{"id":1124,"date":"2020-10-18T20:00:00","date_gmt":"2020-10-18T20:00:00","guid":{"rendered":"https:\/\/wers.org\/wecb\/milkcrate\/2020-10-18-theres-no-place-like-home\/"},"modified":"2020-10-18T20:00:00","modified_gmt":"2020-10-18T20:00:00","slug":"2020-10-18-theres-no-place-like-home","status":"publish","type":"post","link":"https:\/\/orgs.emerson.edu\/wecb\/milkcrate\/2020-10-18-theres-no-place-like-home\/","title":{"rendered":"There’s No Place Like Home"},"content":{"rendered":"
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By Tatum Jenkins<\/strong><\/p>\n

A hometown is often a place of resentment \u2013 the residence of angst and leftover feelings of bitterness that seem to fuel the very gas that takes you back there. However, after being forced to spend time at home, artists are now beginning to examine their roots with more nuance. Beyond the acidic negativity of the memories of childhood, there lies a more compassionate, understanding view of those years, one that translates easily into great music as many musicians are proving.<\/p>\n

As early as May, the influence of home became a rising theme. In The 1975\u2019s Notes on a Conditional Form<\/em>, the listener is almost bombarded by the amount of references to music from the band\u2019s musical origins. Sometimes, an artist must look back in order to move forward with their work, and this was The 1975\u2019s version of a nostalgia trip. As Matty Healy, the lead singer of the band, said in an interview with the New York Times<\/span><\/a> two years ago, the album is about, \u201cin cars smoking weed, Burial and McDonalds and the M62 and Manchester \u2014 just England!\u201d This especially reveals itself in songs such as \u201cNothing Revealed\/Everything Denied.\u201d A song dedicated to unraveling the curated persona Healy has crafted over the years in the spotlight, he admits, \u201cI never fucked in a car, I was lying…You can\u2019t figure out a heart, you were lying,\u201d referencing their two songs \u201cLove It If We Made It\u201d and \u201cHeart Out.\u201d This song then gives him and the band the space to start from scratch, to go back to the music that made them want to start a band in the first place. It\u2019s no longer about crafting a story but about writing about their own narrative to understand everything that has happened to them. With influences ranging from Burial to Radiohead, The 1975 rely on teenagerdom and home as a time and setting for this album, asking themselves about what sounds specifically inspired them to attempt to create their own. \u201cFrail State of Mind\u201d calls to mind garage rock, a genre Healy and fellow bandmate George Daniel enjoyed as teens. Most of this album seems to live in that production-heavy sphere with few exceptions  \u2013 and even those songs call to mind a childhood in England in the nineties. \u201cYou and Me Together Song\u201d is a direct call to the sound of their first album and Britpop\/alternative songs of the nineties. While not their best album, they seem so comfortable in their image as a band for the first time in their career. They\u2019re not attempting to reinvent their aesthetic or answer any philosophical question, this album is just one big, messy attempt to understand where they\u2019re from and indulge in that culture. It\u2019s the kind of comfort a person can find at home, when they\u2019re familiar with their surroundings and there\u2019s no need to pretend to be anything else.<\/p>\n

Similarly, Dreamland<\/em> by Glass Animals, which came out two months later, was a band\u2019s rebirth through the past. After a global pandemic and a band member\u2019s time at a hospital for a biking accident, Dave Bayley, lead singer of Glass Animals, was forced to evaluate what kind of music he wanted to make. Could you \u2013 in such an emotionally entrenched period of time \u2013 really detached yourself from your art? Bayley answered this question by delving deeply in the past. \u201cDreamland,\u201d the first track of the album, is very straightforward with its purpose, mentioning, \u201cThat first friend you had\/that worst thing you said\/That perfect moment\/That last tear you shed\u201d; whether or not the listener knows it, Bayley has trapped them into a tunnel of memories that don\u2019t end until they get to the last song on the album. Lyrically, it has many other moments like the one in \u201cDreamland\u201d \u2013 contemplative, introspective poetry dipped in sweet nostalgia with complex production to give it a harder shell. Even that clean exterior is broken sometimes with children\u2019s laughter from Bayley\u2019s neighborhood woven between beats in \u201cTangerine\u201d and the audio clips from home movies, such as track twelve, \u201c((home movie: rockets)).\u201d Bayley crafts Dreamland as the muddled timeline of his life, piecing together memories of home in order to make sense of everything he has lost. The sound is less caught up in the aesthetic and more about exploration \u2013 how far into the past can a person go before they aren\u2019t living in reality, until they create their own Dreamland? However, Bayley doesn\u2019t get lost. He finds himself in the home video audio clips \u2013 tracks that ground this album in more of a reality \u2013 and in the last song, \u201cHelium,\u201d which ends with the first verse of \u201cDreamland,\u201d but in a different key. This kind of cyclical listening experience implies that, at the end of the day, we all can be traced back to the places and memories that made us.<\/p>\n

