Vertigo of Time is a free fall through the last four decades of deep dreaming psychedelia, evoking the spiritual high of meditation, the twinkling of the stars at night, and a deep communion with nature itself. This is a drumless mix of weirdo new age, German kosmische synth exploration, Japanese environmental music, and ambient jazz. It is an attempt to connect the most visionary pieces of early electronic music with its genealogical descendants through the unreliable persistence of memory. All feeling and mood, drifting from concrete thought and action, moving toward that unattainable ideal of pure being.
To put it simplest: this mixtape is made for floating inside your mind or a sensory deprivation chamber or just relaxing by yourself in the dark, reading on the train, or whenever time gets soft enough to push outside and stay a little while.
When I became a father this month, I decided to honor the moment by making a new mixtape. I’ve made mixes in all sorts of genres for all sorts of moods, but this time I had a new, very specific aim: to capture the feeling of being an exhausted, mildly ecstatic new dad.
To that end, I decided to make my first dad rock mixtape. But I couldn’t start with just any old stereotypical “dad” music. This had to be my vision of dad rock. So don’t expect any Springsteen or Steely Dan. This is another flavor entirely.
New Order is one of the few bands I’ve loved since childhood and continue to do so well into my adult years. The band’s nervy, dystopian take on synth pop was almost a template for my nascent tastes, mixing deep bass grooves, crystalline synthesizer tones, frantic guitar work, and abstract lyrics about love, loss, society, and other fun nonsense.
In my humble opinion, 1985’s Low-Life was the pinnacle of this style, mixing hard dancefloor impulses with sweeping romanticism to unbelievable perfection. The lead single, The Perfect Kiss, came with an appropriately deadpan video directed by Jonathan Demme. Behold:
“Where the fuck did Monday go?”
David Bowie is actually dead. It feels strange to say this. More than any other artist on the planet, Bowie always seemed to move beyond mere mortals. To the world, he was larger than life. His work was timeless, always a step ahead and off to the side from everyone else. Even his most popular songs felt beamed in from another place, with a unique sensibility that could come from no one else. He is universally beloved by entire generations, despite remaining as weird as a man can be.
Infinitely more important to me, however, is the space he occupied in my life. David Bowie is the one and only artist to have been there all along. I mean this in the most literal sense.
He starred in one of the first films I can remember watching, Jim Henson’s dark fantasia Labyrinth. Despite playing the villain, he was a magnetic attraction. Enigmatic, beautiful, always a touch removed from the teenage heroine and the viewer alike, he was the spectral vehicle and its destination in one. As the Goblin King, he invited my young mind on a journey with the promise of adventure, tinged with a little fear and weighted by potential loss. There were high stakes for reaching out to take his hand, but the rewards unfolded past the horizon. I was smitten before I knew it.
Growing up in the 80s and 90s, past the peak of his commercial popularity, I swam in the echoes of David Bowie’s legacy. He was so far ahead of the game that I never quite caught up. My earliest radio memories were filled with older icons like Roy Orbison, The Beach Boys, and of course, Bowie. I would bicycle around my forested neighborhood singing Pretty Woman, I get Around, and The Man Who Sold The World. I had no grasp on time, never differentiating between oldies and current hits. The music simply was what it was, the soundtrack to my childhood, the intangible spirit in the air.
Cocteau Twins made some of the most unique music of all time. I could hear a two second clip from any song in their catalog and know instantly who it is. This is the only dream pop band that sounds like it came from actual dreams. People tend to love everything they’ve done, or nothing at all. I’ve been addicted for years.
It’s hard to describe to a newcomer exactly what Arther Russell does that’s so ineffably unique. He’s a cellist, composer, and otherworldly disco producer who crafted some of the strangest and most deeply affecting music the world has ever known. His singing is deeply felt, vulnerable, and nothing like any classic vocalist.
Arthur Russell was unforgivably ignored in his lifetime, but I am so thankful that the massive body of work he kept to himself has been thoughtfully collected and released in the years since. He may have died before I was 10 years old, but he’s now one of my favorite musicians ever.
The man’s brief career began in the 70s collegiate avant-garde scene, collaborating with Steve Reich, Philip Glass, Rhys Chatham, and most notably, Allen Ginsberg, accompanying the beat poet’s live work on cello. He moved into the gritty New York disco scene and crafted some of the most alien dance singles of the era before finally crafting his own masterpiece. World Of Echo, a solo journey of vocals, cello, soft percussion and electronic effects, is the only full album released during his lifetime, as Russell died of AIDS in 1992, nearly broke.
This song always makes me feel like I’ve been shot out of a cannon.
It’s a shot of pure adrenaline, that irrational rush of falling in love for the first time. Three whiplash minutes to express the insanity that throws into the atmosphere, leaving responsibility and real life below.
The forces of order try to capture the young lovers. A daring chase through the woods ends at a mysterious party, bursting with lights and color. The jig is up, but our heroine has a plan. Slapping handcuffs on her and her lover’s wrist, they take flight into the dark as the song spirals away.
The camerawork, the costumes, and the urgent sense of drama make this one of the best music videos of the 1980s, and all time as far as I’m concerned.
I’ve been in love with Kate Bush for a long time. Her music reached its pinnacle with the album Hounds Of Love, a weird mutant of operatic ambition, entrenched firmly within an 80s pop production framework. It’s as daring and progressive as anything she ever recorded, yet reaches the apex of pop perfection several times within its first half. The second half, subtitled The 9th Wave, takes us out into the open ocean before erasing any boundaries between the reflection and the stars.
I’m going to have to follow up with a post about her Running Up That Hill video.