was all their own and unable to be replicated by even the most apt successors. Even the lyrics of the album, so entrancingly sung by lead vocalist David Byrne, are hardly coherent. But perhaps that is for the better - Remain in Light does not exist for its lyrics to be shoved through an English major and interpreted into oblivion. The album was made to be loved, danced to, absorbed entirely.
MELISMA | SPRING 2021 | 7
Kate Bush — Hounds of Love
T
hough assigning numerical values to music is pretty dumb in my opinion, the only album I would defend as a 10/10 listening experience is Kate Bush’s Hounds of Love. Written and produced entirely by Bush herself, this record has shaped so much of my music taste, lets me keep my hipster card, and serves as a constant point of reference on my musical journey. In its first half, Bush perfectly combines art and pop with earwormy singles such as the sample heavy “Hounds of Love,” and the string-laden “Cloudbusting.” The album’s second half, an experimental
by Michael Cambron Managing Editor
suite of songs that detail a woman drowning known as The Ninth Wave, is at once gorgeous and terrifying, with the choral vocals of “Hello Earth” and the ethereal “Watching You Without Me” perfectly exemplifying this dichotomy. The album is crowned by “Running Up That Hill (A Deal With God),” probably as close to perfect as a song gets, with its thumping drums, crescendoing vocals, and snarls of guitar mixed with pristine synths. Actually, I think I’m gonna stop writing this blurb so I can listen to it right now.
alt-J’s An Awesome Wave
By: Miranda Feinberg
Managing Editor I am way too indecisive and self conscious to tout any one album as my favorite, or as my version of perfection or the ever elusive “best.” So, fair warning, I’m not quite sure I would consider this album my favorite. However, alt-J’s debut album An Awesome Wave is definitely one of the most effective, cohesive and artful albums I’ve heard. The songs are so woody and granular yet they flow together so smoothly, like some robotic, nonhuman yet innately natural collection. I think that the gibberish pronunciations of each lyric are so fun and enticing and, combined with the layered and choral harmonies, sound so weird and beautiful. The combined synths and guitars and percussive drums and piano all work so well together and so uniquely across each track. For me at least, it is one of those rare albums that fits your mood. The entire collective album is somehow both energetic and calming, some psychological one-size-fits-all. No one song is skippable to me. It is so beautifully odd and a little off.
songs to check out: Breezeblocks Tessellate Taro Dissolve Me Fitzpleasure
(or listen to the whole album!)
MELISMA | SPRING 2021 | 9
Madman Across the Water is Elton John’s debut album, and it’s absolutely timeless. It carries hits such as “Tiny Dancer” and “Levon,” but that is only a portion of the finesse this album encapsulates. Its title track, “Madman Across the Water” contains an earworm guitar and piano motif and all the drama you might assume from its mysterious title. Elton John and Bernie Taupin are one of the best songwriting pairs in history, and this debut hit the ground running, setting up their future success and superstardom. The music has mass appeal that spans genre boundaries; it’s rock, it’s pop, it’s “honky tonk,” it’s borderline theatrical, and it tells meaningful stories. Madman Across the Water is a complex record, yet it’s easy listening. That’s a mark of true musicianship.
By: Kayla Avitabile
Managing Editor
BROCKHAMPTON SATURATION II
Andrés López Editor
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hen I first discovered BROCKHAMPTON in early 2018, I was blown away. I remember watching the music video for GUMMY, the opening track of SATURATION II, when Ameer Vann’s verse came on. Immediately, I was hooked. The group burst onto the rap scene in 2017 with their SATURATION trilogy, three stellar albums all released in the span of just one year. While all of their albums are great, in my opinion SATURATION II is the most consistent out of all of them. Offering back to back bangers, this album simply has no misses. SATURATION II offers a variety of fun alternative rap songs, which is just what I needed back in 2018, as I could not find respite from the boring, repetitive trap I kept seeing blow up. I enjoy trap now, but BROCKHAMPTON sparked my love for alternative hip-hop. Some songs such as “JESUS,” “GAMBA,” “SUNNY,” and “SUMMER” stray from their usual energetic formula to create a bit more variety, as these songs are a bit more somber and emotional compared to the upbeat rap tracks. Across the album, the lyrics range from braggadocio, to experiencing racism and homophobia, to relationships, and more.
This wide range in lyrical content keeps the album fresh. The many members of BROCKHAMPTON all bring their own unique contribution to the album as well. While the vocalists absolutely kill it, the unsung heroes of this album are the producers: Romil, Jabari, and Kiko. The instrumentals absolutely define the album, are just so refreshing, and provide a sound that you can only get from BROCKHAMPTON. I am generally pretty critical of albums, but this is about as close to a 10/10 as you can get for me. Honorable mentions go out to SATURATION III by BROCKHAMPTON, Piñata by Freddie Gibbs and Madlib, and Isolation by Kali Uchis.