On the opposite end of the world, there\u2019s Oregon, which is where the listener may find Amin\u00e9\u2019s Limbo. <\/em>From the second track, Amin\u00e9 introduces us to his hometown Woodlawn through a song of the same name. While it\u2019s a song of celebration, he also uses it to discuss racial disparities through references to his friend Mac, who he made this song for while Mac was in jail. Despite the issues with his hometown, there\u2019s a sense of pride in it \u2013 a complete acknowledgement of the harm and benefits of his environment. While he uses that song to boast about his rise to fame, \u201cKobe\u201d is a more intimate track that brings us to his roots and solidifies his true nature. Comedian and writer Jak Knight takes the stage for that song, explaining his connection to Kobe Bryant and how his death affected him \u2013 a recurring theme throughout Limbo<\/em>. Kobe is tied to Amin\u00e9’s childhood \u2013 a staple example of a role model \u2013 as Knight explains, \u201cIt weirdly, like, fast-forwarded my maturity. It was weirdly like one of those things where, like he died and I feel like my, like, a lot of my innocence in, like, being a young person died with Kobe…Like, I felt a piece of my childhood go with that n***a.\u201d Amin\u00e9 didn\u2019t just introduce his listeners to his hometown, but took them back to what defined his childhood \u2013 what shaped his view of his environment. While there\u2019s less of an emphasis on physical setting, there\u2019s an emotional landscape that is undeniably tied to where and how he grew up. Not only does he mention Kobe as influential to his upbringing, he dedicates a whole track to his mom, appropriately titled, \u201cMama.\u201d Limbo<\/em> is Amin\u00e9\u2019s claim on his childhood and emerging adulthood; it\u2019s a way for him to follow his career and his identity in a way that feels like it could only be his, pulling back the cheery yellow layer of his last album to reveal a more complex individual. <\/p>\n

Never has an album felt more of a testament to home and identity than LANY\u2019s mama\u2019s boy<\/em>. While usually creating strictly pop music, lead singer Paul Klien puts on a country drawl and makes references to cowboys, square-dancing, and \u201cbeing a Southern gentlemen\u201d \u2013 drawing upon the aesthetic of the South to create a more genre-less sound. You could probably sing any of these songs with an exaggerated Southern accent and they might begin to sound like a country song. With this album, LANY challenges the pop mindset with subtle injections of country, taking listeners back to his hometown of Tulsa, Oklahoma. The second track, \u201ccowboy in LA,\u201d lives in this sort of identity crisis, with the first line being, \u201cPalm trees square dancing under the moon.\u201d LA and Oklahoma are such different places, yet there\u2019s a thread that the band ties through them and it seems they spend this whole album attempting to define what that is. There\u2019s also a discussion of religion through \u201cyou!\u201d and \u201ci still talk to jesus.\u201d Drawing inspiration from traditional Christian pop music, \u201cyou!\u201d is a love song without a solid identity, just like references to God often linger in an ambiguous place with \u201cHim\u201ds and \u201cyou\u201ds. It has a polished, humbling feel to it, a sort of acknowledgment of Klein\u2019s own lack of understanding of the world. Yet he still revels in the chaotic nature of living, dedicating this love song to no one and everyone. \u201ci still talk to jesus\u201d directly deals with religion while \u201cyou!\u201d skirts around it, placing a more modern, more West Coast sense of morals. The entire song is a questioning of the religion he was raised on, contemplating what guarantees entry into heaven. He even debates if heaven exists, with the opening line being, \u201cIf there\u2019s a heaven\/I hope I get in\/But I probably won\u2019t.\u201d While he solidifies himself as a good \u201cSouthern boy\u201d throughout mama\u2019s boy<\/em>, there\u2019s also a hesitancy around that identity that conflicts with his other home, LA. This dissonance between places and their influences becomes surprisingly harmonious under the creative contemplation of LANY as they explore the areas where those two places overlap.<\/p>\n

Instead of trying to escape home like many of us may crave right now, these artists settle into this concept, rediscovering themselves and their art through their hometowns. <\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

A hometown is often a place of resentment \u2013 the residence of angst and leftover feelings of bitterness that seem to fuel the very gas that takes you back there.<\/p>\n","protected":false},"author":1,"featured_media":1125,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_kad_blocks_custom_css":"","_kad_blocks_head_custom_js":"","_kad_blocks_body_custom_js":"","_kad_blocks_footer_custom_js":"","_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[1],"tags":[24],"class_list":["post-1124","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized","tag-editors-choice"],"yoast_head":"\nThere's No Place Like Home - 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