Helium – The Magic City


I love departure albums.  There’s just something beautiful to me about artists following their muse wherever it takes them, regardless of how many supposedly loyal fans they piss off in the process.  And as a listener, artists that are always growing and evolving are much more interesting to listen to than ones that simply make the same kind of songs over and over again.

This love of departures and change may be part of why I have such a deep love for Helium’s 1997 album “The Magic City”.  Calling it a departure would be an understatement:  It’s a journey into a completely different universe.

Helium made a fairly minor name for themselves in the mid-90s with an angular brand of indie rock led by Mary Timony, whose lo-fi guitar heroics and witty, feminist-slanted lyrics gave the band a unique edge.  However, Helium never quite caught on with a large audience, partly because they weren’t quite as aggressive as the media-hyped riot grrrls and weren’t as accessible as other female-fronted alternative rock bands of the time.  Their first full length, 1994’s “The Dirt of Luck” showcased the sound that Helium is still largely known for — part Sonic Youth, part Pavement, part riot grrrl.

Having gained a decent following with that album and some EPs, Helium returned in 1997 with a different sound entirely, as they combined the lo-fi indie rock of the 90’s with progressive rock from the 70’s.  The first hint of it was the excellent “No Guitars” EP released earlier in the year, and it culminated with “The Magic City.”  The simple guitar rock of “The Dirt of Luck” was replaced by more complex songs that featured a wide array of instruments, including harpsichord, sitar, and keyboards.  Gone were the biting, feminist themes, replaced by lyrics that are more indebted to J.R.R. Tolkien than Kathleen Hanna, with references to dragons, medieval people, and other fantasy themes.

“The Magic City”, like many departure albums, sounds horrific on paper.  But of course, it’s all in the execution, and part of what makes “The Magic City” such a brilliant album is how fully realized Timony’s vision is.  For the duration of the album’s 52 minute run time, you really feel like you’re in some sort of magic, medieval city (there’s even an instrumental song called “Medieval People” that comes complete with bomb sounds).

I can only imagine how baffled Helium fans were when they first listened to “The Magic City”, and, to an extent, I think many of them still are.  But part of the album’s greatness is just how different it was from everything else at the time, and how nothing has come particularly close to it since (although The Decemberists album “The Hazards of Love” comes to mind).  This is a completely unique, brilliantly quirky album that is often beautiful and dark at the same time.

It doesn’t start off too strange, as the opener “Vibrations” is probably the song that most resembles the old Helium on the album.  But after that, things get weird in a hurry.  “Leon’s Space Song” is one of the best songs of Helium’s career, with references to riding rainbow dragons culminating in a trippy instrumental coda.  “Ocean of Wine” is slightly more straight-forward rock, but continues with the fantasy lyrics and proggier sound.

There’s a wide array of sounds on “The Magic City”, which helps the band paint an entire picture of their medieval fantasy land.  “Revolution of Hearts Parts 1 & 2” is the closest Helium comes to directly channeling the 70’s progressive rock they were influenced by, complete with arena rock guitars and a six minute instrumental freakout.  While Helium had previously sounded brash and abrasive, songs like “Lullaby of the Moths” and  “Cosmic Rays” are more fragile and beautiful, with swooping string sections that sound like they belong in a movie climax.

While “The Magic City” certainly seemed like a crazy idea, the band is able to realize their ambitions and craft an album that sounds different from everything else, but at the same time is identifiably Helium.  Like with all progressive rock, there was the risk of sounding over-indulgent, but for the most part the array of instruments and quirky sounds are vital for creating the vision that Mary Timony had in mind.  Helium split after “The Magic City”, with Timony continuing to make weird  fantasy music on solo albums like “Mountains” and “The Golden Dove”.  But she was never as quirky, compelling, and mysterious as she was here.

In many ways, the album is a lost indie classic:  It doesn’t show up on critics “best of” lists and even among Helium fans it is likely their least popular work.  But for the small group of people who are able to find the album and appreciate what it’s trying to do, “The Magic City” is a classic album that has few peers in indie rock when it comes to its ambition and scope.  It’s a massively underrated album by possibly the most under appreciated bands of the 90’s, and is very much worth seeking out.

Introduction

So, I started a music blog, which will certainly raise questions from most people.  Specifically, questions like “why should I care about what this guy thinks about music?” or “does the internet really need another music blog?” or “doesn’t Josh have anything better to do with his free time?”.  The answer to all of these questions is no.  You probably shouldn’t care about what I think about music, the internet certainly doesn’t need another music blog, and I really, truly have absolutely nothing better to do with my free time this summer.

Having admitted that you shouldn’t care and that this blog is meaningless in the grand scheme of the internets, I suppose I should explain why it exists.  This blog is primarily for me to try to improve as a writer, and also to share music that I think is worthy of finding a larger audience than it has.  I don’t consider myself an authority on music and I don’t know much of the technical mumbo jumbo, but I do enjoy looking at art through a somewhat objective lens and have very strong convictions on what’s good and what isn’t.

A lot of people say that music can’t be looked at objectively, that no band can be considered “better” than another band.  Such a statement has always infuriated me.  Sure, a certain amount of music enjoyment is subjective — it’s about that “gut” reaction where it just hits you in a certain way that can’t quite be articulated.  But I think a lot of the things that create that reaction, at least for me, are objective criteria.  Mostly, I want to feel like the music being made is important to the artist making it.

My other love in music is female singers, particularly of the rock and/or roll variety, and that will certainly be a frequent subject of rambling on this blog.  This is harder to explain and might be where the subjective aspect of music kicks in,  but I’ve put some thought into it and think I can rationalize it pretty well.

For one thing, the notion of music being “important” applies more to females than males to me.  Largely, I think women have a more interesting viewpoint of the world at this point in time than men, particularly white men.  This is illustrated in the Riot Grrrl punk movement that I’ve been obsessed with for awhile — it was a group of female musicians making music to inspire change and rebel against societal norms.  It’s also a kind of music that white men simply couldn’t make — they are in a position of power, and being in a position of power makes for largely boring, uninteresting music, such as this entire genre of sissy white guys strumming on their guitar that I find rather repulsive.

Female singers also sound more original than their male counterparts, simply because there’s less of them.  With such an oversaturation of male singers, at a certain point they all tend to sound similar to me.  This is particularly true when it comes to rock music in the indie world, which is mostly what I listen to.  The number of authentic female rock artists in indie music is extremely slim — I can probably count them on two or three hands (and I’ve done a lot of listening).  They also tend not to get their fair shake from music sites like Pitchfork and are ignored by the largely male indie rock community, many of whom think their balls will fall off if they risk listening to female singers.

The result of these reasons, and I’m sure some other disturbing, psychological ones, as led to me being obsessed with female singers.  It’s probably the one area of music that I can claim being an expert on and actually be kind of right, which makes me feel better if I’m going to be writing from a faux-authoritative standpoint.

Hopefully this intro at least gives some idea of where I’m coming from.  I’m hoping to write plenty in the coming weeks about music new, old, and kind of old or kind of new.  And I’m hoping I can do it without being pretentious or annoying the way most music review sites are (too late maybe?).  At the very least, I hope I can improve as  a writer and maybe get one person to listen to something they wouldn’t have otherwise, because that would make me very happy.

Thanks and enjoy.