MELISMA | SPRING 2021 | 11
T
he Avalanches’ Since I Left You is one of those albums that you need to carve out time in your day for. Find a cozy nook, put on your best headphones, hit play, and listen carefully as the sampled Spanish guitars and chorus beckon you forward, and another sampled voice offers you some advice before the world opens up around you: “Get a drink/Have a good time now/Welcome to paradise…” Through the meticulous sampling of over 3,000 separate tracks, Robbie Chater and Darren Seltmann of The Avalanches stitch together brandnew songs from the pieces of
others in a process known as plunderphonics (a drum beat here, a guitar riff there). The result is an hour of breathtaking, kaleidoscopic songs that segue into one another, taking the listener through an odyssey of shapeshifting sounds and spoken word interludes. From the peacefully drifting “Two Hearts in ¾ Time” to the funk of “Electricity”; from the sampled sketch comedy of “Frontier Psychiatrist” to the disco banger that is “Live at Dominos”, listening to this album is allowing yourself to get lost in the world The Avalanches have created.
THE AVALANCHES SINCE I LEFT YOU by IAN SMITH Editor
FANDOMby Grace by Rotermund Waterparks
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elf-described “God’s favorite boy band” Waterparks’ third album is, in my eyes, an absolute 10/10. I’ve had an intense emotional connection to this band since first hearing their debut album (but fourth release in terms of proper discography), Double Dare – I’ve seen them live five times, met them thrice, and am eagerly awaiting their next album (which, co-incidentally, drops May 21st of 2021, so chances are, it’s already out!) As with their other offerings, FANDOM ’s range is incredible. Arranged similarly to an A24-style indie coming-ofage movie’s award-winning soundtrack, the first soaring notes of “Cherry Red” – a perfect introduction – soon drop into the head-banging guitar riffs of “Watch What Happens Next” with effortless fluidity. A personal standout is the switch from “[Reboot]” to “Worst.” The wounded, stabbing beat of “[Reboot]” fades away as Knight, the frontman of the trio, similarly fades from rage into a deep, heartfelt sadness. The emotional range is, to be frank, incredible, as is the variety of instruments used (Waterparks ventures into techno with this album, mixing genres with ease) throughout songs that range from the perfect bubbly love-at-first-sight jam that is “Telephone” to the jaw-dropping record ender “I Felt Younger When We Met.” FANDOM is the perfect album to throw on a record player, sip a cup of whatever you’d like, crank the volume up, and close your eyes to let the time pass.
MELISMA | SPRING 2021 | 13
Stereolab Dots and Loops
by Donovan Menard
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ast year I discovered Stereolab’s 1997 album Dots and Loops and since then it’s become one of my favorite albums, and one which I never get tired of. Stereolab’s experimental music is unique and hard to classify, since the band has many influences and consists of members from France, England, Ireland and Australia. Every song on the album is a hypnotic mixture of funk, pop and jazz, inspired by bossa nova and krautrock. “Miss Modular” is one of my favorite songs because of its catchy bass line and percussive guitar which is complemented fantastically by the bright vocals and the thick, swelling brass parts. “Diagonals” is built on a very memorable marimba loop and a fluctuating and ascending drum part, which transitions into a very captivating groove driven by a combination of syncopated attacks on drums and keyboard with smooth vocals and brass. “Prisoner of Mars” has a very satisfying bass line and
gentle guitar and to me it seems like the musical equivalent of pressing an ice cube to your face on a hot day. “Ticker-Tape of the Unconscious” is my favorite track on the album due to its funky percussion groove, the eerie sustained keyboard notes, the muted trumpets, and the mysterious distant background vocals. Additionally, many of the lyrics carry Marxist messages, critiquing consumerism and reflecting vocalist Lætitia Sadier’s interest in Guy Debord’s Situationist philosophy. Overall, Stereolab’s mixture of French and English vocals combined with Sean O’Hagan’s impressive horn arrangements and the use of vintage keyboards and synthesizers creates a unique sound that is entrancing and otherworldly. It’s relaxing to listen to while also being danceable and engaging due to its many quirky effects which give a spacey and liquidy quality to the music. I highly recommend this album to anyone who exists.
To this reviewer’s mind, Sufjan Stevens’ 2006 album Songs for Christmas is one of the most, if not the most, revolutionary holiday albums of all time and deserves a 10/10 by any metric. You may ask, why is Songs for Christmas deserving of such an honor when it only got a 7.5 from Pitchfork and when Stevens’s second Christmas album, Silver and Gold (2012), received a 7.8? The answer is simple, but true: Songs was the first of its kind. Well-known for his state-based musical endeavors Michigan (2001) and Come on Feel The Illinoise, (2005), Songs leans into the twee bizarro-folk niche Stevens is most adept at carving for himself, and is arguably some of his most unique work. Songs expands on Stevens’ already experimental tendencies, which is refreshing especially in the famously Christmas-based holiday music genre. For Songs, Stevens covers classic carols, re-imagines others, and writes a handful of his own music, spanning secular and nonsecular wintertime fun. All 42 tracks are tastefully arranged in a way only he can manage, and as you listen you can feel the lyrics digging so deep into unironic musings that it all at once becomes ironic, then unironic again. So, we can establish this record is great. It’s fun. It’s somber. It’s quirky, even. But what puts it over the edge? It’s Sufjan. No other artist in the history of music has been able to take Christmas and make it their own. In the holiday genre, there’s a sharp divide between “christmas music” sung by long-dead crooners or Michael Buble, and the smattering of contemporary artists with a tongue-in-cheek holiday EP. There’s no denying that there are some new classics, but the “Christmasy” vibe sandwiches each note with an unflinching, pepperminty bite. But switch over to Songs, and you don’t hear chestnuts roasting and sleigh bells ringing - you hear the tender, unaging mystery of Sufjan’s soft voice over powdered snow. Our Angel of Indie tamed Christmas, wrapped it up, and put a bow on it for you and for me. If the pure joy of the season of giving doesn’t give a record that special, once-in-a lifetime something, then I don’t know what does.
MELISMA | SPRING 2021 | 15
PAUL WILLIAMS
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urf Music by Paul Williams is easily my most-listened-to album. The Kiwi comedian-slash-musician released the album in 2018, and it has since remained relatively unknown. Which is a huge shame, because the album is a banger. Most of the songs on the album have a fast tempo with a steady drumline, and would generally be classified as “upbeat.” This contrasts with many of the lyrics, which range from sad to nostalgic, although the first half of the album does have a number of cheerful songs. The lyrics may be my favorite aspect of the album. Paul, from his perspective as a hopeless romantic, sings of the overwhelming joy that comes from fully committing yourself to someone and giving them your unconditional support, and of the lasting pain that comes when your lives part ways. He embeds moments of comedy within all this that genuinely make me laugh out loud.
SURF MUSIC Adding to his poetic lyrics is the beautiful music Paul creates, often with only a handful of instruments. He of course has your typical synths and drums, but also frequently includes tonal percussion that gives the album a very beachy vibe, as well as strings that fill out the sound quite nicely. However, my favorite moments are when the instruments cut back and we get to hear Paul sing his beautiful harmonies with himself. The songs in Surf Music develop in a wonderfully cohesive way that will get every song stuck in your head at once. I highly recommend listening to the album in its entirety. That said, if you insist on only listening to two songs from the album, Listen to the first and last. “Surf Music” will surely start your feet a-dancing, and “Marina,” with its delicious guitar courtesy of NK-47, will have you lying down in the shower.
WRITTEN BY THOMAS FELT
CATCHING UP WITH By Ian Smith
CANEN
U
nder the alias Canen, Jo Strogatz (A’24) has released a handful of jazzy, alt-RnB songs over the course of last semester, including singles and covers on her Instagram, @canen.mp3. Her latest single “He Sleeps Lightly” was released in January and is her most personal song to date, telling the tale of her sexual assault with refreshing clarity. I sat down with Canen to discuss her inspirations, songwriting process, brushes with fame, and community.
Interview has been edited and condensed for clarity. Can you talk about what artists you listened to as a child? And do you think those influenced you and your music now? I grew up on strictly The Beatles. That was all that was playing in my house. But I feel like most of where I take inspiration from is jazz singers. Ella Fitzgerald, Sara Vaughn, all the greats. I actually didn’t grow up with any jazz in the house, but I just heard them in movies, I would hear them in the background, and I would spend the rest of the day singing those songs. And I would, like, make up jazz songs while doing my homework until I was old enough to actually look stuff up and listen to it on my own.
Do you find yourself taking inspiration from movies or nature or anything else around you that’s not necessarily music? I’ve kind of started to experiment with drawing inspiration from mythology, because that’s where my artist’s name comes from. So I’ve kind of started to explore incorporating some elements of that without being too explicit, but it’s definitely a work in progress.
MELISMA | SPRING 2021 | 17 I want to talk about one of your songs in particular, He Sleeps Lightly. I remember watching that release come out, and it was really inspiring knowing that other people can look at that song and have their story be told. How did it feel like seeing so many people come out in support of that song? I definitely did not expect the response that I received. I spent many months with the song fully finished just scared to release it, I was going back and forth with whether or not it would be worth it, because it’s a big sacrifice to put this out since it’s so vulnerable and it can really affect your relationship with your family and with other people. I kind of had to sacrifice a bit of myself for this release. And seeing so many people have such a good response to it really is such an important reminder to me why I do what I do. Why I lay myself bare, even if it feels completely raw and terrifying. It’s a good reminder that it’s all for good.
Did you feel like writing that song was like a big release? Yeah, it was a huge catharsis for me. When I was assaulted, I had a hard time speaking about it. I had a hard time putting together what had happened. And it can
be really hard to sort through so many feelings of victim guilt, and not fully understanding what even went down. But just knowing that something was very wrong. And writing the song was a way for me to sort through all of that and separate myself. I deliberately wrote it in third person, because there was no way that I could even say the words “I” or “me”. I had to disconnect myself from what had happened in order to really figure out what had happened.
Looking at the songs that you’ve put out, I noticed a lot of them are pulled from your personal feelings or relationships. Is that a conscious choice that you make? Yeah. I like to write when I feel confused, if that makes sense (laughs). If I’m not really sure about something, writing about it helps me clear my head. In some of these songs, like So Damn Alone is about a very complicated but very specific feeling of being the person who leads someone else on, and the guilt that comes with that. I do enjoy writing about things that are not just the typical “I love this person” or “I hate this person”. I like getting into those really specific things that are hard to put into words. And I guess that naturally ends up being relationships and
You’ve talked with me a little about some notable people that have noticed you on your Instagram. Which notice were you the most excited about? Noah Kahan. Noah Kahan! (laughs). I love Noah Kahan so much. That was insane for me. Because I saw that he liked [a cover of his song that I posted on Instagram], and I was freaking out. And then I saw that he commented, and I was freaking out, like dancing in the hallway. Fully masked, of course. And then he reposted it. So I’m there just screaming and freaking out, calling everybody that I know. And then he privately messaged me, and this was before I’d even responded to any of this, to personally thank me for making this cover and for “using my talent to sing his song” (scream of happiness). Like, he’s genuinely such a good person. He’s very real. And I love that about him and his music. You can tell that he’s not manufactured in any way. He’s just fully himself as a person online and as a musician and an artist. I really admire him. So that was super exciting. I was, like, running laps down the hall. I also have some weirder recognitions, like Gad Elmaleh, who’s this really popular French comedian. I’m online friends with him because he loves vocal jazz. We send each other messag-
es in English and French and that’s kind of a weird one. And JP Saxe might know I exist. My friend just texted him the cover I made of his song so… To be continued, I guess. Those have been the peaks of my life. I was telling my roommate that I can officially die now, honestly, with Noah being somewhat of my Instagram friend. It’s so weird, because he likes my posts now, and it’s like, “You perceive me!” (laughs). So crazy. Hopefully he doesn’t read this, that would be embarrassing. I don’t think he’d care, I think he’d be flattered.
I want to ask about your experience like being a musician at Tufts. Have you found a community of musicians here? Well, I was pretty disappointed with Tufts’ singing ban. I wasn’t able to do what I really wanted to do. And because of that, I also wasn’t able to meet any sort of music community. But that all changed in December when the Jackson Jills decided to do auditions over the break. Even though we weren’t singing for a long time, just meeting other people who also share a love for singing was really amazing. Getting into the Jills was actually the first moment that I felt like I had a community at Tufts. It’s very strange and a little bit isolating to only know the people who live near you,
MELISMA | SPRING 2021 | 19 the people who live near you, because you feel like you only know a fraction of this campus, and I love the people that I’ve met, But I also feel like I didn’t have that sense of community at Tufts until I got into the Jills. And they’ve just been so incredibly warm and welcoming and the nicest, most loyal people, so I’m very happy about that. And also, I met a guy named Harrison Clark in my math class. And he’s a fantastic musician in S-Factor. And he’s just kind of started slowly introducing me to other musicians at Tufts, because he understands that I can’t meet anyone right now. So he’s been very good at connecting me with other musicians which has been fun. He actually recognized me in my zoom, which was the only time I’ve ever been recognized. He Zoom DMed me and said, “Are you Canen?” (laughs). It happened when we were just doing introductions in our math class. That was funny.
What can we expect next from Canen? I’m currently in the process of recording two new songs. I don’t know how much I should tell you about them. But I’m working with a producer in Davis Square. And we’re getting started on them soon. So I’m super excited about this because I’ve really missed that whole process of creating a song from start to finish. So that’s kind of the highlight of my weeks now is working on this. I don’t know how much I can tell you, because I don’t know how much I even know, if I’m being honest. I don’t know what’s going on (laughs). But yeah, you can expect more music.
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